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

S.A.D. (GERMANY)

Punk-ish thrash/crossover ranging from brutal outbursts ("Straight Ahead") with a pinch of Cryptic Slaughter, to merry slackers ("New Day"). The vocals are of the semi-declamatory variety, quite comprehensive and even interesting at times the singer obviously doing the best job of the lot.

Behind the Fence Demo, 1988

S.A.SLAYER (USA)

At this early stage of the genre's development one shouldn't expect very forceful thrash, and this is not the case here. This is the band where Ron Jarzombek (Watchtower, Spastic Ink) showed his great skills for the first time although here he barely hints at his much bigger potential (well, the style doesn't give him many opportunities to do that). The music is mostly traditional power metal with sparse thrashy elements, catchy and entertaining, an obvious influence on the future thrash metal scene.

Pree To Die EP, 1983
Go For The Throat Full-length, 1984

Vibrations of Doom

S.B.I. (USA)

This is modern post-thrash with with heavy grooves and a couple of more lively, dynamic moments ("Dead"). "Clocktower" is an excellent more technical shredder, the highlight here, with the forceful semi-clean/semi-shouty vocalist trying to find his place on the front row as well with his authoritative, emotional antics.

It Is What It Is Full-length, 2017

Official Site

S.C.E.P.T.R.E. (FINLAND)

This band has ties to the early speed metal heroes Agent Metal. This 3-song EP shows the guys pulling out classic thrash/crossover with brutal death-ish vocals. The tracks are short mixing fast and slow sections, only once going out with all the guns blazing: the short brisk speedster "S.C.E.P.T.R.E.".

Retaliation EP, 2001

Official Site

S.D.I. (GERMANY)

S.D.I.'s self-titled (the SDI abbreviation stand for "Satans Defloration Incorporated") debut was an instant thrash/crossover classic, the best achievement in this sub-genre to ever come out of Germany. Light-hearted, very catchy, and quite fast and intense all at the same time, this album has lost nothing of its initial magic all these years. This trio differed from their American counterts (Nuclear Assault, D.R.I., Prong, etc.) mostly based on the stronger speed metal aesthetics coming straight from the early efforts of Destruction, Vectom and Warrant, plus the very memorable shouted choruses, a staple mark for the band, and pretty much one of a kind at those times. Along definitive thrash/crossover hymns ("Quasimodo", "Absolute Banger", "I Don't Care", "Take Off Your Hands") stand the pure hardcore outbursts ("Wanker", "Chainsaw Massacre") and, of course, the so popular at that period "I Wanna Fuck Ya"; at the time when most acts were shying away from using directly this frank direct request/invitation/promise/expression disguising and veiling it under various preposterous euphemisms, these guys shouted it out loud and clear without any fears, and kudos should be paid for them for this "chivalry". Speed metal is also covered with the more melodic, but very memorable "Panic in Wehrmacht", but watch out for "You're Wrong": a marvellous ballad with a furious crossover finish and one of the best choruses ever heard on a thrash metal album; and for the closer "Bloodsucker": a curious moody doom/thrasher. Rainhard Kruse acquits himself with a cool mid-ranged semi-clean timbre which nicely fits both the harder and the softer songs.

Despite the catchy and appealing material offered on the debut, one couldn't help but see this band as a bit more than the occasional "antidote" to the more serious and more technically-proficient music which the German scene was offering aplenty at the time, but this "antidote" threatened to become a constant presence on the thrash metal fan's "menu" with "Sign of the Wicked". One of the 10 best speed/thrash metal efforts to ever come out of Germany, this album is a bit more than half hour of sheer metal brilliance: diverse, melodic, technical, catchy, you name it. Once the acoustic intro to the opening "Comin' Again" starts, one instantly knows that this will not be the carefree unpretentious music heard on the debut, and indeed this number is a standout speed/thrash tour de force with progressive overtones, and it seemed as though this band looked well-equipped to join the increasing group of technical acts which was becoming particularly big in Germany (Deathrow, Sieges Even, Living Death, Destruction, etc.). Well, not really, as the title-track carries little of the technical charge and energy of the first one, but is an utterly compelling piece of sinister doom thrash with an addictive main riff. "Megamosh" (the guys shout their name here as well) is the only reminder of the more simplistic debut being a straight bashing thrash hymn closing on a little more than 2-min. "Alcohol" slows down again, but the chunky riffage and the memorable chorus make it another keeper. "Quick Shot" is the analogue to "I Wanna Fuck Ya" with explicit sexual lyrics and mighty speedy guitars. The attack continues on "Always Youth" which scores high in the chorus department again. "Long Way From Home" switches onto a more melodic speed metal-based approach quite reminiscent of the first two Blind Guardian albums, but the diverse thrashing mid-break will totally delight you with the ever-changing rhythms and the fine melodic sing-along chorus insertion. "Killer's Confession" is more aggressive speed/thrash, but another brilliant melodic deviation awaits you in the middle which touches the ballad with marvellous lead guitars and simply amazing bass performance which is very strong on the whole album making Kruse one of the best bass players of the 80's. "Fight" begins somewhat tastelessly with a guy reciting something in Turkish, but rest assured that later on there will be no one disappointed with this sincere slab of speed/thrash with a pinch of crossover which doesn't forget about the more melodic experimentations which here come as a nice "duel" between the bass and the lead guitar followed by another, this time not as exciting, balladic section which at least shows Kruse in a fine vocal form; he does a good job behind the mike trying to scream high at times, and succeeds, at times offering cool melodic lines, but still his bass pyrotechnics by far overshadow his vocal abilities.

Having found the right way to thrash with the best, the band looked well set to join the very upper echelons of world thrash metal, and one more album of the same stuff could have placed them there. Well, "Mistreated" is hardly this album; it had hardly come as a pleasant surprise to the fans being more melodic clinging towards power/speed metal with very little thrash present, decidedly more complex, and far less catchy. The longer numbers in the beginning are unnecessarily interrupted by spoken or balladic passages which serve to no purpose but kill the inertia and confuse the listener. Still, if you adjust your senses to this mellower offering, and manage to overcome your initial surprise, you may enjoy the jolly speedster "Night of Tears"; the energetic "leftovers" from the debut "Violence" and "Kiss Ass"; and possibly the mid-tempo steam-roller "Mother". The rest will be by all means a letdown, especially the clumsy heavy-handed metal anthem "We Want More" and the AC/DC worship at the end shamefully carrying the band name ("S.D.I."). The guys exited the scene in a not very impressive manner, with only the guitarist Rainer Rage later seen in the power metallers Enola Gay.
To my utter surprise I found out that this band had another full-length, released in 1991; but to my utter disappointment, it contained very bland heavy metal with no traces of thrash and speed metal whatsoever. A few more dynamic songs still pack a punch, but they would make one even more upset, reminding him of the much better past: "Ruling The World", "Mad World". "Mistreated" already suggested at the changes, but wisely stopped on the edge without crossing the border towards undesirable music fields; with this obscure release the guys have done it. Classic heavy metal was falling from grace, along with thrash at those times, and S.D.I. had done a cool job keeping it alive, but their hard-core fans had hardly been fascinated having heard this, to put it mildly.

Satans Defloration Incorporated Full-length, 1986
Sign of the Wicked Full-length, 1988
Mistreated Full-length, 1989
Unreleased Full-Length, 1991

Official Site

S.E.D. (GERMANY)

This not very well known formation pull out intense varied thrash which suffers quite a bit from the sloppy production which makes the guitars sound too noisy for most of the time. The guys (and a girl behind the mike) change the pace trying to follow the stylish canons of Holy Moses, but the musicianship isn't on a very high level although on "Electric Love" the symbiosis between hard-thrashing and tender balladic sections has been well achieved. Elsewhere the folks just bash with reckless abandon (the brutal deathy diversions on "Alive" and "Angel" at the end) without thinking too much about the actual song structure. The girl ensues a manly hash voice which acquires cleaner and more female qualities on the frequent balladic passages (check out "Angel" again for the best example of the latter).

Starvation Full-Length, 1991

S.E.K. (GERMANY)

This act is actually only one person: Necron, who's also a member of quite a few German metal acts. The style is old school black/thrash metal in the early Bathory vein, but not as fast and violent as the very early works of the Swedish hero (R.I.P.); it has a more playful, crossover edge, and Necron feels comfortable enough singing in a minimalistic, raspy terrifying tone recalling the sounds emitted by the Orcs from "Lord of the Rings".

Mehr NSgel fnr das Schwein Demo, 2004

Official Site

S.F.D. (AUSTRALIA)

Based on the "Destruction of the Youth" demo, these guys offer diverse stuff of the classic type which on the most extreme moments comes close even to the Cryptic Slaughter debut (check out the first two tracks which are furious exercises in thrash/death/grindcore of the comprehensive listenable variety). The two songs in the middle take a nice turn towards more stylish semi-technical thrash still pretty classic-sounding with the speed decreasing almost to the point of disappearance. The latter returns, however, for the last two numbers which are fast, but more restrained, takes on thrash/crossover. The singer doesn't change throughout, though, singing in a gruff semi-death metal manner the whole time.

The debut demo is a much more controlled offering serving cool merry thrash/crossover with jolly good rhythms, but with a cool biting guitar edge as well as very nice bass support. The band shred with speed and most of the tracks will stick in the fan's mind thanks to the memorable riff-patterns (check out the perennial crossover hit "Boundary Of Will" which overflows with catchy tunes) and the cool short melodic leads. The singer semi-recites here, but in an attached forceful fashion and further adds to the positive impression this short effort leaves not without the help of the good sound quality which only "stumbles" on a few opening riffs.

Dematerialize Demo, 1992
Putrid Decay/Legion Demo, 1992
Destruction of the Youth Demo, 1993

S.F.U. (USA)

This is simplistic thrash/crossover delivered in a raw unpolished manner, the band moshing with gusto, clinging towards the proto-death realm ("Schizophrenia") on occasion, including on the lengthy lasher "Internal Bleeding", an aggressive cut with a few stylish screamy lead sections, the grindcore outbreak on "Self-Destruction" the most brutal occurrence here, "Firing Squad" being the slower pounding deviation with an accentuated bass-bottom. The vocals are intense spatout semi-recitals, fitting the relentless no-bars-held musical approach. Later on the musicians moved on with Onceover, a more controlled thrashcore unit (one demo released in 1990).

Six Feet Under Demo, 1988

Official Site

S.G.M. (USA)

Melodic thrash/crossover with a jolly punk-ish attitude, mostly mid-paced, without any fast aggressive parts.

Aggression Full-length, 1988

S.H.I.T. (BELGIUM)

In this band's case S.H.I.T. stands for "Something Horrible in Town"; the demo title is, certainly, another story, but based on the "Fart Power!" one these folks specialize in pretty intense, sometimes overtly aggressive, thrash/crossover which is marred by the really awful sound quality which gives a pronounced buzz to the guitars. Expect no restraint under any form, this is bashing pristine stuff which breezes by also carried by the leveled semi-declamatory vocals and the sparse but effective lead sections. Tracks like "Army Childrengarden" and "Polluted World" some actual thrashing power, but for most of the time the guys just lash with reckless abandon, coming close to the eye-gouging brutality of Cryptic Slaughter's first even.

New-Beat Nightmares Demo, 1989
Fart Power ! Demo, 1989

S.I.C. (AUSTRALIA)

A cool entry in the thrash/crossover sub-genre of the faster more brutal type crossing early The Accused with Wehrmacht; the tracks are short seldom going over the 2-min limit except for "Brown Paper Bag Man" which tries its hands on purer thrash and is less intense. The rest is very fast extreme stuff without any gimmicks.

Screaming In Churches EP, 1988

S.I.D.E. (RUSSIA)

Classic power/speed/thrash metal with several modern leanings; the guitar work is good, but the sound is a bit buzzy and the singer is a not very suitable death metal growler. The guys know when to slow down although the faster passages are better despite their clinging towards the Swedish school at times. Some of the musicians have done a better job in the mid-90's under the name Horror releasing two demos of stylish progressive thrash.

Voronviking Demo, 2000

S.I.K. (USA)

Based on the "Practice Tape 5/5/90" demo, this band play raucous old school thrash which has its rawer hardcore side ("Chronic Suicide"), the dramatic stomps on "Individualism Feared" stirring some semi-intrigue accompanied by the steady but indifferent semi-declamatory vocals, the muddy sound quality hampering then musicians' efforts on occasion.

Practice Tape 5/5/90 Demo, 1990
Demo Demo, 1990

Youtube

S.L.U.T. (GERMANY)

Heavy groovy post-thrash with ultra-angry quarrelsome vocals; a painfully familiar picture, isn't it? And indeed these guys never try anything outside the box just grooving onward with repetitive seismic galvanizing riffs all the way acquitted by the very good sound quality which boosts the bass and gives the guitars a really heavy crushing edge.

Mindfuck EP, 1996

S.N.F. (CHILE)

A good demo with awesome Alex Skolnick -like guitar work courtesy of Ilvaro Soms (who later moved to another Chilean metal band, Dorso). The music is Testament-influenced and something else which is hard to define (perhaps it's the joke punk-ish moments like "Mr. Harry").

...Acting Like A Fool Demo, 1989

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S.N.O (UK)

First-class prog/tech, largely old school thrash that is full of intriguing quirks like the trippy Voivod-ish digressions on the title-track, or the dark pounding urgency of "Siege of the Power Plant" which suddenly turns to near-dissonant crossover at some stage. The latter runs rampant on "Moral Panic" which is also a fairly twisted technicaller with time and tempo-changes galore, with "SB-129" adding a fascinating dystopian flavour to the already entangled setting. "Clash of Titans" tries to play it more linearly, but before you know it, the environment becomes pretty crooked with clever Voivod-ian rhythms peppering the landscape, with "Ununited Nations" giving a nice fast-paced boost to the contrived riff-patterns which turn to a fountain of gorgeous melodies near the end. "Quantum Mind" is futuristic technical thrash at its most spell-binding, an unparalleled riff-fest chokeful of intelligent guitarisms and original decisions, including a relevant quiet interlude. The grand closure is called "Assimilation, labyrinthine progressive thrash, a seamless conglomerate of impetuous speedy excursions, spacey walkabouts, dissonant hallucinations, and more� much more. The husky semi-declamatory death metal vocals don't mean that much business under the lofty musical circumstances, but hold their own in a strangely subversive, authoritative fashion.

The Mutated Lifeform Full-length, 2020

Official Site

S.N.P. (ITALY)

Based on "Scarface", this act offers a bland relaxed version of the 90's post-thrash. This is a mild semi-grungy effort with strong balladic/doom overtones which flows in the same sleepy fashion from beginning to end which many of you won't even bother to reach.

All Is an Endless Nothing... Empty Words Empty Promises EP, 1992
Excess Full-length, 1996
Scarface Full-length, 2003
Valthellina Full-length, 2008

Official Site

S.O.H. (USA)

This obscure outfit pull out retro power/thrash with gruff deathly vocals. The music is more on the stomping variety with echoes of the Nasty Savage debut and Manilla Road's late-80's period. "Envy The Dead" is a more energetic headbanger with heavier, more aggressive riffage

Demo Demo, 1991

Official Site

S.O.S. (BOLIVIA)

This Bolivian trio indulge in rough badly produced classic thrash/crossover with bad shouty drunken vocals which are barely audible at times. This is just a bit more than plain noise the guys bashing with reckless abandon the screamy thin leads being either (depending on the taste) a major highlight, or a major annoyance, still preferable to the dominant semi-amateurish barrage.

First Blood Demo, 2010

Official Site

S.O.S.! (POLAND)

Based on the "Kto jest the Best?" demo, this band play your average 90's post-thrash which is so ultimately trite and unimaginative that one may not believe that behind it are ex-members of the thrashers Necrophobic. This is playful unpretentious music which, when it livens up, goes directly into hardcore ("Hipopotam"). "Kapuce" is a joke based on Judas Priest's lame hit "United" sung in Polish and... that's it. The rest may make you dance around on the more jumpy moments.

Nie Rzucim Ziemi... Demo, 1997
Kto Jest the Best? Demo, 1998

S.O.S.A. (USA)

A very well produced demo done by members of some renowned acts: Blind Illusion, Defiance, Hell's Kitchen, etc. The music has a few stylish throw-ins, but doesn't have the necessary dynamics to pull it through all the way. The choppy rhythms haves their reference to Defiance, but they wear thin after a few tracks and the actual highlight would be the raging thrasher "Demonic Attack", with the short proto-deathy exploder "Faulty Knees" a close second. The singer is a rough hardcore semi-reciter who is the major pullback here.

Demo Demo, 1990

Official Site

S.R.L. (USA)

This outfit, who have fairly long history with four full-lengths and four EP's released since 1995, indulge in derivative modern thrash which has all the dynamics and hooks, but should be superior having in mind that behind the music we have veterans from the Italian thrash metal scene, members of Fear Traders, Subliminal Crusher, and Hyades. The guys go through the motions with professionalism, it's just that the execution has no soul and carries on autopilot for most of the time, and the great infectious hooks on "Pensieri Dal Buio" could hardly save the day. "Ricordatevi Di Jack" is a notable steam-roller with some really squashing riffs, but again this is nothing one could lose his/her sleep over, and would hardly arouse the fans' interest in tracking down the band's lengthy discography.

De Humana Maiestate Full-Length, 2012

Official Site

S.T.A.G. (ITALY)

Look no further than the gothic-tinged style of mid-period Cemetary ("Godless Beauty", in particular) with the vocals dead ringers for the Mathias Lodmalm's early singing style assisted by more vigorous galloping power/thrash metal sections. The guitar work is too melodic and fits better the slower doomy and the balladic more quiet passages which also come aplenty.

8 p.m. Full-length, 2009

My Space

S.T.I. (BRAZIL)

Cool aggressive thrash metal ala Sepultura and Atomica with some punky parts and several hardcore-ish outbursts in the vein of S.O.D. ("Eternal Shit"). The songs are short fast splashes with sharp riffs and gruff throaty vocals.

Twen Two Visions Full Length,1993

S.T.R.E.E.T.S. (CANADA)

Based on the debut: energetic brisk thrash/crossover along the lines of early Broken Bones and early Rumble Militia, in other words there's not as much thrash as hardcore/crossover; interesting guitar decisions can be caught from time to time, but the emphasis is clearly on catchiness and melody. The songs vary from short speedy 1-1.5min to heavier slower ones, closing around the 5-min line ("Skate In The Heart"), but without the fast-paced riffage the latter are a bit more than a waste.
"Bo Bo Gnar Gnar" is in a very similar vein comprising short catchy crossovers with brisk melodic guitars and not a lot of thrash involved. The guys have fun pulling out this merry uplifting stuff which now also sounds close to Excel, No Mercy, and respectively, the Suicidals.

Worms Full-length, 2002
Bo Bo Gnar Gnar Full-length, 2003
Invaders From Gnars Full-length, 2005

Official Site

S7N (MEXICO)

Based on "Deadline", this act offer modern power/post-thrash with less overt classic overtones. The tone is generally playful with shades of stoner ("Fatal Disease", the later-period Cathedral worshipper "Innocent Guilty") and not too many intense sections the exception being the final "My Own War" which goes towards the speed metal camp to a positive, semi-headbanging effect. The singer hesitates between the staple for the genre aggro-delivery and a warmer James Hetfield-esque baritone.

Fearless Full-length, 2013
Deadline Full-length, 2016

Official Site

S-TOOL (FINLAND)

Modern groovy post-thrash which has no intentions on being anything but another addition to the one-dimensional 90's roster although several edgier roller-coasters like "Back To Zero" reveal a more serious side which contrasts with the dominant frolic character of the rest which also features a couple of soulful bluesy semi-ballads ("Your Despiser No.1"), the warm semi-clean, inebriate timbre of the vocalist a perfect fit into this poignant serenity.

Tolerance 0 Full-Length, 2017

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SAARS (CZECH)

Modern thrash metal which tries to spice the intense groovy sound of 90's Pantera with more laid-back hardcore moments ala Biohazard or early Pro-Pain, but except for the more energetic slightly technical ala Meshuggah "Public Assault", all this is too pedestrian and painfully familiar.

Public Assault Demo, 2006

Official Site

S-CORE (FRANCE)

Based on "Gust Of Rage", this is modern aggro-thrash with elements of hardcore which unfortunately loses its edge and intensity on some tracks, but the smashing steam-rolling riffs for most of the time will keep the Pantera fans entertained.

Fat And Wet EP, 2001
Riot... Process Engaged Full-length, 2003
Gust Of Rage Full-length, 2007

Official Site

SABATEUR (USA)

Based on the full-length, this act specialize in quite cool classic power/thrash which sits somewhere between early Overkill and later-period Laaz Rockit. Impetuous lashers like the opening "The Clocktower" raise the lathe high from the get-go, and vigorous gallopers like "Tommy Gunn", or more complex shredders like "A Minute to Live" by all means reach that level; however, the rest of the material clings more towards the power metal side, with progressive nicely elaborating the environment: check out the superb early-Savatage-sque "Black Widow" and the dramatic stomper "C-137", both very good examples of more thought behind the compositional process. The vocalist is another big asset with his attached clean timbre, not to mention the lead guitarist, a wizard of Shrapnel proportions, unleashing myriad pyrotechnics at will, reminding of several luminaries from the guitar heroes' catalogue (Joe Satriani, Chris Oliva, Alex Scholnick, etc.).

Bullrun EP, 2015
Vicious Circle Full-length, 2018

Official Site

SABAZZ (JAPAN)

Based on the debut, these Japanese samurai produce aggressive bashing old school thrash with clear death metal pretensions at times. This is merciless intense stuff with Slayer an obvious influence as well as Devastation and Merciless. Expect a few slower joys ("Joy Threats. Let No Lust Be Lost") which come with a pinch of playful hardcore ala early Pro-Pain. "Sed Ribs. Thrash Me Tender" would not thrash you much "more tender", despite its more laid-back crossover colouring. The singer is a forceful deathly semi-shouter, and at times his antics are not very easy to decipher.
�Your Weight in Blood and Vows� contains some more vehement old school thrash/death that shows little remorse with �Knife� and �Hatch� moshing wildly, the aggressive deathly rager �Raskolnikov� another unrestrained occurrence, the more technical piece of brutality �One Perfect Night of Infinite Malice� the possible highlight, the singer assisting the sizzling melee with vociferous shouty hardcore tirades.

The Intolerable Absence of Evil Full-length, 2000
Your Weight in Blood and Vows Full-length, 2001

Official Site

SABBAT (JAPAN)

One of the oldest Japanese metal bands, the band's style has mutated throughout the years starting with primitive Venom-influenced black/proto-thrash metal on the first EP's to a combination of thrash, black and death metal on the 90's releases with the Venom-influences being present all the time, although by the time of "The Dwelling" the band's approach has evolved into a more complex, serious one the latter album containing only one 1-hour long composition, a larger-than-life symphony with numerous influences, still remaining a pretty thrashy affair sharing some of the King Diamond operatic drama at times. The more elaborate arrangements stay around for "Karisma", but "Satanasword" is full-on old school speed/thrash metal, a compelling mix of sweeping melodies and sharp furious riffs.
"Sabbatrinity" produces no surprises, but those who have got accustomed to the band's delivery, will by all means be entertained by this appealing speed/thrash boogie delivered in a carefree roller-coaster manner, slightly hardening the course on more "serious" speedsters, like the excellent melodic opus "Total Destruction", which contains nice operatic variations and virtuoso lead sections. "Witchflight" is a cool reminder of the early 80's German scene sounding like a leftover from Destruction's "Sentence of Death", and the other "witch": "Witch Hammers", is a more laid-back crossover piece. "Ravens Tell" is a more aggressive story thrashing more intensely recalling Rigor Mortis with the interesting melodic insertions ala Mike Scaccia; a great track with operatic overtones again which get nicely transferred on the next "Witch's Torches (Version 1)" (too many "witches" today; and some come with "torches", so be careful!). "Karmagmassacre" reaches almost progressive proportions with more complex dramatic escalating rhythms, and the last "witch" comes in the form of an instrumental: "Witch's Weed", a really good lead-only piece showing the lead guitarist in a really inspired form, and one shouldn't be surprised if the guy comes up with a solo album (quite a typical phenomenon for the Japanese scene of recent times) in the near future to fully display his talents.
"Sabbaticult": a long 13-year hiatus is too big a gap to fill in even by renowned legends like Sabbat... however, the guys try hard, and one should be able to fully savour the raw primal viciousness of the title-track and the diverse speedy shenanigans of "Desecration", the speed metal winner "Oh, My Baby 666", the latter cut's unbridled energy transferred to "Satanic Witches Fire" and the rough albeit epic tribute to early Venom "Black Metal Tornado". "Witches' Mountain" is an effective semi-galloping power metal ride, but the variety offered here is always on the pleasant side, including "Kanashibari the Dwelling", an 8.5-min saga with sinister riffs, faster-paced accumulations, and some genuinely macabre atmosphere which also gets amplified by the several archaic 70's keyboard inclusions.

Sabbat EP, 1985
Born by Evil Blood EP, 1987
Desecration EP, 1989
The devil's sperm is cold EP, 1989
The Seven Deadly Sins EP, 1990
Envenom Full-length, 1991
Evoke Full-length, 1992
Disembody Full-length, 1993
Sabbatical Devilucifer EP, 1994
Fetishism Full-length, 1994
Bloody Countess Full-length, 1996
The Dwelling Full-length, 1996
Karisma Full-length, 1999
Karisma Full-length, 2000
Satanasword Full-length, 2000
Karmagmassacre Full-length, 2003
Sabbatrinity Full-length, 2011
Sabbaticult Full-length, 2024

My Space

SABBAT (UK)

Often considered the finest British thrash metal band, Sabbat have a very original sound with a unique pagan atmosphere, frequently imitated, but seldom achieved. "History of a Time to Come" is a sure-handed debut, establishing immediately the band as a major thrash force on the UK metal scene. Along with the more direct, headbanging thrashers (the opener "Cautionary Tale", "Hosanna In Excelsis"), there are longer, more ambitious songs, which aren't technical achievements per se, but are quite interesting: the heavy stomping "Horned Is The Hunter" which introduces the genuine pagan touch; the intense semi-technical thrashing fury "I For An Eye"; the excellent mix of crushing doom riffs and sharp, faster, galloping ones on "Church Bizarre".
"Dreamweaver" is a masterpiece of classic thrash metal; the sound is darker and heavier with sharper and more technical guitars. "Clerical Conspiracy" starts with crushing up-tempo guitars followed by a nice short acoustic ballad ("Advent of Insanity"). Then three exquisite long dark pagan thrashers follow suit: one of the finest moments of the whole UK thrash metal scene; they sound like one small album together, being mid to up-tempo, slowing down to atmospheric doom moments, but very soon pick up respectable speed thrashing with full force here and there. This incredible trilogy kind of overshadows the exiting two tracks, which are otherwise good intense pieces, containing the most aggressive guitar work, especially the closing "Mythistory", which is a fabulous pagan riff-fest at its best. Worth mentioning are the demon-ish, vicious vocals of Martin Walkyier: one of the most unique voices in metal.
After Martin Walkyier left to join Skyclad, the band carried on without him, and "Mourning Has Broken" is another capable offering the Walkyier replacement, taken from the one-demo-wonder Desmatron Ritchie Desmond, does a fairly good job behind the mike with his more melodic, dramatic, cleaner style. The songs preserve the complexity, but the intensity has been diminished to some extent. Some tracks stretch towards progressive metal ("Theological Void") and their longer running time gives the musicians plenty of opportunities to display their talents,not necessarily thrashing their hearts out the whole time. "Paint The World Black", albeit a ballad, nicely captures the essence of the band's atmospheric style and gives a good opportunity to Desmomd to display his vocal talents. Overall the delivery is seldom on the pure thrash metal side: the exception is the excellent up-tempo instrumental "Dumbstruck". Power and progressive metal have have settled in comfortably and take the upper hand at times, especially on the last three elaborate affairs where at one point one might not be sure whether she/he listens to the same song with a lot of twists and turns occurring within with "Without a Trace" being the highlight with its intriguing energetic, also quite technical, arrangements, the short closing acoustic title-track another worthy number with an episodic but very effective participation of Desmond.

History of a Time to Come Full-length, 1988
Dreamweaver (Reflections of Our Yesterdays) Full-length, 1989
Mourning has Broken Full-length, 1991

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SABHANKRA (TURKEY)

This team, previously known as Constantinopolis, provide mostly bombastic black metal, spiced with shades of thrash which on "Burn Down Their Halls" take the upper hand in a fierce impetuous fashion. "I Came This Far for Nothing" is another composition where the good old thrash tires to shine with blazing hard-hitting riffs, but the omnipresent hyper-blasts would be too much for the regular thrash metal fan who may also find something to like on the more atmospheric Melechesh-esque "Awakened in the Dark". Some of the musicians also play with the melo-death metallers Desecrate.

Death to Traitors Full-length, 2021

Official Site

SABLE (HUNGARY)

Based on the "Rebirth" EP, these guys offer modern thrash/death metal, at times slower and pensive, at others very fast and blasting. The singer is a gruff death metal semi-shouter.

The Black Art EP, 1999
Rebirth EP, 2003

Official Site

SABOTAGE (INDIA)

This is not bad retro thrash which is clearly on the headbanging side for most of the time with the title-track and "Failed Is the Law" shredding with the requisite passion, leaving the more memorable hooks for the marginally more laid-back sing-alonger "Bloodthirst". "Public Enemy" rages hard in a vehement no-bars-held manner, a maddening cut which also makes full use of the very good clean vocalist, the latter hampered a bit by the slightly abrasive production.
The full-length features blistering retro thrash which suffers a bit from the boosted modern production. Vigorous cuts like �Eye for an Eye� and �Love Undead� keep the mosh going on full-throttle, whereas �Sabotage� is more on the meeker friendlier heavy/power metal side, helped by the decent semi-clean singer. Some heavy drama gets served on �Victory or Valhalla�, but it�s all speedy riff-fest later with the Megadeth-esque shredder �Valley of Death� and the feverish Bay-Areasque behemoth �Demons in Paradise�.

The Order of Genocide EP, 2019
Pishach Full-length, 2024

Official Site

SABOTAGE (ITALY)

Based on the 2-song EP, this band play uplifting power/speed/proto-thrash, brisk stuff with very good clean emotional vocals. "Heroes Of The Grave" is faster and more optimistic whereas "Warmachine" is slower and darker with progressive pretensions reminiscent of the early works of Queensryche and Fates Warning. At present some of the musicians are involved with the doom metal formation L'Impero delle Ombre.

Behind the Lines Full-length 1986
Heroes of the Grave EP 1987

SABOTAGE (RUSSIA)

Classic death/thrash which is at times deafened by the guttural death metal vocals; the delivery is on the dynamic headbanging side, with "Life" pouring life into the recording with a portion of fiery fast-paced guitars, and "Fatacy" follows a similar trajectory, serving a marginally more brutal deathly clout. "Extreme" is another more death-fixated number, an aggressive roller-coaster with a few more intricate deviations.

Fatal Disperation Demo, 1993

SABRE (USA)

Based on the "Beyond Belief" demo, these folks deliver intense blitzktieg thrash/proto-death which is close to death metal on the ravaging opener "War Corpse" before the "Ripped Apart-Cremation" brings some relative calm with its less stripped-down execution. Later on the brutality is hard to disguise "Mortuary" being 7-min of aggressive mosh death metal touched again. The title-track is again more in the death metal mould adding more stylish technical hooks which disappear on the final "Drink Drink" which is direct hardcore-ish bash adding more fuel to this fairly brutal recording which comes with a very clear sound quality and cool intense semi-clean vocals.

Ruins Demo, 1987
Sabre Demo, 1989
Beyond Belief Demo, 1990
Evil Demo, 1992

SABRETUNG (AUSTRALIA)

The EP: a young Australian thrash metal band who turn to the 80's for inspiration, and have obviously found it in the thrash/crossover side of the scene, in ticular D.R.I., Corrosion Of Conformity's thrashier works, and D.B.C.'s debut. The problem is that these young Australians get tired of keeping the music at a faster more aggressive pace and slow down to mid-tempo, even slower at times. This can be easily fixed on later efforts as the guys definitely have a lot of energy, and the musicianship at display is not bad at all.

The full-length debut is finally a fact and the listener will easily hear the difference from the more direct EP; the guys have moved more towards the purer thrash metal spectre with a sound not far removed from more recent Kreator, still sounding pretty classic on thrashing bombs like the Slayer-esque "The Thing", or the hectic closer "Eliminate the Weak". "Chainsaws" is an obvious "leftover" from the EP, a jumpy hardcore-ish track, and "Barbarian" is a shift from the dominant speedy delivery into a melodic mid-tempo Oriental composition; there are several of the kind here, but they are not an impediment. Neither are the cool forceful semi-shouty vocals.
"Collision" is another roller-coaster which bangs the head with passion even adding some death metal-ish drama ("Collision") for good measure. The thrashing shred never stops ably supported by nice melodic leads which are close to being the highlight (check the ones on the "sadistic" "Sadistic and Merciless"). A relative moment of peace would be the mid-paced stomper "Endless Winter" in the middle with the leads doing the bigger damage again. After it the mosh continues reaching Slayer-esque proportions on "The Return (Enthroned)", the situation even improved on the final "Hedonistic and Merciless" which is a fine more complicated composition reaching for the technical to exit this album with the style it by all means deserves.

The Price Is Pain EP, 2006
Conquest Full-length, 2011
Collision Full-Length, 2012

My Space

SACCAGE (CANADA)

Based on the demo, this outfit provides a hesitation between the classic black/thrash formulas and the more updated, blasting nuances, the final result being fast, intense music with vicious half-black/half-death metal vocals. Overall, if we exclude the wild hyper-blasts, the approach is not too far from their compatriots Megiddo; the guys here are a bit faster perhaps, with shorter tracks and a dirtier sound.
The full-length is a wild old school affair mixing thrash and black metal trying to keep a respectable speed throughout, and indeed the riffs are lightning fast at times adding the odd hyper-blast to the proceedings. The final result comes close to mid-period Impaled Nazarene mixed with the more recent Darkthrone escapades when it slows down. Still, this intense effort has its listenable moments, and the guitars are clearly heard even bringing the odd melodic shade at times (the final "Cirrhose du Foie") which opposes to the rough shouty death-ish vocals.
"Recidive" is a more laid-back thrash-fixated affair built around admirable lashing moshers like the title-track and "Dechet Humanitaire". "Orgasmaniaque" slows down to present a couple of squashing volcanic riffs nor far from mid-period Satyricon, and "666 Grammes" is an excellent more technical offering with great melodic lines as well.
"Khaos Mortem" carries in the same few-bars-held thrash-prone direction and as such generates plenty of headbanging moments with vicious speedsters like "Souillure Spectrale" and "Acouphene Funeraire" dictating the plot, only letting a couple of more brutal grindy outrages ("Chaosphere") sneak through. Death metal takes the upper hand in the second half, notching up the aggression to the max.

La D'82 rape arnak Demo, 2008
Squad-Alcoholocaust Split, 2009
Death Crust Satanique Full-Length, 2012
Vorace EP, 2014
Recidive Full-length, 2017
Khaos Mortem Full-length, 2019

Official Site

SACCARA (GERMANY)

This obscure act offer energetic hardcore-ish thrash in the tradition of early Rumble Militia and D.R.I. This is not too bad, by the way, since the guys add stomping slower riffage when needed, and some songs are really intense takes on crossover/thrash: "Urlaub im Knast", "Acceleration of Annihilation", "Wasted Money". Certainly, there are compositions which are direct exercises in brutal proto-grindcore: "Pickel Dir Einen".

Urbi et Orbi Full-Length, 1990

SACKRACE (HUNGARY)

An intriguing album mixing modern thrash metal with stylish Voivod-ish technical riffs (think both "Killing Technology" and "Negatron"); there are also shades of early Meshuggah and later-period Equinox. The music is mostly mid-paced with numerous interesting moments as well as stylish lead guitars. The riffs are quite choppy and technical, quite mechanical and dry at times, but never too complex or abstract. The vocal styles also vary according to the style meanderings, although neither of them is suitable to the much better music; some of them are shouted hardcore-ish ones, others are clean alternative ones, and those could be quite irritating with their absolutely non-metal blend.

Pain in the Fist Full-length, 1997

SACRAL RAGE (GREECE)

Based on the EP, this act play typical American power/speed metal akin to Attacker, Liege Lord and early Helstar. The very good clean high-strung vocals are a great asset to the cool energetic music which ranges from memorable gallopers ("Master of a Darker Light") to vigorous sweeping speedsters ("Forced to Betray"), the Nasty Savage cover of "Gladiator" performed relatively faithfully, the vocalist not sacrificing his pathos-like antics to suit Nasty Ronnie's more subdued semi-clean croon.
"Illusions in Infinite Void" is a true revelation, exquisitely-performed progressive power/speed/thrash quite close to the exuberant delivery on Helstar's "Nosferatu", with wonderful spacier elaborations ("En Cima Del Mal") also embedded into the really appetizing canvas, those echoing Voivod on occasion. Alluring Oriental tunes ("Lost Chapter E-Sutratma") will also capture the listener's imagination, not to mention steel technical gallopers like "Panic in Urals (Burning Skies)" or frenetic, highly dynamic speedsters like "Waltz in Madness" that will take you in the direction of Toxik and Realm even. "Into Mental East" is a brilliant all-instrumental roller-coaster, a virtuoso piece which complexity is partly relieved by the more immediate speed metal anthem "A Tyrannous Revolt" before "Lost Chapter E-Amarna's Reign" embarks on an enchanting progressive metal journey, a masterpiece of multifarious, also quite dynamic metal which would make Paradox and Manticora proud any time. This is a very promising start which would hopefully be matched by future recordings.
"Beyond Celestial Echoes" is another no-brainer for fans of all things great in classic metal, "Eternal Solstice" sweeping the setting with its volatile fast-paced configurations before "Vaguely Decoded" suggests both a more aggressive thrashier and a more complex approach with twists and turns galore. "Suspended Privileges" is a shorter more compact technical speed/thrasher in the best vein of Helstar's "Nosferatu", and "Samsara (L.C.E.)" is a more epically executed number its vigorous gallops extended on the more elaborate, also more melodic "Necropia" which adds a nice classical clout to the album recalling... well. "The Glass" is a very ambitious closure to this excellent opus, a nearly 15-min rifforama which passes through several nuances with hard thrashing taking turns with quiet balladic interludes and contrived rhythmic knots.

Deadly Bits of Iron Fragments EP, 2013
Illusions in Infinite Void Full-length, 2015
Beyond Celestial Echoes Full-length, 2018

Official Site

SACRAMENT (FINLAND)

The band's style calls to mind the Canadians Eidolon, their early, less thrashy period. A powerful dark sound which could fit even Nevermore very well; heavy songs that never drag or lose coherence, aggravated by good mid-ranged vocals.

Confuse My Mind Demo, 1999
Beginning of the End Demo, 2000
Escape From Reality Single, 2001
Walls of Hate EP, 2003

Official Site

SACRAMENT (GERMANY)

Based on "Agony", the band's style is close to early Iced Earth and Meliah Rage, but lacking those bands' flair and stylish guitar work, without any particular claims at a more original or a non-standard play. There are pure thrash headbangers, and they are definitely the better and more attractive side of the band's music (the very good "Scat the Dark Eyes Aglow", and "Prophets of Doom"). "Guilty", on the other hand, has a pagan/viking flavour and would fit on any of the early Falconer albums. "Feed the Memory" is a magnificent acoustic ballad and is very close to being the highlight of the whole album. The few attempts at a more technical play are directly stolen from other bands (riffs from "Seed of Scorn" are taken from Annihilator's "Alison Hell"; the beginning of "Thin End of the Wedge" is a direct nod to Artillery).

Agony Full-length, 1995
Withered Dreaming EP, 1999
Aguante! Full-length, 2006

Official Site

SACRAMENT (UK)

A gem which offers progressive speed/thrash which very early reaches virtuoso heights on the opening "Time To Die", an engaging sweeper which thrashes hard all the way through graced by a short balladic section towards the end. "Deadman Walking" is more on the stomping, galloping side but delivers with its attached dynamics not without the help of the brutal proto-death section in the second half. "Day of Judgement" is an encompassing 11-min saga where some hard-hitting thrash encounters more lyrical moments on regular bases to make this number a most eventful proposition. The closing "The Sacrament" is just a short acoustic instrumental, beautiful stuff, devoid of the good clean emotional vocals. How this talented act remained an obscurity is another one of the many paradoxes on the metal scene...

Demo Demo, 1989

SACRAMENT (USA, IL)

Badly produced, but energetic thrash; the guys definitely have ideas to pull it through, and at times the music gets really inspired and interesting, but the sound quality and the annoying hardcore-ish vocals impede the proceedings. The pace varies from heavy and pounding moments similar to Nasty Savage's debut, to up-tempo Slayer-esque ones, plus one chaotic early Voivod-ish number: "AFU".

Demo Demo, 1988

SACRAMENT (USA, PN)

Arguably the finest Christian thrash metal band; the debut is an aggressive uncompromising offering in the vein of Dark Angel's "Darkness Descends" and Devastation's "Idolatry": a relentless fast assault with quite a few clever semi-technical riffs present as well as nice melodic touches in the lead department.
"Haunts Of Violence" tones down the aggression and concentrates on the more technical play, already hinted at on the debut, resulting in a highly enjoyable listen not far from Forbidden's "Twisted into Form". The music is still fast-paced, but the slower, technical breaks are more frequent as well as the tempo changes which don't stay in the speedy parametres for too long. A good example for these tempo changes is the heavy slow-ish number "Souls in Torment" which flows in a slightly sleepy fashion, until it's interrupted by a much faster intense passage in the middle, after which it calms down again. Unfortunately Sacrament had apparently no more to give to the thrash metal fans, and disappeared soon after.

Testimony of Apocalypse Full-length, 1990
Haunts of Violence Full-length, 1992

My Space

SACRAMENT LA (USA)

Yes, you guessed right, the band come from Los Angeles, but the sound is vintage San Francisco Bay Area thrash (at least they didn't have to look for inspiration much further), akin to Forbidden's debut, and the Germans Pyracanda (their debut, too). The tempo is fast-paced, except on the heavy stomper "Getta Life".

Getta Life Demo, 1990

SACRAMENTAL (LATVIA)

This is melodic 90's post-thrash built on atmosphere and choppy rhythms which can be quite headbanging ("Bifacial") at times. Still, the predominant feeing is more on the radio-friendly side seldom broken by vicious ripping pieces like the battle-like "Abyss Of Fallen". There are shades of doom ("We Are The Wolves") as well as more proficient displays of musicianship (the closing "And Angels Call" where the melodic nostalgic leads are top-notch).

Sibylla Full-Length, 2014

Official Site

SACRAMENTAL SACHEM (USA)

Based on the "Anxiety" EP, this band plays pretty cool classic speed/thrash metal sounding close to the Poles Hellfire on the faster moments which should have been more. "Pedestal Of Lies" offers both speed and more elaborate progressive arrangements. The former gets lost partially on the next "Anxiety" which acquires a nice doom vibe, before "Weapons Of The Gods" shoots you at close range with its a bit less than 3-min of intense thrash. "Sentenced to Live" is a mid-paced thrasher with appropriate galloping insertions, and "S.E.E." follows the same path speeding up a bit to recall more recent Paradox as well. The singer does a good job with his clean mid-ranged timbre holding both emotion and aggression the latter helped by sparse more extreme proto-death grunts. The band later changed their name to Fuelblooded moving up the aggression scale towards modern thrash/death metal.

"Recrucifiction" is pure death/doom ala early My Dying Bride and Anathema, comprising long stretched compositions with an omnipresent keyboard background which will also remind of the Swedish doom/gothic masters Tristitia. It sounds so distantly removed from the following EP that one may not be sure whether he/she listens to the same band, the singer using the most guttural tone possible to produce some of the most sinister, underground-sounding voices on the scene at the time.

The Dolcinites Were Wrong EP, 1992
Recrucifiction Full-length, 1995
Anxiety EP, 2001

SACRARIO (BRAZIL)

The debut: an obscure gem from the Brazilian scene; this band pulls out exemplary aggressive thrash in the mid-period Sepultura mould ("Beneath the Remains", "Arise"), and Devastation ("Idolatry"). Actually this album sits comfortably between the two aforementioned acts and could easily pass for a lost Sepultura release. These guys are probably a bit more aggressive touching proto-death at times. The first two tracks are furious fast-paced thrash at its best, and such intense delivery inevitably requires a break, and it comes in the form of "Drug Addiction": a nice mid-paced, very heavy piece. But that's it since immediately after the assault carries on, producing brilliant raging moments: "To Die is the End ?"; "Wasted Land" which is a bit more controlled, but nicely insert the only technical moments on the album, recalling Pestilence's "Testimony of the Ancients": "Extreme Unction". The closing "Divine Existence" again steps the pedal on a more technical approach, but the stomping smashing riffs take over. This is a must-have for fans of the more brutal side of thrash metal, and is definitely not for the faint-hearted.
"Stigma of Delusion" is a capable follow-up thrashing with gusto most of the time, this time with a stronger technical edge, well obvious on the opening title-track, a furious semi-technical headbanger. The rage goes on the next "Reborn In Chaos", but "Infernal Paranoia" shows a taste for crushing mid-paced riffs in the beginning, before the "carnage" starts over later on. "Back For Blood" finally shows consistency in the mid-tempo department, recalling late 80's Slayer quite a bit. "Frozen Dusk" is very similar to the preceding song, and when "Trauma" begins in the same heavy slow manner, some may start frowning, albeit not for long since this number starts thrashing hard in the second half. "God Against God" is a pure speedy thrash attack, but the closing "Covenant" "flirts" with slower riffs again, "depriving" this album from the necessary final mosher. This effort isn't a full-on massacre compared to the debut, and the Sepultura influences have been left behind, now the more intense moments sounding quite close to early Pestilence and Slayer as the latter are given more than a few nods on the slower parts. The decrease of speed is noticeable, and some may find this a drawback, but overall the fierce approach from the debut is quite well translated on at least half of the tracks.

"Beyond the Violence" is again a more controlled affair the compositions being diverse with an alternation between fast and slower moments. Some of them escape this description and lash steel riffs like a forging anvil: "Maze of Suffering", but on the other hand we have engaging heavy stompers in the best tradition of late-80's Slayer: "Merciless Tyrant". The sophisticated technical edge introduced on the previous album sneaks in ("Dead in Human Form") here and there, but generally this effort is pretty straight-forward. The problem is that it is only 6 songs, and there is a kind of an unfinished feel attached to it; probably due to some of the band members' involvement with the thrashers Distraught...
The EP is a 4-tracker containing two original songs: "Asesinos De Mentes" which is a heavy moody piece in mid-pace; "Screams of Agony" which is a fast raging ripper ala Slayer: and two cover versions: Sodom's "Agent Orange" done well without any alterations; and Exodus' "Bonded by Blood" rendered with a slightly more laid-back riff-section than the one of the original.
"Circle of Psychopaths" slows down even more, at least in the beginning, now the sound coming quite close to Slayer's heavier material from the late-80's. "Killing for a Living" moves up the speed scale and carries the winds of harder thrashing for a string of cuts among which "Time of Pestilence" is a fairly wild exploder. In the second half the heaviness returns on full-throttle and remains till the end making this album the band's least varied, but not necessarily least interesting product.

Catastrophic Eyes Full-length, 2007
Stigma of Delusion Full-length, 2010
Beyond the Violence Full-length, 2012
Asesinos EP, 2012
Circle of Psychopaths Full-Length, 2015

My Space

SACRASANCT (USA)

Based on the debut demo, this act serve really cool old school progressive power/thrash, the lads saddling the horses initially for the supreme galloping wonder �Asylum For the Sane�, with both the bass player and the lead guitarist making circles of dazzling virtuosity around the bemused listener, the excellent soulful clean vocals adding more to the very positive impression. �Unwanted Life� is a more pedestrian mid-paced stride, but expect a livening speedy section to put you on the alert at some stage. �Judas Did Han� is a lofty 10.5-min representation of complex multi-layered music, with all the participants doing their best to make it a truly memorable piece of art with epic arrangements, entangled vortexes, and several more intense passages; a composition that even Queensryche and Fates Warning failed to produce during their prime. Earlier the guys were called Foxx, the delivery more in the speed metal camp.

Within Dreams Only Nightmares Are Reality... Demo, 1989
Ancient Words Demo, 1990
Welcome to Prejudice Day Demo, 1991

Official Site

SACRASTIC (CZECH)

This compilation probably looks back at all the band's endeavours, and mostly contains brisk fast-paced retro speed/thrash with a more abrasive guitar sound and shouty semi-clean vocals. The delivery moves from more energetic shredders ("Tak PojD") to quasi-groovy modernizers ("Kat") which are still not annoying and have their edgier colouring. "Prokleti" is a cool moody brooder, and "Vira" is a sharp speedy headbanger.

22 Let Historie 1992-2014 (Compilation), 2014

Official Site

SACRATUS (MEXICO)

This outfit indulge in heavy brisk old school death/thrash, the hoarse death metal vocals trying to match the music�s belligerent character every bit of the way. The dominant steam-roller character of the music gets violated by the short deathly explosion �Sacred�, but the listener will later come across the more technical stomper �Your Obituary� and the tribute to the Floridian scene �Take Your Soul�, thrash holding the fortress with dignity on the varied dramatic �The Final Conspiracy�. Some of the musicians are also involved with the symphonic black metal formation Northwar, and the death metallers Noctambulism.

Where the Sounds Were Corrupted Full-length, 2023

Official Site

SACRED ALLY (CANADA)

Based on the full-length, this Canadian act plays cool retro power/thrash metal with both speedy and epic tendencies, plus a certain number of beautiful Iron Maiden-styled guitar harmonies. The guys start pretty intensely with the energetic headbanger "Math", before the Muppet Show tribute "Kermit the Prog" turns to epic to deliver, except for the straight thrashing exit. "Despair" rides the wind far'n high being a soaring awe-inspiring speedster, and the next "Uzumaki" (a tribute to a very good bizarre Japanese horror film) is a galloping number with a cool memorable chorus. More elaborate, progressively-tinged, speed metal ala Manticora comes on "Valour And War"; the approach gets a bit more melodic on "High Seas", an obvious nod to Falconer with addictive folk-ish melodies and fiery speedy rhythms. "Final Juggernaut" closes the album summing up the epic, the folk, the speed, and the power/thrash in flying colours also adding a nice acoustic folk-tinged break. This is pretty diverse stuff which will entertain a wide gamut of fans, but those into Blind Guardian, Manticora, and the Poles Hellfire will be the happiest.

Balls Deep In Metal EP, 2007
Reality Hammer Full-length, 2011

Official Site

SACRED CHAO (GERMANY)

This band was formed by Thorsten Bergmann and Atomic Steif (both ex-members of Living Death), after the Living Death guitarists Reiner Kelch and Frank Fricke decided to spend more time with their other project Mekong Delta, and could be considered the continuation of Living Death, albeit for a very short while. Since Bergmann and Steif had no rights over the band name, they decided to name their new act after a song from the "World Neuroses" album: "Sacred Chao". Steif had previously lent his drum talents to the one-album-wonder Violent Force, and this time it was that band's bass player Lemmy to give the guys a hand in the recording of this 4-song EP, which would be a big surprise for the Living Death fans, and not a very pleasant one at that. These are four tracks of very bland unimpressive heavy/power/speed metal, with no ties to thrash at all, and with the Bergmann vocals taking an even more melodic tone. The guitars completely lack an edge, and the few moments where the music speeds up a bit are ruined by the very ordinary derivative riffage. It was really good that this project lasted for just this effort. The Kelch brothers (the founders of Living Death) did a much much better job on the comeback Living Death album "Killing in Action" two years later.

Sacred Chao EP, 1989

Vibrations of Doom

SACRED CRUCIFIX (FINLAND)

The first band formation dates back from the late 80's, and they have been releasing demos on irregular bases, right until this time. Heads down for the band's perseverance to finally get the opportunity to release a full-length. This album obviously includes songs from all their periods, but the style is pretty consistent, being old school death metal with hints at thrash, somewhat along the lines of Massacre, or Massacra. Their later period is more technical also drawing resemblances to Death.

"Shallow Grave" is mostly in the death metal camp and is very well-executed technical stuff which stretches from fast-paced intense numbers (the excellent opener "The Wound - The Blade", "Sectarian") to slower complex opuses ("Single-Handedly", "I Will Kill"). The guys seldom go for just speed for its own sake, and all speedy tracks have their slower stomping moments, which may be a drawback to some, since the only two really fast songs are the aforementioned ones. The rest stays in the mid-paced sector, with deviations into more quiet progressive territories ala later-period Death. There are slight shades of Swedish death metal, but again of the less aggressive variety. The complexity fluctuates being more accentuated on some tracks, on some being left aside, but because of the lack of opposition on the side of the more intense riffage, it doesn't shine the whole time. Fans of late-period Death, Extol, Wetwork, Acid Death will like this effort, but fans of the more aggressive brand of the genre may not be too happy.

Aeon of Chaos Full-length, 2004
From Beyond to... EP, 2008
Shallow Grave Full-length, 2009

Official Site

SACRED CURSE (BRAZIL)

Based on the debut, this band plays cool Bay-Area-influenced thrash, sounding close to Forbidden's debut and Exodus. The music is fast and energetic with sharp cutting riffs. "My Reflections" is a deviation into a more melodic crossover direction which is followed by a couple of laid-back softer tracks, carrying on in the same vein, maybe a bit more intense. Their number is probably bigger than necessary, and at some point the listener might stop looking for aggressive thrash riffage, until the last two songs: "Utopy", which returns to the thrashy style from the beginning, and the instrumental "Fuckin' Up", which isn't as hard (and definitely not "fucked up") featuring cool melodic guitars.

Sacred Age Full-length, 1992
The Raw Truth of Man Full-length, 1996

SACRED DEATH (USA, NJ)

This is brutal wild thrash with less controlled proto-death metal undercurrents and slower, almost doomy, passages which bring the necessary diversity. The bash is quite relentless with touches of more light-hearted crossover ("Morbid Curiosity") ala The Accused and early Broken Bones. The closer "Sacred Death" is a truly impressive achievement: stylish semi-technical thrashing mostly in up-tempo, all-instrumental, with more inspired performance and a few really intriguing decisions; something which was definitely pointing at a brighter future if the guys had lasted longer.

Only Death is Sacred Demo, 1987

SACRED DEATH (USA, NY)

Classic speed/thrash which comes as a mix of Anthrax and Atrophy. The singer is an asset on all counts, an attached clean presence with echoes of Joey Belladonna (Anthrax again), gracing the musicalities with panache and pathos, racing with the fast-paced delivery on "Two-Faced" every bit of the way, the pounding semi-technicality of "Bad Advice" a welcome deviation, the guys saddling the horses right after with the galloping anthems "Pit and Pendulum" and "Social D". Expect more inadvertent intricacy on the clever choppy "Love or Lust", with both "Execution" and "In the Night" adding more to the more contrived festivities in the second half. Earlier some of the band members played in the speed/thrash outfit Mannslaughter.

Deadly Playground Full-length, 1990

Youtube

SACRED DENIAL (USA)

Thrash/crossover of the more aggressive thrashier type; the approach resembles the one of early Nuclear Assault, but here we have very bad whining semi-clean drunken vocals which very often just powerlessly ball-lessly shout. The music sometimes acquires a more laid-back Motorhead-ish edge ("Some Curiosity"), but be prepared for full-blooded thrashers as well ("Brother's Inventions", "Conquer", the explosive Slayer-esque "Take a Look Around").

Sifting Through Remains Full-Length, 1988

SACRED LEATHER (USA)

Based on the full-length, this outfit provide epic retro power/proto-thrash which wins a lot from the excellent clean high-strung vocals. Otherwise the delivery is more on the friendly side with the dynamic galloper "Master is Calling" the only more intense moment if we exclude the entertaining speedy roller-coaster "Prowling Sinner" which will remind of the 80's heroes Savage Grace and Liege Lord. The musicians also play in the black metallers Kvlthammer, and the sludge/doom metal formation Coffinworm.

Cassette EP, 2016
Ultimate Force Full-length, 2018

Official Site

SACRED LEGACY (MALDIVES)

"Apocalypse" is a cool atmospheric debut of energetic modern thrash metal which is seriously marred by the awful synthesized shouty vocals. The title-track is a sure-handed opener thrashing in up-tempo, followed by the glorious speedster "Hysteria", a fast sweeping piece with an almost death metal-like intensity. Then "King Of Heroes" calms things down with heavy choppy riffs, a tendency followed by the aggro-smasher "Crave For Blood", which still remains pretty intense and energetic. This approach is stuck to for a string of songs until the final "Blood Hunt" which is a fine lasher with a classic spirit with great leads which take over near the end. There is nothing wrong with music of the kind which clearly shows that modern thrash metal is the order of the day on those islands (their compatriots Serenity Dies walk pretty much the same path); but some improvement in the vocal department should be done soon...
"Undying Heart" is similar to the debut, at least in the beginning, starting again with a fast thrasher ("Beast of Darkness"), and "Black Velvet part 1" (part 2 never appears) is the expected more relaxed speed metal number with no relations music-wise to the Alannah Myles' hit of the same title (maybe on part 2- ha ha!). "Forgot" is nice melodic speed/thrash metal with good melodic leads, which are actually on a high level the whole time, but "Gods Legends" is more on the more ordinary power/thrash metal side, an impression corrected by another vigorous speedster ("Dragon Wars"). No more surprises of this nature, the rest being melodic, all-instrumental, and not very eventful embracing the power metal idea tighter than any other one. The end leaves this effort inferior to the edgier debut, and despite the relative lack of the annoying vocals, which are identical with the ones on the debut, it still doesn't strike a cord as strongly now the band sounding more like a 90's power/speed metal act more than occasionally.
"The Legacy Begins", and there's nothing to stop it; the band don't generally betray their staple approach emitting melodic modern speed/power/thrash which this time is more contrasting to the harsh death metal vocals. Heads will bang on the more aggressive material ("The Legacy Begins"), but the more officiant epic tone on the other tracks would hardly enchant the more hard-boiled fanbase. The progressive lovers would be fascinated, though, on the last two numbers where the delivery becomes more elaborate and more melodic.

Apocalypse Full-length, 2007
Undying Heart Full-length, 2008
The Legacy Begins Full-Length, 2011

Official Site

SACRED ORIGIN (USA)

Based on the full-length, this band play quite good classic thrash/death with both intriguing semi-technical (the enchanting opener "Inner Circle") and remorselessly bashing ("Covered. Buried. Consumed.") tendencies, the raging hectic rhythms of "Manic at Large" also boding more contrived vistas, the latter handsomely supported by the Death-esque vehemence of "Complexities of the Multi-Mind". The multifarious wonder "Feel Reality" bravely touches the progressive realms, also providing a portion of alluring soaring melodies; and "Catastrophe Through Retribution" sticks to admirable steel creepy aesthetics, those ravaged by the lofty entangled vistas drawn on the final "Abyss of Souls", the possible highlight on this fairly entertaining offering. Some of the band members are also busy with the thrash/crossover outfit Concrete Sledge.

Death Sentence EP, 2019
From Obscurity Full-length, 2023

Youtube

SACRED REICH (USA)

This band started quite promisingly with "Ignorance" which featured energetic fast thrash played with the utmost intensity. The guys made themselves heard with fast smashing riffs, short (3-4min) explosive numbers, and the forceful authoritative vocals of Phil Rind. Within a bit more than half an hour they managed to shake the ground no worse than two other seismic efforts produced a year earlier (Slayer's "Reign in Blood" & Dark Angel's "Darkness Descends").
Then came "Surf Nicaragua" less than a year later, which saw the guys diversifying with the merry rock tunes on the title-track; pounding in a heavy, thunderous way on "One Nation"; producing a cool faithful cover of Black Sabbath's "War Pigs"; and finally inserting some speed ala the debut on "Draining You Of Life", which is still pretty moderate, compared to the two live numbers following suit, both cuts from the debut, and coming with a very good sound quality.
"The American Way" is the band's magnum opus boasting some of the heaviest riffs around at the time, built around a solid mid-pace, which gives the album a unique, characteristic aura. Stomping, volcanic riffs pour from all sides, and their visceral effect largely compensates for the relative lack of faster-paced moments, the exception being the short ripping thrasher "I Don't Know", and a few isolated passages from "Crimes Against Humanity" & "Who's to Blame", the latter also introducing mellow balladic moments. The final "31 Flavors" is the joke closer, a bluesy funk/jazz cut, which still sounds enjoyable and fresh, despite its very non-metallic nature.
"Independent" is surprisingly melodic with a laid-back power/thrash metal sound and quite a few balladic touches. It is still classic-sounding all the way, but thrash metal has lost its primal role, and overall one may find difficulties recognizing the act who once caused an earthquake with their debut, with Rind sounding pretty friendly, his aggressive semi-declamatory antics not even hinted at.

"Heal" is a much more aggressive offering with harder riffs and a bigger concentration on speed, and a much angrier Rind behind the mike. The problem is that the sound is strictly modern with groove having settled in quite comfortably, bringing the approach close to Pantera from around the same time. Refreshing cuts are the energetic cover of the US act Oingo Boingo's "Who Do You Want to Be?", famous for the participation of the famous film soundtrack composer Danny Elfman, a constant companion of Tim Burton; and the more classic-inclined thrash/crossover piece "Seen Through My Eyes". The band are reportedly back on the scene, but apart from a compilation album, containing remastered versions of the debut and the "Surf Nicaragua" EP, nothing else has come up from their camp yet.
"Awakening": after the "Alive" comes the "Awakening"... not exactly the logical upward trajectory one would expect, though, and one that begins with the title-track, a bouncy semi-headbanging stomper which winks at "Independent"'s more volatile frivolities, above all. The actual pogo starts with "Divide & Conquer", but don't expect any unbridled seismic aggression ala "Ignorance": this is milder feelgood stuff which isn't a stranger to pleasant power metal-flavoured hymns ("Salvation", "Killing Machine"). Show-stealers like the no-bars-held ripper "Manifest Reality" aren't many at all, those easily overwriting clumsy quasi-groovy draggers like "Death Valley" or frolic crossover shorters like "Revolution". It's a very mixed package, this new Sacred Reich offering, one that only the truly ignorant of their much loftier beginnings could like, but just a bit.

Ignorance Full-length, 1987
Surf Nicaragua EP, 1988
Alive at the Dynamo EP, 1989
The American Way Full-length, 1990
A Question EP, 1991
Open Book/The Big Picture Single, 1993
Independent Full-length, 1993
Heal Full-length, 1996
Alive EP, 2019
Awakening Full-length, 2019

Official Site

SACRED SERENITY (AUSTRIA)

Very cool technical thrash with fast brisk riffs recalling Vektor and Vexovoid; dynamic intricate stuff which breezes by with "Mankind Divided" and "An unorthodox Truth" keeping the energy high, with the mazey "Separating Reality" perplexing the listener with puzzling vortex-like riffage in the best spirit of Coroner. "Manipulating Destiny" moves towards the death metal sector with memories of mid-period Death, above all, the schizoid shredder "Eternal Decay" enervating the environment with more befuddling arrangements before "Call of the Void" pacifies it with a more linear melo-death veneer. The singer shouts in a strained deathly manner the whole time, but he's missing from the second half which contains all-instrumental versions of all the seven compositions.

Redefining Life Full-length, 2020

Official Site

SACRED SIN (PORTUGAL)

This is cool retro death/thrash which also exudes quite a bit of atmosphere, the heavy dark stomps of the opening "Storms over the Dying World" finely accommodating the more dynamic rushes unleashed on "Last Man" and "Shroud of Broken Promises", but then majority of the songs are on the less energetic side, ambitious near-progressive ("Rites of Doom and Death") odysseys, the culmination in this trend reached on the final "Skull Crushing Darkness", a slow-burning twisted number with suggestive creepy decisions. The singer is a shouty deathly throat, his presence well acknowledged due to the hefty space occupied.

Storms over the Dying World Full-length, 2022

Official Site

SACRED STEEL (GERMANY)

This band was formed after the one-album-wonder, the excellent progressive metallers Tragedy Divine, split up. The guys started quite well with "Reborn in Steel" resurrecting the old school American power/speed/thrash metal sound of the 80's, bringing to mind all the heroes from the period: Agent Steel, Attacker, Omen, Anvil, Exciter, etc. at a time when very few acts felt tempted to look so far back. The music packs a punch, highlighted by the high, soaring vocals of Gerrit P. Mutz which are clearly an acquired taste, and might annoy some when hitting the higher tones. The next two albums repeated the established on the debut formula almost note-by-note, and were consequently a disappointment showing the band acting a little more than just the next victim to the so widely spread in Germany "Running Wild" syndrome (a band playing the same stuff over and over with no any intentions to move just a bit away from the trite pattern, named after... well...). "Slaughter Prophecy" is a big improvement seeing the guys hardening the course with more thrash added, and Mutz inserting some unholy death metal growls from time to time. Most of the tracks are forceful speed/thrash metal killers with razor-sharp guitars and cool memorable choruses.
"Iron Blessings" already sounds familiar staying true to the music heard on the predecessor although very heavy pounding power/thrashers deliver the goods no worse sacrificing the speed for the sake of the steam-rolling crushing riffage. "Hammer of Destruction" is a full-take on the 80's speed metal sound with a few deviations from the model crossing again Agent Steel, Attacker and Exciter in a commendable way also featuring a very cool cover version of Jag Panzer's "Generally Hostile" from the Americans' debut "Ample Destruction".
"Carnage Victory" promises good speed metal-based fun with the opening "Charge Into Overkill" and "Don't Break The Oath" (no relations to Mercyful Fate music or vocal-wise), but this time the band have decided to mix it up, and here comes the slower epic "Carnage Victory", followed by the even softer, semi-balladic "Broken Rites". The speed comes back with a vengeance on the excellent "Crosses Stained With Blood", but later on the pace decreases leaving the final damage for "By An Hatred We Ride" which speed/thrashes with full force in the 1st half, but in the second one the riffs become clumsy with a shade of doom. The guys try to offer more variety, for better or worse, like they used to do before, but in the present case the music is a step down from their more inspired stripped-down approach heard on "Hammer of Destruction" and elsewhere on their back catalogue.

The "Pounding Inferno" EP continues the more aggressive tendencies from the previous full-length (reportedly it contains songs which were left out from the "Iron Blessings" sessions, including the title track) and thrashes with force on the opening "Pounding Inferno" which is a maddening speed/thrasher at its best. More classic speed metal in a cleaner form arrives with "Children of the Spirit", before "Hell Insanity" moves up the thrash scale again. "Unholy Majesty" recalls the band's more epic period being slow and semi-doomy. "A Curse Upon Your Name" is ripping headbanging thrash metal once again, but "Iron Blessings" is an ultra-heavy piece with Gerrit P. Mutz adding a few more death metal-based growls to aggravate the brutality of this unstoppable steam-roller. And after that begin the covers, the 1st one being a sheer death metal madness: Death's "Zombie Ritual" played by-the-book with Muts growling no worse than Chuck Schuldiner (R.I.P.) himself. The next one is on the other extreme: Raven's "All for One", a mild heavy rocker. Things get a bit harder on the Nasty Savage cover of "Metal Knights" from the Americans' debut which is epic power metal; but the speed/thrash metal fans will have their final fun on Tankard's "(Empty) Tankard", done very faithfully as well (actually, all of the songs are played very close to the originals), with Muts impersonating the hellish shouty antics of Andreas "Gerre" Geremia down to the -T-. With its length of 10 full-blooded numbers this effort could easily be viewed as a full-length and as such delivers every bit as good as the guys' two albums before it.

"The Bloodshed Summoning": this album sees the band returning to their more aggressive thrashier approach of yore, not completely but at least on half of the album, as now things decidedly sound more intriguing with the technical insertions on "No God-No Religion", the galloping epicness of "When The Siren Calls", the raging headache causer "Under The Banner Of Blasphemy", etc. The album staggers again in the middle with a string of less impressive, less energetic, compositions, but the end compensates with shorter more vigorous cuts which are crowned, for better or worse, by the Misfits cover of "Dig up her Bones" which is sustained in a jolly merry-go-round punky manner, hardly the best closer to this otherwise not bad addition to the band's voluminous catalogue.
"Heavy Metal Sacrifice": the band don't betray their traditional sound although there's not much thrash to be savoured here the dominant delivery hesitating between heroic battle-like opuses ("The Sign of the Skull") with a clear shade of the 80's American power metal movement, and more energetic speed metal cuts ("Hail the Godz of War"). There's nothing wrong with this alteration; it's just that the thrash metal fans may find themselves losing focus not really absorbed in this boisterous opera which relatively serious tone is ridiculously ruined by the short joke track at the end "Iron Donkey".

Reborn in Steel Full-length, 1997
Wargods of Metal Full-length, 1999
Bloodlust Full-length, 2000
Slaughter Prophecy Full-length, 2002
Iron Blessings Full-length, 2004
Pounding Inferno EP, 2006
Hammer of Destruction Full-length, 2006
Carnage Victory Full-Length, 2009
The Bloodshed Summoning Full-Length, 2013
Heavy Metal Sacrifice Full-Length, 2016

Official Site

SACRED STORM (USA)

Based on the "Extreme Assault" EP, these guys offer vintage retro speed/thrash metal with cool semi-technical guitar work. The music recalls Paradox's early output, but at times it goes into more aggressive fields (the blast-beats on "Extreme Assault", which justify its title pretty well). "Skullcrusher" and "Virus" "crush" in a more laid-back slower way, but the closing "Confessions of a Killer" is a brisk speed/thrasher with nice melodic hooks.
"Man Versus Machine" has a more modern sound, although the stylish guitar work is already here; still, this effort is not as satisfying. The guys don't rely on speed at all, although the album begins in an energetic up-tempo fashion with "Man Versus Machine" and "Thunderchariot", but very soon after acquires a heavier slower approach which doesn't change until the end, so what one will hear is heavy pounding mid-paced riffs, quite similar on each track, except on the closing "The Revelation", which is indeed a "revelation" with cool leads, a few faster moments, and a nice large instrumental t, albeit of the more melodic variety.

Man Versus Machine Full-length, 2007
Extreme Assault EP, 2009

Official Site

SACRED THRASH (ARGENTINA)

These guys are one of the oldest metal acts in Argentina, having virtually started the whole scene with Lethal, Horcas and Hermetica. Based on the EP, they pull out mid-paced atmospheric thrash with gothic overtones, coming mostly from the keyboard implements and the gruff death-ish Crematory-like vocals. The heaviness comes too much, perhaps, on songs like "Injusticia", which is quite doomy and gloomy but is nonetheless a satisfying slab of slower thrash. "Patria o Muerte" starts with an overlong orchestral intro, but later on the guys show no mercy, thrashing with full force, without forgetting about the genuine gothic edge, which makes their style quite unique, by the way. "Maldita Polucion" is a sudden switch onto full-blooded headbanging thrash.
The full-length is a more straight-forward speed/thrashy offering, the melodic intensity of "23 de Julio" standing guard next to the creepy macabre veneer of "Maria Juana" and the mellow heavy metal aesthetics of "La Raya", a couple of short cuts (the light-hearted crossover "El Eskabio", the brutal grindy "Revolucion Armada I") betraying the serious atmosphere created by the rest.

Demo Demo, 1991
Legalizando Poder... Incrementando Miseria Full-length, 1998
Injusticia EP, 2006

My Space

SACREDEATH (BRAZIL)

The debut: this is modern thrash/death which begs to differ mostly thanks to the diverse vocal lines which range from semi-clean epic to rending blacky ones often within one composition. In the music department a lot of sophistication also shows up (the power/thrasher "Bestial Nights"), and generally the guys don't bash senselessly, but adhere to more melodic gimmicks (the "flirtation" with the semi-ballad on "Punishment of Gods"; the excellent elegiac doomster "Lacerate the Mortal Soul") from time to time. This isn't very fast music which is done with thought and competence without any excesses.
"Apocalipse Holocaust" had a dark, morose sound which allures the listener from the very opening "Machine Blood" which is a major headbanger. Later on the delivery meanders between fast-paced rippers ("UFO") and brooding quasi-doomsters ("Falling Down"), the latter more prominently featured in the second half among which is the imposing creepy shredder "Somebody to Listen" before "Symphony of the End" indeed provides the end with speedy brisk crescendos and copious amounts of melody.
"The Dream and Illusion" is a more minimalistic and less attractive affair, a heavy anti=speedy statement with creepy mid-paced pieces ("Domination", the gothic-infused "Silent Tears"), the more intense rhythms on "Iced" a belated echo of the band's more interesting past, the incorporated female vocals fitting the counter-aggressive delivery which only wakes up on the vivid "I Eagle Fly" and on a couple of more dynamic sections on "Blinded".

Spreading Death Full-length, 2011
Apocalipse Holocaust Full-length, 2017
The Dream and Illusion Full-Length, 2022

Official Site

SACREDFICE (ITALY)

This is a one-man band from Italy. Style-wise the guy, named Francesco, adheres to the retro canons of speed/thrash. The approach is laid-back and melodic and Francesco likes it long with most of the compositions easily reaching the 7-min mark including the slightly bland 9-min semi-ballad "Dark Queen". The other over 9-min "giant", "Crucified", is a cool progressiver again of the mellow type. In other words, expect no aggression here with frequent "winks" at the balladic heritage. Francesco sings in a not very attached melancholic clean manner, but it fits the calm musical delivery.

Sacredfice Full-Length, 2013

Official Site

SACRIFICE (CANADA)

One of the most prominent Canadian thrash metal bands; their debut was quite raw and primitive recalling Possessed's "Seven Churches", sounding well more aggressive and intense on quite a few times. Still, it's worth hearing with its appealing primal approach, coming as the most extreme official full-length release at this stage, beating the Possessed's aforementioned album and the first two Bathory efforts in terms of both musicianship and speed. The Canadians are probably more varied than the two other acts, adding slower pounding riffs ("Homicidal Breath", "Burned at the Stake") here and there, but brutal bombs like "Warrior of Death", "Infernal Visions", "Burned at the Stake", and "Necronomicon" could easily pass for the first genuine death metal pieces, the latter boasting some of the most extreme unholy screams on the scene. "The Exorcism" is one of the first attempts at aggressive speedy instrumental-only metal, offering relentless thrashing with a cool semi-technical edge. The bigger complexity of the follow-up is nowhere felt, even the longer, almost 6-min long "Beyond Death" bashes hard from beginning to end. After listening to this spontaneous outburst of aggression, the thrash metal fan's ears should have been well prepared for what came in the next few years, right up to the first full-on death metal attacks from Florida, and even beyond.

"Forward To Termination" is a masterpiece of well-thought, but quite uncompromising and aggressive thrash metal; arguably the band's finest achievement. The instrumental brilliance "Terror Strikes" opens this album magnificently, recalling Destruction, both music and vocal-wise, as Rob Urbinati's vocals have this unique raspy blend as well, a not very common phenomenon on the scene. The album speeds up ahead, until it reaches the awesome epic riff-fest "Flames of Armageddon", which shows the more complex and ambitious side of the band. It is followed by another, equally as complex, and even technical number: "The Entity". The songs which follow go back to the aggressive patterns of the beginning, as the intensity remains until the very end.

"Soldiers Of Misfortune" is a strong follow-up, keeping the fast pace throughout, again including more varied interesting songs with various tempos and riffs: "Soldiers of Misfortune"; "Truth (After The Rain)", which is more than 10-min long, and tries to follow the high model of "Flames of Armageddon", but fails, simply because it forgets to sound energetic and thrashy, but concentrates on atmospheric, semi-complex, melodic guitar work and on an unnecessarily long acoustic outro.

"Apocalypse Inside" offers a more abrasive guitar sound, and tries to keep the energy from the previous recordings, and succeeds in the beginning, with the first two tracks, but then "Flesh" comes in, and the tempo slows down, with heavy guitars. Still, the rest is not a total waste, relying on more melodic guitar hooks, which are quite appealing ("Salvation"), and even technical and haunting ("Beneath What You See"). Just when you start thinking that this album will have no more speedy thrashers, comes the up-tempo "Incarcerated", but it is soon followed by slower, almost doomy tracks, which leave no room for any faster moments later. Although less impressive than the previous band's output, this album still delivers the goods much better than the modern-sounding works of many 80's acts released around the same time. The band frontman Rob Urbinati along with the bass player Kevin Wimberley later formed Interzone, with which they paid their tribute to the 90's trends.

An unexpected return for these legends with "The Ones I Condemn", and an excellent one at that; from the furious opening instrumental "We Will Prevail" the assault begins and never lets loose. Fast razor-sharp merciless thrash will nail you down, more melodic and semi-technical on "Give Me Justice" and more aggressive, with a proto-death shade on "The Great Wall". "Tetragrammaton" is placed in the middle: a slow doomy 2.5-min composition, after which "Atrocity" nicely changes the course into a more galloping controlled pace, but only for a while, since "Hiroshima" is another heads-down up-tempo thrash piece. "The Devil's Martyr" is ultra-aggressive Slayer-esque thrash, and with the end of the album coming one may start to ask for those longer elaborate songs, which were a considerable t from the band's older output. The good news is that yes, there's one: the closer "Desolation Alive", which lasts for more than 7-min, and is a great way to end this effort with clever arrangements, changing tempos, addictive melodic hooks, and a couple of more intense riffage in the middle and near the end. The bonus material is in the form of two remastered tracks: "Burned At the Stake" from their debut, and "The Entity" from "Forward to Termination".

Torment in Fire Full-length, 1985
Forward To Termination Full-length, 1987
Soldiers of Misfortune Full-length, 1991
Apocalypse Inside Full-length, 1993
The Ones I Condemn Full-length, 2009

Official Site

SACRIFICE (JAPAN)

A less known, but a pretty decent Japanese band; the debut is a heavy, mid-paced affair sounding like a mixture between Carnivore and Venom with weak, hardcore vocals. It's a bit monotonous and one-dimensional, but is strangely listenable with its naive, but sincere approach; it includes more up-tempo numbers for stirring the blood ("Tank", "Redrum"), but at other times the music almost completely loses its edge, sliding down to pure heavy metal ("Lucifer Smiles").
"Total Steel" carries on in the same vein, but features more proficient, and faster guitar work, but worse shouty hardcore vocals (the ones on the debut were of the nosy, low-tuned, semi-clean type, sounding like a more melodic Cronos). The rock-ish numbers are here again ("Dancing Death Valley": I don't know about the Death Valley, but you might find yourself dancing on this one). Their swansong "Tears" is their heaviest, but also very modern-sounding work; it manages to thrash quite well: "Breaking the Silence", "Time Slips Through...", and the sound is more energetic comed to the first two offerings, but the groovy tendencies have found their way into it ("Down to You"), but just a little for a start.

Crest of Black Full-Length, 1987
Total Steel Full-length, 1990
Tears Full-length, 1992

Vibrations of Doom

SACRIFICE (SLOVAKIA)

This is heavy modern thrash which flirts with the Bay-Area initially with the stylish shredder "Fortress of Fear", before switching onto a more pummeling sound with the vociferous hit "Punisher's Gun" and the pounding semi-technicaller "In Me". "Pain" is a more atmospheric brooding proposition, and "Let Blood Pour" is a total take on late-80's Metallica with thick, dense riffage. The singer is a gruff semi-cleaner who tries to sound more passionate at times.

Wasteland Demo, 1995

SACRIFICE (SOUTH KOREA)

This is a brand new album coming from South Korea to offer us more heavy groovy post-thrash with hardcore vocals not too far from Pro-Pain. The music is not too stale, and moves around, becoming too aggressive at times ("You Know The Truth"), and "Tribal" is a nice chunky thrasher. Just when one thought that the 90's sound has been fading away into obscurity, here come acts from the distant corners of the world (the Far East in this case), to give it another breath of fresh air...

Burning Rage Full-length, 2007

Official Site

SACRIFICED (BRAZIL)

Cool retro power/thrash metal with very good mid-levelled female vocals which remain the highlight; the music is mid-tempo with gothic overtones, and the guitar work is too melodic to survive a more difficult thrash test.

Sacrificed EP, 2009

SACRIFICIAL (DENMARK)

Sacrificial appeared around the same time as Invocator, but they were less lucky, and when their full-length debut came out, Invocator already boasted a second full-length release. So what do we have here? Sacrificial's debut takes a place between the two Invocator releases; it's aggressive and technical like the debut, but shares the modern production and attitude of the second one. The music most of the time is pure thrash with a classic edge maybe more conventional than the one of Invocator and with more frequent slower sections, which are quite intriguing, by the way, because this is where the riffs twist and crush with passion. "Destitute of Compassion" is the only track which is closer to death metal, and surprisingly recalls the Swedish Gothenburg sound which at that stage was not yet fully developed (everything may have started in Denmark back in those days!?). Like Invocator, the guys don't need long compositions to show their technical skills, and it's the shorter tracks which carry a bigger technical charge ("Conducted Strain", "Edmund, A Butler's Tale"), and are the better ones. Reportedly on later works the band moved towards plain Swedish death metal with less thrashy elements.

Forever Entangled Full-length, 1993
Erect:Eloquent:Extinct Full-length, 2000
AutoHate Full-length, 2002

Official Site

SACRIFICIAL BLOOD (USA)

Based on the Split with Zombie, these guys offer simplistic old school speed/thrash in the vein of early Whiplash and Hallows Eve. This is rough, mostly energetic music with raw production qualities and brutal death metal vocals. The band enjoy making covers, and here come two: "Shellshock" (Tank), and "Searchlights" (OZ), decently done, with the music taking a more accessible melodic turn, adapted to the classic hard'n heavy style of those two acts. Some of the musicians also entertain themselves with the thrash/punk hybriders A.S.D.
Finally a full-length release ("Unholy Fucking Hatred") from these guys, and it doesn't disappoint comprising vicious retro thrash/death metal with a slightly thin guitar sound. The more aggressive, death metal-oriented cuts ("Sacrificial Blood"; the wild shredder "Unholy Wrath") are well mixed with more moderate speed/thrashers ("Reign Of Hate"; the black metal-tinged "fury" "Desolate"), as the latter deliver more, both in terms of melody and diversity (check out "Crushing The False"). The shorter tracks are very close to hardcore ("Chaotic Compulsion"), and the guys' infatuation with classic heavy rock springs up again, first with the heavy/power metal hymn "Infernal Creation", and at the very end with the edgy, and pretty faithful at that, cover version of Rainbow's "Kill the King" (covered by several thrash metal acts through the ages: ADX, Heathen, Liege Lord, etc.) with only the brutal vocals spoiling the mood.
"SoulS for Sale" offers the next slab of old styles: power, speed and thrash which are covered in almost equal dozes speed/thrash dominating on overpowering bulldozers like "Tyrant of Pain" and "The Pack". The overall tone is still more on the friendly side except, of course, for the rough death-ish vocals which work on the faster numbers, but are hardly very fitting for the sweet heavy metal tunes on the title-track, for example. The spirit of Motorhead can be felt on a few roller-coasters near the end, to add more to the ty tone of this carefree recording.

Chaotic Compulsion Demo, 2003
Toxic Zombies Demo, 2003
Crushing the False, Destroying Everything Best of/Compilation, 2004
Eternal Hell and Damnation Split, 2005
Sacrificial Blood/Zombie Split, 2006
Promo Demo, 2007
Unholy Fucking Hatred Full-length, 2011
SoulS for Sale Full-Length, 2014

Official Site

SACRIFICIAL DAGGER (FINLAND)

A good 3-song demo of speedy Germanic thrash in the spirit of early Destruction and Kreator; fast-paced sharp riffs and rough death metal vocals.

First Sacrifice Demo, 2006

Official Site

SACRIFICIAL DEATH (GREECE)

Retro thrash exuded from this 3-tracker, the band serving first the more technical stylish shredder "Darkness Return", before switching to the more immediate bash of the title-track, the more tamed pounding qualities of "Sacrificial Death" drawing pictures of slow-building drama, unlike the hoarse shouty death metal vocals.

Glory of the Dead EP, 2022

Official Site

SACRIFICIAL SLAUGHTER (USA)

Based on "The Great Oppression", these guys serve brutal devastating classic thrash/death which will sweep you from the very first cords, and won't let you loose till the "gory" end. This is calculated precise extremity which even "flirts" with the offbeat and the technical: check out the stylish riffage on "Demand Degradation". On the other hand, we have relaxed corey cuts as well ("Communion of Lies") which are still played with the speed of light. Later on grindcore comes to help for a while on a couple of songs turning this album into a varied riff-fest all played with competence without leaving any unpleasant aftertaste. The second half is mostly ruled by death metal the numbers sounding more aggressive and a tad less controlled the "madness" finished with the title-track which is standout technical thrash/death with dramatic undercurrents. Not for the faint of heart, this recording will make many extreme metal fans happy including those who like their music with a pinch of originality.

The Rebirth Full-length, 2002
Spontaneous Suicide Full-length, 2009
The Great Oppression Full-length, 2013

Official Site

SACRIFICER (CHILE)

Based on the "Sudden Death" EP, this act lashes out aggressive thrash/proto-death akin to Hellwitch when it adheres to a more technical play, and early Kreator when it bashes in a direct stripped-down manner. Both influences are well covered, ably intercepting each other, keeping the high speed the whole time, which only gets lost a bit on the fine galloping thrasher "Signature of Blood" where the vicious black-ish vocals don't suit too well. The guitar work is really cool with sharp riffs and proficient, albeit screaming, leads.

Society Of Destruction Demo, 2003
Society of Destruction & Covering Underground Demo, 2004
Sudden Death EP, 2004

SACRIFIX (BRAZIL)

The debut: this is rigorous retro thrash provided in a pleasantly headbangable fashion, nothing too extreme, the leveled semi-clean vocals assisting with the requisite inebriate vigour. "Sacrifix" is an enjoyable speed/thrashing roller-coaster with covert semi-technical tendencies, and "Escape" is a nice melodic galloper, the speed metal realm taking over towards the end, save for the meek uncharacteristic heavy/power sing-alonger "Evil Games", its continuation coming in then form of an aggressive proto-death rager (the title-track). Some of the band members are also busy with the death metal cohort Infamous Glory, and the retro thrashers Jackknife.
�Killing Machine� is a more assured affair, the �Age of Doom-Killing Machine� combo providing both an alluring melodic intro and spastic headbanging thrash, with more ripping headachers (�Guided by God�, �March To Kill�) added to the fore later, the more death-prone layout of �Ancient Aggression� spearheading the assault, leaving the more technical sophistication for the excellent melodic �Dark Zone� and the more controlled mid-pacer �Thrash Again�.

World Decay 19 Full-length, 2021
The Limit of Thrash EP, 2022
Killing Machine Full-length, 2023

Official Site

SACRIFIZED (GERMANY)

Based on the full-length, this act play intense classic speed/thrash which main flaw is the really gruff death metal vocals. Expect short ripping numbers to shower you from all sides, the more frivolous speed metal-ish lustre of "Sacrifized" and the bombastic impetuousness of "Cult of the Damned" confidently leading the hyper-active parade, the more laid-back configurations on the melodic "Ritual" ably supported by the excellent short all-instrumental "Interlude" in the middle. More lyrical digressions later, all for the better mind you, with the balladic escapades on "Countess of Blood", the raging "Black Thrash Disaster" failing to summarize the influences here as there's next to no black metal, and thrash still plays second fiddle to the speed metal extrapolations. The guys were earlier known as Dialectic Confuse, the style pretty much the same.

Russian Blasphemies EP, 2019
Arrival of the Tyrants Full-length, 2021

Youtube

SACRIFIZER (FRANCE)

The debut: old school thrash with an evil black-ish vibe, quite comparable to the Germans Hellish Crossfire and the Portuguese Alastor. This fast uncompromising stuff with sinister semi-declamatory vocals and sharp lashing guitars, the band very seldom changing the relentless pace, the repertoire consisting of short biting bullets like "Blackfire Wytch" and "Night of the Razors" although the longer and more engaging title-track is a nice stylish switch to more a complex song-writing. "Profane Forces" shifts the tides towards vicious brutal death metal for a bit, but unruly behaviour of the kind isn't encountered elsewhere.
"Le Diamant de Lucifer" is a more brutal effort, the guys lashing fiery riffs with reckless abandon, the barrage literally never-ending, turning again to the brutal deathly realms for help, "A Funeral Majesty" showing some thrashing loyalty with a cool semi-technical veneer. The title-track claims the laurels here, a multifarious progressive journey with cool melodic embellishments, and "Steel Assassins" reinstates the thrashy side of this recording which is finalized by the epic operatic speed metal opus "La Cathedrale".

La Mort Triomphante Full-Length, 2019
Le Diamant de Lucifer Full-length, 2022

Youtube

SACRILEGE (UK)

A female-fronted thrash metal band, and quite impressive at that, having previously been a part of the UK punk movement where several UK thrash metal acts had come from (Onslaught, Cerebral Fix, Hellbastard, etc.). It has ties to two other more famous acts from the UK: Benediction and Cerebral Fix, since members of those two bands had played here. "Behind the Realms of Madness" is one of the first attempts at thrash from the UK, and as such has its both good and bad sides; "Life Line" opens the album in a fairly energetic way: a cool mix of thrash and hardcore/punk. Later the songs get mostly mid-paced, but more hard-hitting and more enjoyable, with the presence of another happy thrash/crossover number: "A Violation of Something Sacred". The style has its obvious Venom influences, but is more professionally done.
On "Within the Prophecy" the band forge a unique one-of-a-kind sound: mid-paced monotonous thrash with long sprawling tracks without too many tempo changes; maybe it doesn't sound very attractive, but is a fairly enjoyable listen, considering its weird nature. The concentration is mostly on music, and Simpson's involvement is not as big, although here she sings much better than the rough, throaty way she used on the debut. The guitars are sharper, and the sound is this time closer to Cerebral Fix. "Search Eternal" is a monstrous 11-min long opus which starts as a doom metal track, but later moves back to thrash.

"Turn Back Trilobite" shifts towards doom metal by retaining some of their thrash roots, another strong release which would by all means appeal more to doom metal fans, as well as to progressive metal ones, since the song-structures are more complex. Some may find this album the band's magnum opus, and well deservedly so. "Father Time (Beneath the Gaze)" opens it in a mighty doom fashion with heavy riffs, and Simpson's vocals taking a great melodic passionate edge. "Silent Dark" is a more dynamic doom/power/thrasher boasting more complex arrangements and a great doom exit. "Soul Search" will make you cry (and probably start searching for your soul): one of the greatest ballads to ever come out of the metal circuit spiced with fine leads and a cool thrashy twist near the end. "Awaken (Suryanamaskar)" is the ultimate doom metal hymn recalling Candlemass' "A Cry from the Crypt" from "Ancient Dreams" with its proto-thrash galloping rhythms, but this one beats it with some of the finest Oriental tunes ever put on a metal album. "Key To Nirvana" again sticks closer to doom, and is another massive composition setting the tone for the coming of the progressive 3-part opus "Into The Sea Of Tranquility" which may be considered a downpoint being balladic solemn doom throughout its nearly 12-min, but at this point the listener is already well aware that this album is a different "animal". The closer "Equinox" promises more entertainment for the doom maniacs as a finishing touch making this effort the main rival to the four 80's Candlemass releases for the "doom metal album of the decade" award. One more effort in the same vein could have established the band as a major force on the field provided that doom metal was the only 80's sub-genre which continued to flourish through the 90's, but the band members went their seate ways untimely ending a very promising career.

Behind the Realms of Madness Full-length, 1985
Within the Prophecy Full-length, 1987
Turn Back Trilobite Full-length, 1989

Vibrations of Doom

SACRILEGE BC (USA)

A good thrash metal band who never made it big despite the big potential on display here. The debut is a relentless fast thrash attack, which is not mindless bashing, like it often happens in the metal underground, but comes with great riffs, slower breaks, good, albeit short leads, and really cool bass implements, and at least one slower, stomping ala Celtic Frost track ("Skinned Alive"). "Too Cool to Pray" is less aggressive, with more clever guitar work, shades of crossover as well, and the leads are longer and more melodic; it still remains a good headbanging fun all the way.

Party With God Full-length, 1986
Too Cool To Pray Full-length, 1988

SACRILEGIO (MEXICO)

Based on the EP, this act indulge in energetic galloping speed/power/thrash metal which steadfastly follows the paths carved by their neighbours from the North. The guys know their craft shredding with vigour the singer being a bit high-strung and hoarse, but still carrying the requisite doze of melody. The sound quality isn't great making the guitars too fuzzy at times. "Agonia" is a more aggressive headbanger, but the rest is more in the power/speed metal camp the band providing soaring melodies aplenty.

Sacrilegio EP, 1991
Un Poco M'e1s Full-length, 1995

SACRILEGIO (PUERTO RICO)

Based on the Split, this young band pulls out fairly satisfying classic power/speed/thrash metal which opens with the galloping power/thrasher "Gods Of The Underworld", before moving onto sheer speed/thrashing fury, with "Black Purity" and "Lepanto". The end is again in a more moderate slower, epic pace: "Maldito Amancer", another very cool crushing mid-tempo piece, which preserves an even nicer fast-paced closing section with very cool melodic guitar hooks.
"The Ultimate Abomination" is a sure-handed debut starting with a song from the split, with a slightly changed title: "Dark", instead of "Black", "Purity". More temperate speed/thrash comes with "Pagar~n con Sangre" which is a flying Helloween-esque number, a tendency continued on "Karma", which thrashes harder, with another soaring "eagle fly free" composition ("Zona Cero") following suit. Then another piece from the split is included ("Gods of the Underworld"), before "Beyond the Darkness of Night" sweeps you with great larger-than-life speed/thrash in the best tradition of the Polish Hellfire, mixing speedy riffs with technical ones to a very positive effect. "Lepanto", from the split again, assists nicely right after, but "Shadows of Fear" goes away with all the glory, being a standout slab of epic technical thrash admirably speeding up in the second t to frenetic headbanging tempos. "The Fall (of The Traitor)" is a short melodic power/thrash instrumental, but apparently this "traitor" is alive and well, and is the topic of the next number (of the same title) which makes itself heard in a glorious speed/thrashing manner ala Paradox's "Heresy". The closing "Abomination of Desolation" will scare you, first with its title suggesting that it might be a direct take on the brutal Morbid Angel style, and second with with its aggressive rapid-fire approach, and is the most extreme offering thrashing high'n low never slowing down even for a split second. I don't know about "The Ultimate Abomination", but this is definitely one of the "ultimate" speed/thrash metal gems of recent years, a tour de force which will make the fans take acts from this small country/US state with a big doze of respect from now on. Some of the musicians involved here also play in the much more restrained progressive metal outfit Solvo Animus.

Reloj de Arena Demo, 2004
Dark Purity Demo, 2006
Thrash Clash Volume 3 Split, 2008
The Ultimate Abomination Full-length, 2009

Official Site

SACRIMENT (CANADA)

Modern laid-back thrash hesitating between the groovy school and the more dynamic Swedish trends. Unfortunately, the music lacks speed repeating the same peaceful mid-paced structures which come gothic-ornate at times, and additionally kill the little sharpness the riffs have.

Sacriment Full-Length, 2009

SACRIPHYX (AUSTRALIA)

Two guys, also taking t in many other acts from the Australian underground, are behind this project which evolves around epic thrash/death metal with battle-like overtones which are infused with melody and several less tamed hyper-blast black metal shades. The music is officiant and mostly mid-tempo topped by a brutal death metal semi-shouter who leads the pack with his forceful rendings.

The Western Front Full-Length, 2013

Official Site

SACRIVERSUM (POLAND)

Based on the debut demo, this is death/thrash metal ala Incubus and Loudblast. The vocals are very brutal low-tuned, and the tempo is generally extremely fast, seldom spiced with more technical decisions ("Dreams Of Destiny"). "Taste of Defeat" is more atmospheric death metal with shades of doom, which kind of suggests at the future direction in which the band were heading: except for the debut full-length, the band's other releases are more in the gothic/death metal camp. Later in the 90's they also founded another act: Artrosis, with a style quite similar to their more recent works.

Dreams Of Destiny Demo, 1993
The Shadow of the Golden Fire Full-length, 1994
Soteria Full-length, 1998
Beckettia Full-length, 2000
Mozartia Full-length, 2003
Sigma Draconis Full-length, 2004

Official Site

SACROSANCT (HOLLAND)

Sacrosanct were formed by the former Pestilence guitarist Randy Meinhard who, unlike his former colleagues, preferred to remain within the confines of thrash metal. The band started with "Truth Is-What Is", a fairly good album, albeit a bit heavy-handed at times, with quite a few stylish moments scattered throughout (check out the surreal intro to "Execrated (They Will Be)", for example, or the fast-paced technical mid-break on "The Die Is Cast") which, combined with the more conventional, energetic material delivers on all counts. The bass performance is top-notch, though, overshadowing Meinhard's pyrotechnics on quite a few times. As a result the album works as separate pieces, rather than one whole, with some songs really hitting hard both in the headbanging and technical department: the ambitious progressive closer that is the title-track, the Pestilence debut's reminder "Disputed Death", the complex meandering opener "Dimension Of Violence". Sadly, the flat hardcore vocals are absolutely no match to the much better music.

All flaws, however, were removed for the second album which is a really impressive work of technical/progressive thrash metal; with longer songs, more complex structures ("Astrayed Thoughts" is one of the finest achievements of the whole progressive thrash metal scene), and some stupendous guitar performance, both in the technical and melodic detment (the marriage of both is simply marvellous on "Mortal Remains" and "Illusive Supremacy": this one has a great balladic beginning and ending), this album sticks out even on a very high quality metal scene like the Dutch one. There are still quite a few energetic riffs present (the intense headbanger "With Malice Prepense", sounding like a leftover from the Pestilence debut), although the music is predominantly mid-paced, with a darker, gloomier, even doomy ("Hidden Crimes Untold", and the mid-section on "Mortal Remains" again) sound and fine very stylish technical breaks. The bass excels again, and the vocalist this time sounds much less irritating, moving his timbre more towards the semi-clean field.
The band tried to make some "amendments" to answer to the demands of the 90's with "Tragic Intense", instead of joining the progressive/thrash metal wave which just started in their neighbour Germany, and took a direction towards progressive/power metal, by also further elaborating on the doomy side of their music, straying quite a bit away from the technical thrash base consequently ending nowhere with the hesitation which path to take. The reason for this not very convincing work may be due to the leaving of the very talented bassist Gerrit Knol who, along with the singer Michael "Mike" Lucarelli who sang on the first two albums, continued their career under the name Genetic Wisdom. The other half, the bass player Remco Nijkamp and the guitarist Michael Cerrone, were responsible for one standout progressive power/thrash metal album under the name Imperium ("Too Short a Season", 1993).
"Necropolis": the writer can't help but express his disappointment with this offering which he naturally expected to be quite similar to the band's first two outings. No, nothing of the kind, unfortunately, as this opus is a more or less logical continuation of the guys' last instalment "Tragic Intense". In other words, expect progressive dark semi-doomisms for more than half the time with not bad clean vocals ala Chris Holmes (Paradise Lost) and James Hetfield. There's only one cut, the impetuous "The Grim Sleeper", that can pass for thrash, but again it's just too far from the previous lofty examples. Long was the wait, big is the upset...

Truth Is-What Is Full-length, 1990
Recesses For The Depraved Full-length, 1991
Tragic Intense Full-length, 1993
Necropolis Full-Length, 2018

Official Site

SACRUM (GREECE)

This Greek trio specialize in very amateurish muddy-sounding old school thrash which is reflected in the cumbersome dirgy creeper �Mysticforce� and the speedy barrage that is the title-track, the semi-declamatory hardcore vocalist merging with the messy music which main redeeming merit is the atmospheric operatic organ-guided intro and outro.

Full Moon Demo, 1995

Official Site

SACRUM (RUSSIA)

A classic death/thrash hybrid aggravated by throaty semi-shouty death metal vocals and pristine, plain sloppy at times, production; some pieces ("Number 2") are noteworthy additions to the more technical metal roster whereas others ("Dead Cry Aggression") are mere unrestrained bashers, the lyrical balladic sensitivity of the all-instrumental etude "Rain" a really pleasant deviation, the galloping speed/thrashing delight "Die To Be Alive" another positive occurrence. The end is preserved for a sloppily-executed cover of Sepultura's "Chaos AD".

Don't Fuck My Life Demo, 1995

SAD BLACK GOAT (TURKEY)

Goat The Count (the alias) is behind this black/thrash/proto-death amalgam which is strictly on the semi-rehearsed, roughly-produced side, with dark creepy numbers (�Bitch Juice�, �Ghosts of Melancholy�) easily overwriting the few strives (�Red Plague�) at brutal bashing immortality. Pay attention to the melancholic balladic semi-epicer �Queen Effect�, The Count partially ruining this otherwise really captivating piece with his husky whispering antics.

I Ate Myself Full-length, 2024

Official Site

SADDICT (FRANCE)

This is retro thrash/post-thrash which is sustained in a spacey quasi-progressive manner, the lengthy meandering "Governed" backed-up by the more volatile jump-arounder "Acid Violence", the "death vs. clean" vocal duel on that one providing the requisite amount of drama. The choppy not very regular rhythms of "Sauve-Toi" deliver in their own strange way, and "Revolt" unexpectedly raises the approach to more melodic epic proportions with the clean vocalist, naturally, more prominently participating.

Impact Full-length, 2021
ReVolt Full-length, 2023

Official Site

SADHU (SOUTH KOREA)

Intense thrash/death metal with a modern flavour; so expect a fairly even mix of fast proto-classic sections and heavier groovy ones supported by gruff death metal vocals. The music is closer to thrash producing some really fine pieces (the "perfect" Perfect Crime"; the excellent technical Pestilence-sque "Spreading Black") although the more death metal-inclined ones aren't too far behind ("Reincarnation") adding to the overall aggressive atmosphere which is only dissipated on the somewhat pointless groover "Labyrinth" at the end.

The Trend of Public Opinion Full-length, 1996

SADIKO (MEXICO)

This is vicious twisted thrash/death metal which adheres to grind every now and then, creating a brutal incoherent picture. The songs are short and almost every idea the guys have had remains unfinished with the compositions sounding like rehearsals for something even worse.

Sadiko Demo, 2006

Official Site

SADISTIC DEATH (UK)

This is intense pummeling old school thrash/death, the subdued semi-declamatory vocals recalling the ones of Killjoy (Necrophagia). The hyper-active lustre of �Powermongers of Death� gets replaced by the marginally more streamlined aggression of �Slaughter of the Innocence�, �EBT� at the end being just a half-min grindcore joke.

Sadistic Death Demo, 1988

Youtube

SADISTIC FORCE (USA)

Based on the full-length debut, this act indulge in vicious brutal black/thrash which is pure unrestrained black metal madness at the start, the interesting progressive epicer "Cavern of the Wraith" putting an end to the madness, and the title-track introducing a cool psychedelic speed metal-ish touch to the proceedings. The second half clings more towards the speed/thrash confines, "Strike of the Iron" and "The Living Grave" pointing at the early German scene, except in the vocal sector where the man is a vintage blacky raspy raven. Watch out for the last track, a merry unpretentious cover of W.A.S.P.'s 1985 hit "Blind on Texas", here called "Snowblind in Texas".
The "Pain, Sex, and Rapture" EP is more in the classic speed metal perimetres, but is a truly enjoyable fare, the band moshing with glee, the title-track trotting in a pounding mid-paced fashion, but raise the horns sky-high on the black/speedy tribute to early Bathory "The Blade Itself", the cover of Judas Priest's "Hellbent for Leather" surprisingly faithfully done, a pure heavy metal hymn save, of course, for the harsh black metal vocals.
The "Black Moon Sadism" EP is a more melodic offering with speed metal clearly dominating the setting, the lyrical fast-pacer that is the title-track a textbook in epic melodic song-writing. "The Cauldron" is glorious classic speed metal at its finest, and the cover of the Norwegian rockers Turbonegro "Billion Dollar Sadist"performed adequately, with a more pronounced crossover edge.
�Midnight Assassin� is much more tamed and way more memorable in the long run, the corrosive speedster �Corpsewood Curse� setting the tone for the remainder, with pure speed metal (�Speeding Black Leather Hell�) late interlacing with catchy infectious hymns (�Nuremberg Nights�) and abrasive stomping thrashers (�Marked for Death�), the Motorhead-ish boogie unleashed on �Campaign of Sin� finely supplementing the crossover frivolity of the final �Howl of the Horde�.

Pain, Sex, and Rapture EP, 2021
Black Moon Sadism EP, 2021
Aces Wild Full-length, 2021
Midnight Assassin Full-length, 2023

Official Site

SADISTIC GRIMNESS (SWEDEN)

"Asteni" is a relentless brutal mix of black, death, and a bit of thrash metal. This is constantly fast stuff with hellish black/death growling vocals. To these ears the highlight is the doom creepy sinister "Asteni" which is placed in the middle, apparently playing the role of the interlude, after which the music gets even more vicious and intense. "Spiritual Serenity" is an interesting closer crossing furious technical death ala Morbid Angel with ambitious cosmic arrangements in the spirit of Bal-Sagoth.

Vicious Torture Full-length, 2004
Asteni Full-length, 2009

My Space

SADISTIC HANNIBAL (CZECHIA)

Based on the full-length, this band play wall-tumbling militant old school thrash that whose consistent mid-tempo gets violated irreparably by the proto-death bellicosity of �Katolickej Zmrd�, but such occurrences aren�t that frequent if we also exclude the varied exploder �Kanibal�. The hoarse corrosive semi-deathly singer suits both the short proto-blasting �Sicilsky Byk� and the tank-like squasher �Masakr�.

Brana Smrti EP, 2022
Svatost Bolesti Full-length, 2024

Official Site

SADISTIC HUMOR (CANADA)

This obscure act should have been better known, mainly thanks to their last demo which shows some truly inspired technical/progressive thrash along the lines of Realm and Watchtower. The first two demos feature cool, albeit quite frequently rough, thrashing which evolves around lengthy compositions with a power/speed metal flavour also added recalling Aftermath and Destructor. "Labyrinth" is a nice instrumental, the best cut from their early stages, displaying sparkles of more mature musicianship. The five tracks from the last demo, "Transload", are a revelation the guys pulling all the stops technicality-wise. "Followers" is an engaging pounder, and may fail to prepare the listener for the complex patterns introduced on the title-track. "Broken Wing" is a hard-hitting cut with a nice chorus aggravated by the very good clean soulful vocals reminiscent of Eric AK (Flotsam & Jetsam). "Infection" is an awesome hectic shredder in the best tradition of Realm with an accentuated bass bottom. "The Swarm" is a more abstract technicaller in the vein of early Watchtower the bass remaining on the highlight side along with the leads which are more expressive here with a cool atmospheric flair. This very unknown act is a very good example of the technical metal made in Canada, and should be mentioned alongside Voivod, Savage Steel, D.B.C. and Annihilator.

R.I.P. ...Thrashing into Oblivion Compilation, 2010

SADISTIC MERCENARY (CHILE)

This Chilean trio offer retro thrash/proto-death with morbid sinister black/death metal vocals ala Nuclear Holocausto Vengeance (Beherit). The music makes sense and is surprisingly comprehensive for a live recording the guitars clearly heard for most of the time showing an act capable of playing more complex arrangements on top of their more immediate barrage also varying tempos avoiding the blast-beating "traps" and consequently engaging the listener in following the eventful proceedings. A full-length with better production should follow soon: there's a potential lying in wait here...

Live at Dismember Metal Fest Demo, 2012

Official Site

SADISTIC MESSIAH (BRAZIL)

"High Voltage Demons": an alluring lead-driven intro (" From Beyond") ushers this cool slab of vintage Germanic retro thrash, intense aggressive music assisted by vicious black metal vocals. The band also have a good sense of melody as expressed through a few nice tunes (the title-track, the excellent speedy roller-coaster "Antichrist Plague"), the mid-tempo semi-technical clout of "Mastermind of Insanity" also well noted, this shredder drawing more intriguing vistas to which the direct deathly "Victimized" is the least aspirer.
"Dehumanizing Process" doesn't stray too far from the initially chosen path, but this is a more aggressive recording with also a more accentuated melodic string (the furious melo-thrasher "Mentally Deranged"), the more technical expletives unleashed on "The Sanity Leveller" also bringing the winds of death metal for a bit. "Portals to Malignancy" is a really nice brief contrived shredder, and "Fighting Man on Mars" is a regular non-fussy headbanger. "Reanimating Bodies" is very close to being the highlight, a vigorous death/thrasher with bold echoes of Death's seminal "Spiritual Healing", and the closing "Endangered Sapiens" is another entangled violator with a wide array of rhythms and tempos.

High Voltage Demons Full-length, 2019
Dehumanizing Process Full-length, 2022

Official Site

SADISTIC OPPRESSOR (USA)

Based on the full-length debut, this act indulge in brutal retro thrash/death, a face-melting slab which is exclusively built on fast-paced aggressive riffage, with short bursting breezers ("Cremation", the more technical "Chopped Remains") crossing swords with much longer more serious doom outtakes ("Before the Suffering"), the gruff semi-declamatory/semi-deathly dirger racing with the extreme musical vistas with authoritative albeit grumpy determination.
"Omen of Atrocity" is a more technical, and also more death-fixated offering. The band crate a miasma of stylish intricate guitars on "Mausoleum of Torture", with bigger linearity ("Ripped to Shreds") experienced on at least one-third of the material, "The Curse of the Scorn" speeding up with wild lashing rhythms, the atmospheric entanglements of "Creatures of the Reborn" bordering on doom at times.

Mass Killing Spree EP, 2019
Blessing of Terror Full-length, 2020
Omen of Atrocity Full-length, 2021

Official Site

SADISTIC PAIN (USA)

Based on "Same": a 2-song demo of heavy, almost doomy thrash: "Mr. Morbid", and a somewhat pop-ish power/thrasher: "Dogpile"; think Motley Crue meets early Laaz Rockit. The horrifying band name isn't deserved at all, and clearly doesn't do the band justice, especially if they were aiming at the massive heavy metal crowd.

Same Demo, 1991
Sadistic Pain Demo, 1993

SADISTIC RAGE (USA)

This demo comes as a small version of Slayer's "Reign in Blood": fast aggressive thrash slightly bordering on death metal. "Vision of Death" is longer (5-min), and brings forward some heavier atmospheric moments.

No More Games Demo, 1988

SADISTIC RITUAL (USA)

Based on the Promo, this act unleash brisk modern thrash/melo-death; fast melodic stuff with more stylish, semi-technical sequences ("Outbreak") and more overt speed metal-ish tendencies ("Hellish Mercenary"). The vocals are more on the raven-like vicious black metal side and also perfectly fit the more rigorous nods to the old school like "Merciless Retribution". Some of the musicians are also active with the death metallers Haunting.
The full-length is finally a fact, and the lads don't disappoint producing wild unadulterated classic thrash/death which is more on the classic side of the spectre, both styles mixed on nearly every track in a way not too dissimilar to Torture Squad and Thanatos. More moderate pounding numbers ("Executioner") ensure the bigger variety alongside brisk speed/thrash excursions like "Civil Unrest" and the short hardcore-prone "Death Shriek", these dynamic outbursts totally opposing to the officiant mid-paced layout of the closing atmospheric saga "Cerebral Sacrifice".
"The Enigma, Boundless" is wild classic black/thrash/death amalgam the band moshing with reckless abandon ("And You", "Maelstrom of Consciousness") for at least half the time, the bellicose epicness of "Area Denia" a welcome respite, the singer trying to stifle his shouty deathly rasps for a more moderate performance. "The Blood of Memory" tries to capture the Viking spirit of mid-period Bathory, but "Raving Voyeurism" looks at the Impaled Nazarene repertoire for a brutal eye-gouging representation. "Enigma, Boundless" is a really nice epitaph, a melodic atmospheric thrasher with delightful nuances embedded, the highlight on this somewhat contrasting but decent affair.

Hellish Mercenary EP, 2013
Promo Promo, 2014
Edge of the Knife EP, 2015
Visionaire of Death Full-length, 2019
The Enigma, Boundless Full-length, 2022

Official Site

SADISTIC SACRIFICE (NORWAY)

Roughly-produced modern power/post-thrash which doesn't quite capture the imagination due to its openly derivative nature, the stylish lead sections the main saviour, elevating the somewhat cumbersome semi-ballad "Non" to the higher echelons, but failing to achieve the same on the tedious boring ballad "Abused", the very flat unrehearsed clean vocals not doing a very good job under the inglorious circumstances. In fact, apart from a couple of isolated riffs form the "Evil/Ice Cold" combo, there are almost no attempts at any more energetic performance, the band not very apt at bringing any musical sadism to the groovy 90's table.

No Sound of Happiness Demo, 1994

SADISTIC SEX (USA)

Based on the debut demo, this act indulge in simplistic thrash/crossover which is pure hardcore for a large portion of the time, the only more special feature being the rending overshouty vocals which could nicely fit any of the up-and-coming at the time death metal outfits. "Above the Stars" offers a few interesting melodies, and "Daughter Song" is a curious attempt at semi-ballad ultimately ruined by the awful hysterical vocals.
The "Tale of Two Titties" demo is sustained in the same vein, intense bashing thrashcore with heavy stomping passages ("Surrendering Time") breaking the barrage, with the closing "Daisy Waltz" showing a surprisingly lyrical flavour with nicer musicianship.

What a Waste of a Beautiful Day Demo, 1988
Tale of Two Titties Demo, 1988
Killin' Jive Demo, 1989

SADISTIC VISION (CANADA)

This is fairly cool semi-technical thrash with more brutal proto-death passages and very mean clean vocals which has by all means been an influence on the technical wave which started later in the 90's from the same country; and later graced the technical death metal legends Gorguts with one of its finest members: the drummer Steve MacDonald (R.I.P.), who also founded the black/death metal outfit Asgard, who still continue to carry his legacy after his untimely passing. Back to Sadistic Vision: this is clearly not an immediate listen as the music at first might strike you as too chaotic and illogical. The songs are short (3-4min), but are packed with intriguing riffs and twisted time-changes. "The Law Of The Jungle" offers a rawer and more brutal sound whereas "Pris Au Piege" is a more polished and more refined, but still quite aggressive slab of well done technical thrash/proto-death. If you can imagine a more aggressive version of Watchtower's debut... These guys had definitely had a "vision", but why "sadistic"?

The debut demo is a really brutal affair rivalling the first two Cryptic Slaughter albums with ease on the more outrageous moments. The jumpy busy riffage betrays the more technical performance epitomized in the near future, but at this stage this is just chaotic, albeit listenable bash courting grind, death and hardcore in a disorderly fashion, still managing to get the better out of this violent concoction.

Demo Demo, 1988
The Law Of The Jungle Demo, 1989
Pris Au Piege Demo, 1990

SADISTIK RITUAL (USA)

Based on the first demo, this band play decent "sadistik" thrash with steam-rolling qualities not far from Nasty Savage's "Indulgence" and Deathwish's "At the Edge of Damnation" with a rich dark sound hampered by the bad sound quality. The music is still on a more basic level the singer trying to incorporate this forceful authoritative scary timbre of Nasty Ronnie adding a more brutal death metal edge to it also spiced with the sparse Tom Araya-esqe scream ("Empire"). The pace varies as the stomping punishing rhythms ("Judgement Day") seem to work the best.
The sophomore demo is built around the same dark qualities with the galloping "Empire" bringing the winds of US power/speed metal with a portion of darker, more sinister riffage, and "Sadistik Ritual" is a huge 9-min progressive saga the guys attempting a wide range or tempo changes among the stomping passages, screamy leads and the thundering bassisms. "Situation Homicide" speeds up admirably the angry semi-declamatory vocals trying their best to match the vitriolic musical approach before "The Black Blade" shoots everyone at close range with a finalizing outburst of headbanging vigour with a pinch of more technical execution.

Demo Demo, 1988
Deal With Darkness Demo, 1989

SADOCID (RUSSIA)

A 3-tracker which shows a talented outfit specializing in choppy jumpy tech-thrash that straddles somewhere between Watchtower and the Confessor debut. "GODISNOWHERE" is an admirable dirger with sudden intricate jolts, vintage Confessor, but the title-track comes alive with more serpentine rhythmic patterns and a bigger array of tempo changes, a dynamic shape-shifting roller-coaster which flows into the Confessor cover of "Eve of Salvation" from the Americans' debut "Condemned", a fitting, even expected if you like, epitaph to this enjoyable shorter which also boasts cool attached semi-clean vocals. Some of the band members also played with the thrash/crossover outfit Unbroken Bones.
The full length is another sure winner, comprising quite nice stylish retro tech-thrash which very dexterously combines claustrophobic riff-knots with not very bridled vehemence on "The Voice of the Silence", before trying to beat Coroner at their own game with the choppy meandering "Semantic Ghost". Later on one will encounter the miasmic serpentine stomper "Mechanical Existence", this piece already heard on the EP; the unnerving Confessor-esque thrash/doomster "Knowledge Is Recollection", and the surreal pounding propeller "Asinus Aureus". The band never go beyond the mid-paced, which is also a relative description; this is patiently-woven, slow-burning music which again flirts with the good old doom ("As Above, So Below") towards the end, the closing "I Never Asked for This" breaking the established status quo with a portion of vivid, hectic overlapping rhythms.

Mechanical Existence EP, 2019
Monologues Full-Length, 2021

Official Site

SADOCRUSH (SWEDEN)

Based on the "True Evil" demo, these two corpse-painters pull out really "evil" misanthropic black/thrash metal with morose doomy tendencies quite close to Khold and early Bathory. Fuzzy hypnotic riffs, sparse hyper-blasts, and wicked semi-whispered vocals; oh, and the odd surreal lead ("Goatfire")...

Deathorgasm Demo, 1998
True Evil Demo, 2000

My Space

SADOKIST (FINLAND)

Based on the "Horrors from Hell" demo, this act plays evil speedy black/thrash metal recalling Absu and the Italians Vexed; brutal stuff as a whole, constantly fast, occasionally blasting in a less controlled manner with vicious harsh black metal vocals. The guys' dedication to the black metal idea takes bigger proportions on their other band Necro Angel, although some other band members take it easier on the more laid-back heavy/black metal mixture offered by another project: Purgator.
The full-length debut is an evil misanthropic affair with black metal reigning supreme for most of the time. The guys blast through the motions in a way no worse than their compatriots Impaled Nazarene with as little sophistication as possible, nodding at mid-period Bathory with the imposing stomper "Damnatio Ad Bestias". "Dreaming of War" near the end introduces more full-blooded thrash for a bit, but generally this is more along the lines of the good old black metal.
"Necrodual Dimension Funeral Storms" is a full surrender to the black metal realms and as such is not subject to review on these pages. Fans of Marduk and early Dimmu Borgir will the happiest with this.

Evil Sado Fuckin' Metal Demo, 2008
Sadomatik Angel Attack Split, 2009
Blackest Hell Primitive: The Demos Infernal Best of/Compilation, 2010
Horrors from Hell Demo, 2010
Thy Saviour's Halo, Held by Horns Full-Length, 2014
Necrodual Dimension Funeral Storms Full-length, 2019

My Space

SADOTANK (HOLLAND)

Based on the debut: brutal aggressive old school thrash/proto-death which comes as a blend of Sadus' debut (see the review below) and early Kreator; some occasional interesting guitar melodies and hooks could be heard, but most of the time this is fast unrelenting bashing, with not much actual proficient musicianship involved.
"Black Thrash Assault" is a black-peppered retro thrash assault this time, the guys introducing bouts of black metal for a change from the death/thrash barrage of the first instalment. Still, death metal reigns supreme on the less bridled shorter material (the bursting 1.5-min outrage "Killdozer", "Christ Fuck") although the laurels for the most brutal cut here go to "Razor Fist", an ultimately wild blasting blacky cacophony ala Marduk, cancelling the short exercises on more frivolous hardcore/crossover that are "Possession" and "Kampfsaufen" at the end.

Alcoholic Hellnoise Full-length, 2007
Black Thrash Assault Full-length, 2014

Official Site

SADUS (USA)

One of the true greats of US death/thrash metal, Sadus' beginnings were quite brutal and uncompromising with the explosive proto-death/thrash sound on "Illusions", which is one of the "four aces" of extreme thrash metal from the USA (the other three, for the less initiated: Slayer's "Reign in Blood", Dark Angel's "Darkness Descends", and Incubus' "Serpent Temptation"). The sophomore release was an improvement in terms of musicianship and technicality, but much of the irresistible primal aggression of the debut was lost. "A Vision Of Misery" jumped high in the technical death/thrash department featuring stupendous riffs and inimitable bass performance (DiGiorgio is the man!). Unfortunately DiGiorgio's involvement with numerous other bands kept the band at bay until 1997, when "Elements Of Anger" saw the light of day. A colossal achievement, it pretty much summed up everything which modern technical death/thrash metal was about. It failed, however, to generate the necessary interest, and Digiorgio put an end to Sadus once again. Nine years later he seems to have found some time to record under the Sadus name again (something which happens less and less regularly, unfortunately...); "Out For Blood" goes even further into modern, even industrial at times, technical territories, and isn't a very immediate listen, but is another great effort on all counts also paying tribute to Chuck Schuldiner (R.I.P.) with the song "Freedom", and featuring Chuck Billy as a guest vocalist on the closing "Crazy".
�The Shadow Inside�: Travis and Allen are finally back with a full-length, and the fans should rest assured that there will be no disappointed in the audience, the complex energizer �First Blood� gracefully opening this admirable comeback saga, a prime exponent of both aggression and technicality which sets the bar very high. The slow-burning dirge may remind of the guys� last instalment with its overt modern flair, but this is a cool atmospheric touch that gets seriously aggravated on the jumpy volatile �It's The Sickness�, another complex dramatic journey through the corners of the thrash realm, Travis unleashing a few piercing screams to scare the untrve. The sophisticated assault on the senses goes on with �Ride the Knife�, another entangled fast-paced sweep, its mirror image being the shorter more compact but equally engaging ripper �Anarchy�. The pounding steam-roller riffs of �The Devil In Me� intercept the sizzling fiesta, a noteworthy progressive journey that gets a bit simplified on the orthodox stomper �Pain�, before �No Peace� shreds the hell out of everything and everyone within the span of 5-min, a gradually cumulative drama which jumps over a short balladic instrumental (�New Beginnings�) in order to flow into the title-track, a raucous belligerent march built on seeping speedy extrapolations and seismic tank-like stopovers. The band are back with a fairly strong offering, but how relevant their presence on the contemporary scene would be, depends entirely on how frequent their descents would be from now on�

Illusions (Chemical Exposure) Full-length, 1988
Swallowed in Black Full-length, 1990
A Vision of Misery Full-length, 1992
Elements of Anger Full-length, 1997
Out for Blood Full-length, 2006
The Shadow Inside Full-length, 2023

Official Site

SAFYRE (USA)

Decent retro power/thrash with more pronounced melodic tendencies; the band mosh with moderation, unleashing wilder riffs on track 2, but generally sticking to a milder formula which either surrenders to the power metal confines (track 3) entirely, or attempts something more technical and epic (track 5). The vocals aren't very expressive clean mid-ranged, and overall suit the not very eventful musical amalgam. Later some of the musicians joined the modern groovy post-thrash formation Violent Industry.

Just Once... Demo, 1988

SAGITTARI (CZECH)

Based on "Albert Fish", these guys play modern power/speed/thrash with crunchy riffs and an unobtrusive keyboard background. This is melodic stuff with good attached clean high-strung vocals and numerous catchy choruses. The pace varies the whole time, but the number of the speedy cuts is enough to satisfy the headbangers who will be delighted on intense pieces like "Memento Mori" and "Albert Fish".

Zarikavac Hadu Full-length, 2008
Albert Fish Full-length, 2012

Official Site

SAGORAH (ITALY)

This is a modern thrash/death hybrid which is suitably intense and aggressive without breaking any sound barriers excluding the casual blast-beat. The fiery riffs fly in quick succession and the hectic delivery creates the impression that something more technical is going on; but no. The singer is a gruff death metal shouter who sounds quite comprehensive for most of the time.

I Full-Length, 2015

SAGRADO INFERNO (BRAZIL)

Based on the full-length, this Brazilian trio play dynamic bass-dominated retro thrash which is assisted by guttural death metal vocals. There's doom ("Pena de Morte"), there's punk/crossover frivolity ("Estupro Mental"), there's also some unchecked aggression ("Ataque Terrorista")... still, it's the sombre doom-soaked vistas that permeate this anti-climactic recording, the doom antagonism reaching 8 by the Richter scale on the closing 8.5-min dark saga "Laranja Mec�nica".

Sagrado Inferno EP, 2016
B�blia do Diabo Full-length, 2019

Official Site

SAGRAV (BRAZIL)

Based on the full-length, this act pull out quite cool crunchy modern doom/proto-thrash which sounds fairly abrasive and industrialized at times, with the doom-laden sombreness of "New Old War" nicely recalling the belligerent feats of Bolt Thrower, arguably the closest soundalike. Mentioning doom, it starts spreading more prominently in the second half where cuts like "Tron" and "Hallucinations" keep the proceedings gloomy and dark. Still, the guys rise for a few more energetic escapades like the semi-technical "The Secret of Death" and the steam-rolling jumper "It Is the End". The vocalist aptly assists the funereal-like fiesta with a deep growling death metal baritone.

The Lynching EP, 2015
Kingdom of Chaos Full-length, 2019

Official Site

SAGROS (COLOMBIA)

Based on the 2-song "For Your Blood" single, this act plays well-constructed retro thrash of the Bay-Area type which is both fast and slower, both sides mixed on both songs, the title-track being a particularly ripping cut with crushing riffs and a few nice melodic insertions. The singer is a shouty semi-death metaller.
The second EP is a more brutal offering the band having moved towards the bashing side of the spectre (think Evildead, Slayer, early Sadus) with the title-track producing angry brutal music with interesting semi-technical riffage on the longer "Terroristate" which "betrays" the classic idea with a pinch of the modern school sneaking in in the guitar department.
The full-length carries on in the same bashing vein producing good old school thrash along the lines of Slayer and Devastation with a slight death metal edge at times (the proto-blaster "Falsa Victoria"). The riffs fly at high speed making this album a headbanger's top choice since even the longer more elaborate compositions ("For Your Blood") seldom take a pause from the incessant barrage. "The Agony Inside" is a very cool lead-driven instrumental, and the shredder "Asesinos" is a "wink" at the more technical side of the genre which is also hinted at on the more laid-back closer "Wrath Intense Pain" which finely captures some of the later-period Death progressive magic.

Paths of the Death EP, 2004
Freedom Lies in Chains EP, 2007
For your Blood Single, 2010
Anger Blins The Mind Full-length, 2012

Official Site

SAGUE (ARGENTINA)

3 songs of an uneven rough retro speed/thrash/death metal mix with even rougher vocals which alternate with melodic mid-ranged ones the latter by far the better choice. The music jumps from very fast, almost grinding, sections to very quiet balladic ones ruining in the process the monolithic pounding mid-paced passages.

Un Grito En El Silencio Demo, 2008

SAHON (SOUTH KOREA)

Sahon started in an awesome fashion with "Made in Judecca", aggressive 80's thrash metal with more modern production similar to Slayer and Devastation, topped by death metal-styled vocals. The opener "F.O.T (Fallacy of Truth)" rushes onward recalling Slayer's "War Ensemble", creating propitious headbanging atmosphere alongside bumpy pounding passages, the achieved symbiosis even featured on the more recklessly executed "Illusions of Hate" with impetuous gallops and surging skirmishes inserted into the volatile structure of the mid-paced pounder "Screaming to the Dead-Knight Fuxx in Spirits". The guys attempt something marginally longer and more complex in the second half, but fail to make the best of such a shift the mid-tempo chugs lasting for too long on "Death in Myself" to make it a more challenging listening experience; and "Half Dead" spending too much time in repetitive mid-paced walkabouts to justify its duration. Thankfully "Wardance" is some kind of a rude awakening being a rowdy speedy cut, setting the scene for the arrival of "Painkiller"� yes, a Judas Priest cover, played surprisingly faithfully, the major annoyance being the harsh shouty, synthesized death metal vocals which do little else apart from making quite a bit of noise when in action.
The follow-up added more "spices" in the variety: death metal, hardcore, even grind; not bad, but too wild at times.
"Brutally Compelled" is an excellent return to the thrashier style of the debut, but this time the music is faster, a tad more technical, the vocals angrier, and the final result generally more satisfying.
"Chanting for the Fallen" charges on full-throttle with an overt death metal edge, but things calm down later with the ripping thrashers "At the Edge of Cliff" and the frolic speed/thrashing roller-coaster "Survive". The energy remains high all around with the more laid-back groovy post-thrash shenanigans "Condemnation" blending well with the technical thrashing that commences in the second half. "Born to Lose Live to Win" is a friendly thrash/crossover proposition, still pairing well with the short violent thrash/death closer "You Shall Pay".
�Blood Shall Be Paid� is another vigorous beast, the band moshing with passion for more than half the time, with vicious bullets like the appropriately-titled �Burst Out� and �Liberty� making circles around the listener, �Professional� the only unmitigated semi-filler, a stomping dragger which is totally cancelled by the unbridled fury of �You Are the Next�.

Made in Judecca Full-length, 2002
Kill... But... (Shut Your Fucking Mouth) Full-length, 2003
The Feeble Mourning EP, 2005
Brutally Compelled Full-length, 2007
10 Years in the Battlefield Full-length, 2011
Korean Stuff Full-length, 2013
Chanting for the Fallen Full-length, 2018
Blood Shall Be Paid Full-length, 2024

Official Site

SAIGON KISS (UK)

This formation pull out modern power/thrash/post-thrash which stays more on the less dynamic side with mid-paced numbers following each other generating quite a bit of melody but little else. The better moments are arguably the ones which "flirt" with punk ("Insanity Looms") in a more serious modern fashion closely followed by the several faster "excursions" ("Scarlet Horror"). The tone becomes a bit more serious towards the end where the band show their more proficient nature thrashing with more brains promising more interesting things to come on future releases.
"From Darkness to Decimation": more saigon kisses this way come first with the excellent operatic "Introductio Damnatorum", and then with the brilliant melodic technicaller "Rise of the Killing Ghouls" which will be a huge surprise for those familiar with the orthodox debut. "Devils Whore" is more linear with a few brutal death proto-blasts, and "Mind Games" is a cool headbanger again with copious amounts of melody all over. The delivery is much more aggressive than the one on the debut with bold ventures into the technical realm: check also out "To Die For", another compelling blend of melody and elaborate riffage which is followed by the equally as stylish creepy "The Sentinel". The closer "Apocalytic Fate" is a true revelation, an encompassing opus which reflects all the nuances heard previously here notching it up in the technical department with a few quirky twists. This very good album sounds almost like a new beginning for the band and it would be interesting how far up the high quality scale they would be able to go.

Death'85 And Hell Followed Full-Length, 2012
From Darkness to Decimation Full-Length, 2015

Official Site

SAINT LUCIFER (AUSTRALIA)

This band play a mild radio-friendly form of the good old power/proto/post-thrash which comes with bluesy, doom/stoner, and hard'n heavy influences all put together into one song sometimes. Thrash is not very heavily applied despite the presence of members of the local thrash heroes Mortal Sin (the drummer Wayne Campbell).

The New Messiah Full-Length, 2012

Official Site

SAINT SLAUGHTER (INTERNATIONAL)

Based on the full-length, this act specialize in modern power/speed/thrash that emits both energy and intricacy on the opening "White Death", before "Ride Like Hell" brings both Motorhead and early Metallica at your door with brisk sprightly riffs. More Bay-Area karma burnt with "Led to Treason" with a few steel gallops entering the audience's consciousness with "Inglorious", the shouty hardcore vocals containing additional anger, but apart from several quasi-groovy accumulations on "Waltz with the Devil" the rest is strictly for the retro metal lovers, including the vigorous mosher "Thrasher Crash".

Intravenosa EP, 2021
The Secret Speech Full-length, 2024

Official Site

SAINT SPIRIT (BRAZIL)

Based on "The Ways of Faith": this Brazilian trio from heaven unleash straight retro thrash with shades of death metal. The better, more thought-out, side of Brazilian thrash is an obvious influence (Dorsal Atlantica, Acid Storm, MX), but the guitar sound of this band is heavier and not as fast although it's not a "stranger" to relentless headbangers ("Worship Me", "Antropogical Blues", etc.). Near the end the guys loosen up a bit, with "I Cry For Live", which is a mix of heavy, doom and thrash metal, and the thrash/crossover closer "Losing My Religion" which is not an R.E.M. cover: don't get scared...
"Vanitas Vanitatum" tries to vary things a bit with a drier proto-modern guitar sound, but generally the approach isn't radically different from the previous efforts being fast direct thrash, which refuses to elaborate on the more stylish moments from its predecessor, opting instead to branch out into stripped-down hardcore on the shorter pieces ("Pentecostal Disaster"). The singer is clouded by the better music being a hoarse semi-death metal shouter.
"Mea Culpa" is a superior offering in every conceivable aspect: it's a modern technical thrash classic which distances itself from the band's earlier catalogue. This is spastic mechanical music quite reminiscent of the last two Meshuggah efforts which greets you with the short disorienting technicaller "Solitude Collective Train"; before the delivery goes straight into djent territories for a string of numbers, and never actually leaves this field as some of the later cuts are a tad more classic-oriented. The approach doesn't change much once the sterile robotic riffage settles in, and the listener may feel a bit bored in the second half where these dispassionate shreds may merge into one big syncopathic melee.

Against Saints and Sinners Full-length, 2003
The Ways of Faith Full-length, 2005
Vanitas Vanitatum Full-length, 2011
Mea Culpa Full-Length, 2015

Official Site

SAINTBREAKER (USA)

Based on the full-length debut, this band specialize in speedy brisk retro thrash which suffers a bit from the overshouty death metal vocal department. Otherwise the guys mosh with gusto shooting a "bullet" after "bullet" ("Molotov Rain") with the utmost intensity, some coming with a more aggressive proto-death flair ("Psychotic Manipulation", the Pestilence-sque shredder "Worthless Existence"), others with an overtly brutal grindcore ("Profits of War.") vibe. Direct, straight-forward, and ultimately relentless stuff.
"Unrelenting Violence" treads the same path, the guys moshing ahead with both virulent proto-deathsters ("War Dementia") and short near-hardcore outbursts ("Unrelenting Violence"), the border of good behaviour crossed with the brief violent grindy "Defcon-1", the longer more elaborate "Conflict Diamonds" another extreme downpour of thrash/death expletives.

Saint Breaker EP, 2015
Beaten into Belief Full-length, 2017
Cruel Humanity EP, 2018
Unrelenting Violence Full-length, 2023

Official Site

SAINTORMENT (LATVIA)

The debut: modern melodic thrash with folk/symphonic elements; an energetic affair as a whole with plenty of catchy hooks. "Move In Time Of Groove" can pass for a pioneering effort in the folk crossover camp, but the rest is way more intense including the several exercises in 90's speed metal ("Son Of The Wasteland"). The singer is gruff, but also semi-clean and his antics are appropriate without being too attached.
"Defective Mind" is way more aggressive the guys moshing like demented at the beginning, taking no prisoners until the arrival of "We Are", a stomping cut with memorable melodic hooks. "Never" is another more restrained epic thrasher which partially influences the material in the second half leading to the melodic progressiver " ...Dies at the Black Night" although the impetuous galloper "Final Hour" cancels all soporific attempts near the end regardless of its infectious sing-along character.

Well of Sins Full-Length, 2015
Defective Mind Full-length, 2017

Official Site

SAITOR (USA)

Decent thrash metal with crossover moments recalling Harter Attack and Nuclear Assault; the music is quite energetic and fast throughout, reaching out to Slayer sometimes ("Church of Flesh").

Demo Demo, 1989

SAKADOYA (MOROCCO)

Derivative modern thrash from North Africa this way comes. The execution possesses the requisite amount of proficiency, but except for the bombastic operatic inclusions the rest is kind of predictable and not really engaging. On top of that the band refuse to speed up a lot ("Resistance Victory" arrives near the end, but that's about it) which deprives their approach from the necessary lively moments. The beautiful Oriental motifs embedded will remind of both early Orphaned Land and Melechesh and should be used more profusely in the future, as well as the more stylish technical inclusions which again appear at the end on the closing "Back To The Age Of Slaves" to make it the highlight on this competent, but pedestrian offering.

Back to the Age of Slaves Full-length, 2009

Official Site

SAKEN (CHILE)

Based on "Hell Within", this outfit serve intense retro thrash which offers various nuances, from heavy pounders ("Out of Control") to maddening proto-death explosions ("Walker"), to curious doom-laden dirges ("Our Blood"). The fast-paced shenanigans clearly predominate, and one will have a very good time jumping around on neck-sprainers like "Ways of Fear" and the stylish semi-technical shredder "Inside Your Mind". The singer is a growly deathster who manages to pull out some actual singing from time to time. Some of the band members are also involved with the groovy post-death formation Audiopsicotica.

...End of Milenium EP, 1996
Hell Within Full-length, 1997
Dense & Thick Full-length, 2015

Official Site

SAKREME (FINLAND)

Based on the "Suicide Six" EP, this band play fast'n tight retro thrash with nice crisp riffs and somewhat indifferent shouty semi-death metal vocals. The mosh goes on full-throttle even on the more elaborate material ("No One to Lead on"; the excellent atmospheric progressive closer "Suicide Six" which mixes breath-taking balladic passages with forceful speedy ones) the guys shredding on the edge of a Slayer-esque aggression "Absence" being the only number where the speedy passages are "absent".
"Born Alone, Die Alone" is a retro crusher the band playing in the expected classic fashion spicing their approach with casual references to the modern school which also come from the harsh shouty semi-death/semi-hardcore vocals which are hardly the band's main asset. The energy gets lost in the middle to the fans' disappointment the guys indulging in a couple of less impressive heavy cuts, but comes "Exhale" and things get back on track hitting the top with the excellent melodic speedy shredder "Living In Misery" and "Sweet Junk". But that's not all since later comes the complex semi-technical opus "Statue Of Imagination" which boasts the finest lead sections on the album among some intriguing riff-formulas. The other exercise in more ambitious thrash "Asylum" staggers a bit due to its over-reliance on the ballad, an all-instrumental composition which shreds its way quietly and unobtrusively, maybe too quietly for the regular thrash metal fan's taste. At least the closing "Spread The Hate" "spreads the hate" with more passion, the guitars thrashing with assured galloping rhythms.

Ei Kompromisseja EP, 2007
The Ultimate Sacrifice Full-length, 2009
Setbacks and Failures Full-length, 2009
Born Alone, Die Alone Full-Length, 2011
Suicide Six EP, 2012

Official Site

SAKRIFICER (USA)

An excellent 3-song demo of speedy thrash metal along the lines of early Destruction and Toxic Shock; the "Ice Burial" EP goes up both the aggression and speed scale now sounding quite close to Kreator's "Pleasure to Kill" which to some may be a pullback since this time there is only speed, speed and speed to be heard without any deviations with "Bestial Command" rushing forward into more brutal proto-death metal territories.
"Relentless Torment": an intriguing short intro ("Prophesied Imminent Doom") of screamy twisted leads intertwining with macabre doomy rhythms welcomes the listener before the band unleash their "relentless torment"... sorry, old school thrash attack which is very close to mid-period Destruction, among other veterans from the German 80's scene. The guys shred with no remorse, the short screamy leads a particularly nice touch, their intense delivery subtly touching the death metal realms ("Decrepit Tombs", the short explosion "Beyond Ancient Gates") before they offer equally as vitriolic purer speed metal numbers ("Torment Of Putrefaction") in the best tradition of the Angel Dust debut. The singer is an able assistant to the incessant speedy musical approach with his forceful semi-shouty death metal tone coming as a higher-pitched early Tom G. Warrior.
"Desolate Darkness": another cool intro (the macabre orchestral "Spectral Murmur") inaugurates this old school "massacre" which "marries" thrash and death metal the super-fast downpour coming a bit tiring in the long run for the unprepared. Still, the bombardment should by all means satisfy fans of both genres since the execution is quite proficient and the band manage to insert several melodic "excursions" among the raining riffage, mostly in the lead department. "Eternal Pain" suggests at something more technical, but don't expect those hints to develop more fully the band intent on inflicting as much pain as possible upon the listener who will be pleasantly surprised on the longer and more elaborate shredder "Vomiting Toxic Sludge", and the other more stylish exercise in more technical thrash, the closer "Sepulchral Breath".

Unholy Thrash Assault Demo, 2006
Ice Burial EP, 2008
Relentless Torment Full-Length, 2012
Desolate Darkness Full-Length, 2015

My Space

SALEM (ISRAEL)

This gigantic 12-song demo doesn't show the biggest Jewish act in their brightest light: this is very pristine amateurish thrash/death which in terms of brutality could have passed for an underground gem back in those days, but now it's just plain noise with chaotic rhythms and random song-structures. Everyone involved must have been learning his instrument during the recording because there are very few musical merits at play, if any at all. Among the seemingly more "serious" numbers there are short bursting hardcore outrages inserted further confusing the listener as for which fanbase this whole mess had been intended. Thrash was apparently not a big t of the guys' nature, and consequently they turned to death metal later to become one of the leading acts from the Middle East. Some of the guys try to return to their thrash roots, but in a much more proficient and modern-sounding manner, with Nail Within.

Destruction Till Death Demo, 1987

SALEM (SLOVENIA)

Fairly good aggressive thrash which comes as a more technical, and probably better, version of Rigor Mortis' self-titled debut, or the Flames (Greece) albums from around the same time. The album contains fairly interesting guitar decisions (great leads on "Incubus"), as well as stylish bass performance (the instrumental "Vampirella"). The guys are not strangers to brutal, death metal parts ("Cotton Mather's Nightmare"), and the pace most of the time is actually quite fast and relentless. The band were clearly ahead of their time, and this album could have served as a lesson for well executed thrash/death metal for the future practitioners of the style.

The Sleep Of Reason Full-length, 1987

SALEM'S LOT (NORWAY)

Based on the "Cul de-Sac" demo, this act provide first-class classic progressive thrash which is also quite ripping and uncompromising on the opening masterpiece "Claim To Existence", a mazey shredder which goes through myriad tempo shifts and riffy acrobatics, a summative 8-min exercise in metal wizardry that will also keep the headbangers happy. "Origin of Fear" is more epically-executed, a dramatic heavy opus with a more pronounced bass presence and twisted arrangements, with a great Oriental doomy tractate adding more to its exquisitely surreal character. "Chameleon People" is the next-in-line brilliant riff-mosaic, a mid-tempo slow-burner which eye-opening stomping intricacy becomes more and more hectic with time until it hits atonal Mekong Delta-sque dimensions mid-way; expect a speedy passage to nail you down in the second half alongside visionary virtuoso lead guitar work. "Mindrot" is a fascinating doom/thrash conglomerate, a twisted surreal amalgam which settles for an array of smattering gallops at some stage, with the steam-roller doom riffs take centre stage later for a formidable eye-opening finale. "Buy or Die" is a short chaotic etude with an overt crossover clout, and "Megalomania" is a whirlwind of vitriolic technical riffs and rushing fast-paced sections, with enchanting melodic tunes ensnaring the audience further, the illogical riffy accumulations served later sitting comfortably next to outlandish fusion-esque expletives and eccentric fast-paced outbursts. The vocalist is a really cool asset with his attached clean timbre, the man supporting his colleagues' amazing job to the best of his abilities. Some of the guys later continued writing precious chapters from metal history under the name Tonka, another very good progressive thrash formation; and at present they venture into the gothic/doom realm with Omegashift.

Home Sweet Home Demo, 1991
Cul de-Sac Demo, 1992

Youtube

SALEM'S LOT (USA)

A cool mix of American power metal and thrash; this is heavy, almost doomy at times music with nice progressive touches and long 5-7min songs. The vocals are rough throaty and don't suit the music too well. There's, of course, at least one up-tempo track with an Exciter/Motorhead flavour, "Salems Lot".

Demo Demo, 1989

SALEM JUSTICE (UK)

Blue-sy rockish semi-thrash, mixing the light-hearted Motorhead-ish aesthetics with more intense hardcore riffs, but the inclusion of groove and awkward jazzy/funky sections make this more of a failed attempt at slightly updated laid-back old school stuff, rather than a satisfying listen. The shorter songs are by far the more appealing side, being cool "hardcore-meets-early Venom" variations, while the longer ones mix too much within to strike a cord. The singer tries to save the show, by adding forceful throaty semi-clean shouts ala early Peter Steele (Carnivore, Type-O-Negative), but at some point gives up merging with the unimpressive rest.

Envirusfear Full-length, 1996

SALEM SPADE (USA)

Based on the "Witch Hunt 1991" demo, this act pull out epic power/speed metal, well conformed with the canons in their homeland with the expected vigorous gallops, the soaring clean vocals, and the more epic arrangements. The title-track covers all those criteria also adding a more ambitious, progressive aura, but the remaining material is more immediate siding with Jag Panzer and Omen. "Council Of The Elders" is another more complex shredder with the gallops reigning supreme again calling to mind early Helstar as well apart from the other mentioned acts.
The "Legacy of Hate" demo elaborates on the progressive hints from its predecessor, moving up the proficiency scale, too, including in the production department. "Pocketbook Beast" is a dark brooding masterpiece with an accentuated bass bottom, the creepy minimalistic riffs forming a few more challenging labyrinths until the more serene balladic etude near the end. "Dusk Till Dawn" starts with a brilliant classical virtuosity the band revealing a much more skilful side of theirs here, later branching out into more linear power metal with more frequent tempo changes. The title-track hits with more officious epic configurations until the band settle for an exiting speedy skirmish and a pile of smattering virtuoso leads which wrap up the entire saga.
The "Sleepless" demo is a true revelation the band reaching the peak of their abilities with this exemplary 3-tracker of technical power/thrash shooting everyone at close range with the excellent shredder "Stagekill" which shows how the thunderous bass and the vitriolic sharp riffage can co-exist in a tough "tussle" for nearly 7-min, with stupendous technical vortexes rising out of the blue to a dizzying Coroner-esque effect, not to mention the great melodic hooks and the several admirable attempts at a more aggressive play. "Twisted Mind" starts with an atmospheric balladic etude, but expect stunning spiral-like virtuosity just a second later the riff-density reaching even Realm's "Suiciety", but watch out for the surreal heavy stompers mid-way, a totally bizarre development lasting for just under a min, and the amazing lead sections which grow into a fountain of fabulous intricate guitarisms near the end. The title-track "flirts" with illogical, angular riff-knots not far from early Mekong Delta the cavalcade later carrying on in an equally as eclectic fashion with more linear power metal-ish passages taking turns with technical chops ala Watchtower, this "marriage" becoming even more entangled due to a splash of chaotic lead histrionics which create beautiful, compelling mess as an epitaph. This is a most shining representation of the technical/progressive side of US metal, a sheer gem that should be much better known.

Witch Hunt 1991 Demo, 1988
Legacy of Hate Demo, 1989
Sleepless Demo, 1989

Official Site

SALENT (USA)

A forgotten gem from the US underground with stupendous guitar work; this batch serve outstanding retro prog-thrash which conquers some ground initially with the dazzling virtuoso-sculpted shorter "Wasteland", before more visionary shredding begins with the entangled wonder "Witches of Salem", a meticulously arranged rifforama with some mid-tempo karma purged as well, amongst the more energetic developments. "Lost Creation" starts with a lyrical intro, but later on the guys indulge in classical-infused speedy crescendos which are carved by heavy volcanic stopovers. Said stopovers surprisingly engulf a whole composition ("Emotional Exile"), but the title-track is a different story, a multi-layered saga with echoes of Realm, only that here the lead guitar pyrotechnics are flashier, the six-stringers sure graduates from the Shrapnel school, their supply of striking pyrotechnics seemingly never-ending. "Human Illusion" is a creepy slow-burning technicaller with superb monolithic riffage, a part of which gets transferred to the final "Decaying Adolescence", a diverse progressiver with a wide array of tempos and moods, a kaleidoscopic carnival which aptly sums up what this nice effort is all about. The deathly vocalist isn't a match to the much loftier surroundings, though; his quarrelsome grunts/semi-grunts are a dodgy occurrence on the polished background
.

Beyond Reality Demo, 1992

SALLAH (USA)

This is eventful, almost progressive-sounding (on the longer material), black/thrash. There's a lot of less sensible bashing to be heard as well which creates quite a contrast with the more meaningful songs. Generally the compositional skills of the band are not on a very high level with scattered motifs carelessly stitched together (enchanting atmospherics with brutal blast-beats on several pieces) which won't make much sense to the thrash metal fan who will mostly jump around on the short headbanger "Three Trials", and by all means on the ultra-fast cover of Venom's "Black Metal" at the end which is quite enjoyable, by the way. It's surprising that the line-up comprises members of several quite talented technical metal outfits: Krallice, Geryon, Astomatous, Castevet, etc.; obviously the guys here have decided to tone it down considerably and have unpretentious fun laying their more serious side on the side.

Fortune and Glory Full-Length, 2014

Official Site

SALMON HATER (AUSTRALIA)

This "brief history of salmon" is sustained in a modern thrashcore fashion, in a relatively friendly tone with occasional sparkles of harder thrashing ("Full on Kevin's Bacon") and several moments of quirky semi-progressiveness ("This Is an Invasion (Run for Your Lives)") both working well on the unpretentious uplifting background. The singer is a decent semi-cleaner with more dramatic (also read more melodic) inclusions at times.

A Brief History Of Salmon Full-length, 2016

SALUTARY (HOLLAND)

A decent proto-modern entry into the genre with consistently heavy mid-paced riffs in the beginning, before the coming of "Hypocrisy Of A Man" which is a vigorous death/thrasher with clever technical pretensions. The technicality goes up a bit on the intriguing Voivod-esque "Hysterical Manifestation", but there is no time for those tendencies to develop any further since the remaining 4 tracks are live versions of 2 songs from this demo, with an older material added in pretty much the same vein.

Violated Holiness Demo, 1997

SALUTE (UK)

Based on "The Underground", this act plays cool heavy doom thrash akin to early Celtic Frost stretching into whole doom passages, which loses nothing of its thundering intensity when it speeds up: "Dr. Faust", again in a manner close to the early efforts of the Swiss. The guitar work is a bit monotonous, but its crushing heaviness will keep you entertained especially when it descends to pure unadulterated doom: the classic doom masterpiece "Six Deep". The singer is a perfect match to the music with his gruff tone, a mix between Tom G. Warrior and Michael Williams (Eyehategod). The guys are occupied with two other acts: the black metal outfit Vanguard with which they have one demo released, and the more atmospheric ambient black metal project Tanhauser Gate with which they are on the same one-demo stage.

Break-Neck Speed Triumph EP, 2005
Above the Law Full-length, 2007
The Underground Full-length, 2009

Official Site

SALVATION (GERMANY)

The German progressive/technical thrash metal wave, which many considered had begun with the Depressive Age debut in 1992, had actually started a year earlier, by several original one-album wonders that remained undeservedly buried in the underground: Of Rytes' "Without", Megace's "Human Error", Brainamputated's "Can't Get Enough", Secrecy's "Art in Motion", and Salvation's "From Where". Of the three, the latter is the most complex and diverse seeing the band sharing something with the progressive power metal field as well. "Real Values" is an atmospheric, but also dynamic, opener offering a great "duel" between stylish technical and haunting melodic hooks on a solid mid-pace without forgetting about the memorable chorus. "Human Insertion" follows a similar path by adding an unobtrusive keyboard background, and "Nightmares" is the prototypical dark progressive/power metal opus ala Lethal and Crimson Glory. "Savoir Faire" is a clever sophisticated, all-instrumental, take on technical thrash, and "Inner Conflict" increases the complexity to reach the heights of Watchtower and Toxik done in a heavy pensive fashion alleviated by another easy to remember chorus to which the emotional clean singer is the perfect match. "Burning Assault" starts in a very twisted technical way before settling for a more conventional delivery recalling Xentrix, including in the carefree chorus department once again. "A Look Inside" is a seamless mix of power, progressive, and thrash metal reminiscent of early Eldritch followed by the last temptation at more complex progressive: the multi-layered semi-balladic "1991". Like with the case of Of Rytes' "Without", there isn't a very frequent change of tempos, and the overall approach may seem pretty sleepy at first listen, without too much happening, but those who choose to spend more time with this effort, will definitely be rewarded for the investment.

From Where Full-length, 1991

SALVATION REJECT (RUSSIA)

This is melodic modern thrash recalling the German outfits Perzonal War and Face Down Hero so expect professional execution, cool melodic licks, and several deviations from the thrashy norm with a power/speed metal shade. The thrash-fixated engine works well on cuts like "In Hell" and the perennial headbanger "Arise", but the rest of the material is not that intense and would please a wider gamut of fans. The singer has a cool semi-clean mid-ranged timbre which suits the radio-friendly musical delivery.

Fearless Full-Length, 2015

Official Site

SALVATORY (POLAND)

Based on the full-length: one person, calling himself The Excellency , is responsible for this intense, diverse thrash/death which is assisted by both a very abrasive guitar sound and horrible versatile vocals which are barely heard, coming with a strong synthesized blend. The "cocktail" starts making sense on "Wolnosc" with some beautiful lead sections, and "Prawda" is a nice little progressive thrasher again saved by great melodic leads which are simply a wonder to listen to. The closing "Piekno" is too slow and balladic to be a worthy epitaph, but there are quite a few interesting ideas which need some refinement before they become appetizing numbers.

S.C.A.L.L.P.E.L EP, 2015
Dobro EP, 2015
Salvatorium Full-length, 2016

Official Site

SALYTHIA (USA)

This new outfit indulge in modern thrash/death which is reflected in long eventful compositions which are not very prone to speed, but deliver with their sophisticated melodic guitar work. "Dementia" comes out with all the technical guns blazing, but the rest of the material is more conventional despite the proficient execution. There are two vocal lines blending here: one is guttural low-tuned death metal, the other is a quite cool alternative clean female one.

Death Dcore EP, 2015

Official Site

SAM BLACK CHURCH (USA)

This act fast intense thrash/crossover which bears resemblance to the Brits Hellbastard, but the real highlights here would be the hints at something aggro to come soon: "Big Barbeque" is vintage groovy post-thrash predating the sweeping vogue of the 90's with a few years. The majority, however, are fast blitzkrieg numbers which will make the head bang without an effort. The singer has an interesting voice which is both gruff and melodic singing with attachment without hitting any high registers; may remind at times of Jon Van Doorn (Deathwish) or even Jello Biafra (Dead Kennedys, Lard) on the more whining sections. The band continued their career through the 90's with 2 full-lengths and a couple of more EP's released before they split at the dawn of the new millennium.

Unincorporated EP, 1989

Unofficial Site

SAMAEL'S FALL (ITALY)

Based on the full-length, this band offer energetic crunchy modern post-thrash which has both sharpness and melody the guys even inserting the casual more brutal death metal passage ("Beyond The Violence"; the excellent diverse closer "Crucified & Nailed" which even shows some technical skills) which surprisingly sits well among the prevalent groovy downpour. This is squashing steam-roller music ably assisted by angry shouty death metal vocals.

Bang Your Head EP, 2011
Till Now Full-length, 2013

Official Site

SAMATAS (GREECE)

2 songs of cool retro thrash/crossover ala Rumble Militia with fast and slower (not many) rhythms embedded well staying more in the up-tempo with crushing riffs and cool hoarse semi-clean vocals sounding like a more passionate Tommy Victor (Prong).

New Age Suppression Demo, 2008

My Space

SAMCHUNG (SOUTH KOREA)

Based on "Way of Men", these guys pull out modern hardcore/thrash, sometimes clinging more towards Pro-Pain, sometimes branching out into something which is too mixed to be defined, even containing classic heavy metal hooks ("Combative Spirit", "Filled With Spirit"). This is far from full-fledged thrash, although pieces like the speedy headbangers "Way Of Man" and "Red Rats" will definitely stir your blood.

Talchuljeukshi Gaejukeum Full-length, 1998
Life is So Fucking Beautiful EP, 1999
Vengeance is Mine Full-length, 2000
United We Stand Split album, 2004
Way of Men Full-length, 2005

Official Site

SAMHAIN (DENMARK)

A 3-song demo of a good blend of the heavy style of early Celtic Frost with quite fast and aggressive thrash; all three tracks combine both styles: slow crushing riffs alternate with cool speedy guitars. Later the guys continued their career under the name Desexult.

The Courier Demo, 1985

SAMHAIN (GERMANY)

This is the early incarnation of the legends Deathrow. Based on the first demo, this is the impetuous speed/thrash of Deathrow with all the three tracks featured on the debut. The sound is still sloppy and not very clear, but the ambition and the drive are firmly there at those beginnings.

The Lord of the Dead Demo, 1985
Eternal Death Demo, 1986

SAMI ANTTILA (FINLAND)

Based on "Moment of Clarity", this act pull out modern thrash which is both mechanical and groovy and melodic and catchy, keeping a good balance between the two sides the riffage being constantly heavy and thundering. Attempts at a more speedy performance aren't a rarity (check out the dynamic "Lost"). Aggressive stomping deathiness can be heard on "Dead, Gone", but it will be "Horror Defined" which will scare you the most with its sudden switches to blasting death. "We Stand Alone" near the end will make you headbanging for about 3-min with sweet memories of the Swedish school if you can tolerate the inclusion of the clean melodic vocals which accompany the main throaty death metal ones.

See Through the Lies Full-Length, 2011
Moment of Clarity Full-Length, 2012

SAMORRA (GERMANY)

The breathtaking 1-min lead intro remains the best t from this laid-back groovy power/post-thrash metal work, which is not a total waste, especially with this great lead guitar work, which overwhelms the rest completely. A few more dynamic power/thrashers can be caught ("Sorrow Within", "Your Holiness"), but the music simply is too toothless and soft to catch the thrash metal fan's attention for long, if at all.

Religion of the Unbroken Full-length, 2007

Official Site

SAMSARA (AUSTRALIA)

Decent energetic thrash metal crossing the modern with the classic sound; most of the time the guys play in up-tempo, and come up with a couple of cool headbangers ("Cruelty", "Enslaved"). The band runs away from the formula with the alternative melodic instrumental "Chloe", which is quite dreamy, and isn't bad; and the heavy groovy track "Samsara".
"Instinct Over Influence" concentrates more on the modern side of the genre, but remains fast and intense shooting the odd more classic bomb: "Steel Trap". The songs develop in a direct speedy manner with clear touches of hardcore on the shorter material, the instrumental "The Divide" being the sole exception: a very nice dreamy atmospheric track ala Katatonia.

The Emptiness Full-length, 2007
Instinct Over Influence Full-length, 2010

My Space

SAMSARRA (USA)

Decent retro power/thrash metal in mid-pace with heavy riffs reminiscent of Testament's "Souls of Black" including in the stylish lead guitar work; the sound may wear out at some point since the riffs are too one-dimensional offering very little variation from one song to another, and the end is underwhelming with two live tracks with a bad sound quality included, and two tender acoustic ballads following them.

The Unbeliever Full-length, 2008

Official Site

SANATORIUM (MACEDONIA)

One of the few thrash metal bands from Macedonia, Sanatorium play modern mid-paced thrash with numerous balladic and acoustic moments on "No More"; professionally done, but a kind of one-dimensional and not really engaging. It's their first demo, which contains the better material with some really fast-paced thrashers ("Ultra Speed", "Grad") and other, heavier, more technical numbers in the spirit of late 80's Metallica ("Epidemija na Omraza"), and an overall better guitar sound.

The Edge of Sanity Demo, 1992
No More Full-length, 1996
Sanatorium Full-length, 2001

Official Site

SANCNITY (FINLAND)

All the three demos listed here were recorded when the band was called Disposal; and they reveal a highly talented outfit who were ready to play a major role on the Finnish underground through the 90's. A brilliant short, lead-driven intro ("The Circle", from the the 1st demo)) opens this short saga which later transforms into highly intelligent technical/progressive thrash with brutal death metal vocals and a very good sound quality which ensures a nice reverberating edge to the guitars the latter reaching heights worthy of Roope Latvala (Stone, Children of Bodom, Waltari, etc.) on the lead sections. The approach isn't very flashy reflected in mid-paced to semi-balladic cuts which meander patiently through the pensive arrangements sounding like premature, and more dynamic and vivid Pestilence's 'Spheres" (just check out the labyrinthine masterpiece "Descendant Of Innocence"). "Distribution Of Reality" speeds up a bit with illogical rhythms reminiscent of the Canadians Martyr and the Belgians Chemical Breath; the delivery on this one is more death metal-ish and better fitting the really deep guttural vocals. The bass stomps with a lot of style through "Ominous Vision", another standout technical opus also recalling another great underground act from the same country, Rectum. "Portrait" is built around guitar virtuosity, but later speeds up and turns into a really cool technical headbanger with choppy, stop-and-go riffs at the end, not to mention the great leads wrapping it on. As a whole these short efforts are quite an achievement which, unfortunately, didn't serve as a base for the guys' subsequent career as Sancnity where the style became more conventional progressive metal, and the band finally managed to release an official full-length in 1994 ("Dew").

Misused Life Demo, 1990
The Circle Demo, 1990
Within Demo, 1991

Official Site

SANCTA (FINLAND)

A very obscure entry into the Finnish thrash metal catalogue. This is more along the lines the aggressive thrash/crossover path carved by acts like Wehrmacht and Cryptic Slaughter so expect fast aggressive guitars alleviated by a few more laid-back passages ("Soldiers (F.T.D.)") on the longer material. The sound quality is quite muddy, and the singer mostly recites in an indifferent punky manner.

Life Beyond Lies Demo, 1987

SANCTIFY (FINLAND)

Based on the "Reality" demo, this band play aptly-stitched Bay-Areasque thrash which is steady and mid-tempo on "Connection to the Power", and "Pride Mind" is melodic and more epically sprawled, the proficient guitar work adhering to a few intriguing riff-vortexes. "Spiritual Suicide" follows the same trajectory, recalling the late-80's Metallica exploits, in the vocal department having a more aggressive semi-clean at times throat. "The Amnesty" is a lofty tech-thrash achievement with clever stop-and-go rhythms, with an alluring semi-balladic flair exhibited as well.
The "Song of the Saved" demo is a more complex fare, but the compositions are slow-burning and not very dynamic exercises in heavy progressive thrash, the exception being the diverse shredder that is the title-track, "Words of Wisdom" hitting the semi-balladic tedium, the band failing to reach the loftier examples in this trend from the Metallica and Testament exploits. "Tears for Tomorrow" wakes up for a round of more energetic moshing riffs, and "If I Cry" is a fairly intriguing tech-thrash piece with even more fascinating quieter breaks and deft stop-and-go breaks, the main reason why this obscurity should be given a listen at least twice.

Reality Demo, 1991
Song of the Saved Demo, 1994

Official Site

SANCTIFYING RITUAL (GERMANY)

Based on the full-length, this band play old school thrash/death with death metal leading the pack the overall approach not far from the early Swedish school (Entombed, Unleashed, Dismember). There's certain atmospheric epic vibe ("Obsessed by Gore") permeating the setting, but it's speedy roller-coasters like "Carved in Rotten Remains" and "Throne of Evil Atrocity" that dominate, making this effort a sure pick for the headbangers. Some of the musicians are also active with the black/thrashers Nocturnal Witch, and the black/death/thrash hybriders Silent Death.

Storm of Devastation EP, 2013
Sanctifying Ritual Full-length, 2020

Official Site

SANCTION (CHILE)

Based on the "Endless Maze Of Demise" demo, this act offers fast intense retro thrash/death metal with original semi-progressive elements the latter greatly boosted by the stylish bass work. The music comes as a mix between Immolation and mid-period Death, and as such is closer to death metal perhaps, but the bad shouty vocals are a major detraction.
"Crypts of the Imbalance" arrives with a very noisy sound quality which mashes the guitars into one not very coherent melee from which the listener should be able to extract the really cool technicaller "Incubator of Silence", the more polished brutalizer "Endless Maze of Demise", and especially the standout fast-paced puzzler "Painful". The execution remains on fairly high level, but the sound obstruction is too big at times "robbing" the otherwise fine closer progressive-tinged "Sancion de los Muertos" from the several nice melodic "excursions" contained within.

Human Final Holocaust Demo, 2010
Endless Maze Of Demise Demo, 2011
Crypts of the Imbalance Full-Length, 2015

Official Site

SANCTIONS (USA)

This not very known outfit play crunchy classic power/proto-thrash with progressive touches which starts with the epic elegiac opener "Time Worth Buying", but things get harder later on although the approach remains within the Sanctuary's "Into the Mirror Black" and the one-album-wonder Sardonyx realms the excellent singer also doing a similarly good job with his emotional passionate tone. "Wicked Wonderland" is a dramatic shredder notching it up a bit in the aggression sector in the middle although nothing changes pace-wise the delivery being constantly in the mid field with a more frequent interference from the ballad near the end.

Sanctions Full-Length, 1996

SANCTITY (USA)

Modern thrash metal with a certain Swedish-vibe, but closer to the sound of bands like the French Lyzanxia (minus their debut, of course), and groovier. There are fast and slower numbers, and the singer will also keep you alert with his switches from more brutal death-y vocals to semi-clean ones ala James Hetfield, to quite good clean ones. This is good music although it's hardly something you haven't heard before.

Road to Bloodshed Full-length, 2007

Official Site

SANCTORUM (UK)

Based on "Ashes Of Redemption", these guys don't bother to break the trite formula of modern thrash metal with the typical for the style alternation between faster and slower sections, the latter not bad, actually, avoiding the groovy "traps" for most of the time, adding to the dynamics of the former. The guitar players excel in melody, both in the riff and the lead department, leaving the closer "Take It All" to "carry it all" with the sharpest and most vigorous riffs on the album despite the virtuoso melodic lead break at the end.
"Old Ghosts/New Wars" continues the modern thrash trend without breaking any new ground. This is one-dimensional stuff with casual moments of intensity (the headbanging passage on the opening "Before We Let Go"; the urgent riffage on "False Idols"). "City of Ghosts & Born of Scars" is an interesting galloper, but its less conventional comes superseded by ordinary Swedish melo-thrash/death moments later which stay all the way to the boring sprawling semi-balladic closer "When All's Said and Done".

Penumbra EP, 2004
The Heavens Shall Burn Full-length, 2006
Ashes Of Redemption Full-length, 2008
Semper Fidelis Full-length, 2011
Old Ghosts/New Wars Full-length, 2014

Official Site

SANCTRUM (SWEDEN)

Based on the "Hold Your Ground" demo, Sanctrum play typical Swedish thrash metal of recent times akin to The Haunted and Carnal Forge, plus the also quite typical Gothenburg influences in their sound.
"Rot": the modern Gothenburg death/thrasherisms carry on here with a fairly abrasive guitar edge which ruins the pleasure the latter also marred by the awful shouty synthesized vocals. Niceties from the likes of the explosive moshers "The Sickness Within" and "Machines" are very rare as for most of the time the approach straddles in mid-tempo waters also acquiring slight epic tendencies (the closing "On Justice") here and there.

Sanctum Demo, 2003
Hold Your Ground Demo, 2005
In Harm's Way Full-length, 2008
Autumn EP, 2013
Rot Full-length, 2015
Official Site

SANCTUARY (USA)

This cult act was transformed into Nevermore during the 90's and became one of the most essential bands on the scene, up to present times. The debut is a nice slab of American power/speed metal, but on "Into The Mirror Black" the guys grabbed thrash for the throat, by giving it a stylish progressive colouring, although a big doze of power metal still remains. The music on this very good album is quite heavy and crushing, mostly in mid-tempo, which may be a disappointment for the fans of the debut, but the top performance of everyone involved: the excellent soaring vocals of Warrel Dane, the fabulous bass-bottom provided by Jim Shepherd, the constant pounding riff-section of Jeff Loomis, will guarantee the listener's satisfaction the whole time. The dark bleak landscape "drawn" by the Nevermore works is already here, and brooding masterpieces, like "Epitaph" and "Taste Revenge", could easily make any Nevermore fan happy. "Long Since Dark" will keep the debut lovers on the edge of their seats, albeit for a while, and indeed it has a lot in common with the brisk speedy style of the first album. "Eden Lies Obscured" is a feast of the sorrowful, depressing type, clinging towards the doom metal genre, a tendency further continued on the following "The Mirror Black". "Seasons Of Destruction" livens up, thrashing harder, and is the most immediate track. "One More Murder" softens the tone, again recalling the debut a bit, being sustained in a more light-hearted speed metal manner, but the final "Communion" will literally bury you, with its massive heavy riffage, including the funereal doom closing minutes; Loomis unleashes some very cool leads there as well, and Dane shines all over, too, with his dramatic emotional singing. A great work, and quite unique in its approach to progressive power/thrash metal, although comparisons to mid-period Fates Warning and Crimson Glory are inevitable, it remained the last in the band's short catalogue, although Nevermore is pretty much the same band, minus the guitarist Sean Blosl and the drummer Dave Budbill, with a style not miles away from the one displayed here, only more modern and clinical-sounding, with more emphasis on technical riffs rather than melody.
"The Year the Sun Died": while Nevermore are on an indefinite hiatus, Warrel Dane and Co. decide to give their old love Sanctuary another chance with an almost complete line-up from the old days except for the former Forced Entry guitarist Brad Hull. Comparisons between this new opus and the Nevermore output would inevitably start flowing once this album reaches the fanbase's ears, and indeed there is some resemblance in the overall execution although the Sanctuary catalogue has always been less prone to thrash as is the present case. Still, the listener will by all means be moved around by spastic proto-headbangers like "Let The Serpent Follow Me" and "Frozen", and dramatic steam-rollers like "Question Existence Fading" although the dominant mood is quite dark and doom-prone seldom lapsing into genuine moments of tenderness: the peaceful ballad "One Final Day (Sworn To Believe)"; the short acoustic instrumental "Ad Vitam Aeternam". The last couple of pieces indulges more in doom the closing title-track being full-fledged tribute the the heritage of Candlemass, Solitude Aeturnus, and While Heaven Wept. The performance is top-notch as expected and one will be invariably happy to see, and also hear, old veterans doing what they can do best quarter of a century later.

Refuge Denied Full-length, 1988
Into The Mirror Black Full-length, 1990
Into the Mirror Live/Black Reflections EP, 1990
The Year the Sun Died Full-Length, 2014

Official Site

SANCTUARY GOLGOTA (EAST TIMOR)

Modern power/thrash/post-thrash which can be quite aggressive (�Shadows Unveiled�), but most of the time this is bumpy mid-paced stuff (�Heima�, the jumpy groover �Heroi Ba Rai�), the shouty angry deathly vocalist supporting all causes, including the dramatic semi-technical �Animal Koruptor�, the highlight on this also occasionally melodic album.

Echoes of Discord Full-length, 2024

Official Site

SANCTUM (USA, LOS ANGELES, CA)

A really cool demo of speed/thrash metal released at the same year with Angel Dust's "Into the Dark Past", and sounding not too far from it, at least on the two speedy numbers. "Nothing Left" slows down sticking to the American power metal field.

Demo Demo, 1986

SANCTUM (USA, NORWALK, CA)

This act appeared when members of the thrashers Defcon left after participating in that band's debut demo, and received a headstart for their career playing with none other than Lloyd Grant, the former Metallica guitar player. They were operating under the Comatose moniker initially, but changed their name to Sanctum in time for the recording of their debut demo, a 3-tracker which displayed their penchant for pounding semi-technical thrash that first comes to life on "When Good Does Evil", a brisk lashing shredder sustained in several tempos the music topped by mean, spiteful semi-declamatory vocals. "Carry the Cross" flirts with the tune from the "Halloween" film before eerie creepy thrashing gets introduced the band happier with a less speedy, mid-paced approach. "Realm Of Unrightousness" begins with an enchanting balladic stroke, and later on the more melodic delivery is preserved although this is pretty much fierce speed/thrash all the way the guys seldom pausing for a break on this entertaining roller-coaster.
The second demo only contains two new tracks, "Chamber Of The Ages" being a solid piece of intense technical thrash the vocals now having acquired a piercing, banshee-like pitch which works very well with the complex riff-patterns and the accentuated bass bottom, the overall execution coming as a more aggressive version of Toxik's "World Circus". "Creators" is sustained in a similar vein the singer pitching it even higher beating the Halford antics on "Painkiller" at times; music-wise this is another exhibition of high-class musicianship, perhaps a tad more controlled and less speed-prone, with excellent lead sections.
Alas, the band didn't last beyond those two short endeavours, and the musicians were soon picked by other more prominent acts like Evildead, with the bass player Karlos Medina also taking part in the Agent Steel reformation later in the new millennium. The distinguished versatile vocalist Dave Gilstrap found himself next to Jim Durkin, the Dark Angel guitarist, for the foundation of Dreams of Damnation, although he only took part in the recording of the debut single. Reportedly the guys are trying to get back under the Sanctum banner and produce a few more odes to the good old thrash in the days to come.

Demo 1 Demo, 1988
Demo 2 Demo, 1989

Official Site

SANCTUM (USA, WA)

Based on the debut EP, this act pulls out heavy battle-like thrash/death metal with obvious nods to Bolt Thrower including the Brits' earlier faster approach. The guitars crush on the slower sections, but the more speedy ones go straight into hardcore territories at times, and the singer isn't very convincing with his semi-shouty throaty voice.
The self-titled EP is only three songs which this time offer more invigorating and faster stuff, "Sanctum" being pure death metal madness, again with a Bolt Thrower flavour. The other two pieces cling more towards thrashcore for which the low-tuned death metal growler doesn't suit quite well.

Enslaved EP, 2005
Sanctum EP, 2006
On the Horizon Full-length, 2008

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SANCTUS (USA, Minnesota)

A nice obscure entry into the American underground scene of the 90's comprising energetic classic choppy power/thrash with nice melodic attempts and a generally laid-back delivery which doesn't try very hard in the thrash department, but pulls it out thanks to the proficient musicianship and the good emotional semi-high vocals the latter's efforts hampered somewhat by the muddy sound quality.

Done With Reliance Demo, 1993

SANCTUS (USA, New York)

Good American speed/thrash metal ala Agent Steel's debut, Deadly Blessing, and Indestroy; these guys are more aggressive than those bands, and cool technical licks could be caught (the excellent smasher "Disloyalty"). "Gutter Bitch" is quite an aggressive number which thrashes no worse than Slayer on their best day. The singer is quite impressive with his high-pitched voice, sounding like a blend of John Cyriis (Agent Steel) and Eric A.K. (Flotsam & Jetsam).

Accept the Blessing Demo, 1988

SANGRE (BRAZIL)

Based on "Technological Destination", this band play curt spat-out retro thrash with dense staccato riffage with a varied gamut of tempos covered on nearly every track, the not very controlled blast-beats on "Are You Ready to Die" bringing the winds of death for a bit. "Listen My Scream" is a brooding doom number, influencing the remaining material which also accommodates the gruff semi-shouty death metal vocals quite well. Some of the band members can also be seen in the groovy post-thrashers Ariel n' Caliban, and the death metal cohort Under Death.

Just Pray Full-length, 2017
Technological Destination Full-Length, 2020

Official Site

SANGRE ANTIGUA (ARGENTINA)

Based on the split, this act offers early Germanic speed/thrash, crossing the fury of Kreator's "Pleasure to Kill" with the menacing avalanche-like approach of Angel Dust. The singer is perhaps less interesting with his gruff hoarse, "all over the place", delivery which would better suit some hardcore band.

Thrash Slash Vol. 2 Split, 2009
Sentencia de Muerte Demo, 2009

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SANGRE PICHA (COLOMBIA)

The debut: good edgy Bay-Area thrash of the heavier variety ala Defiance and late-80's Metallica; another close call would be the Italians In.Si.Dia. The riffs are heavy, mid-paced contrasting with the melodic leads which are cool, but somewhat naive and repetitive. "A 120 Frente A La Muerte" and "Huir O Morir" speed up admirably breaking the slightly monotonous feeling created by the solid, but one-dimensional steam-roller sound. "Aventuras" isn't too far behind although the beginning is very mild, in the power metal mould. As a whole the second part is much more varied with every track containing fast parts including the short explosive thrashers "Redentor" and "Evolucion Irremediable" at the end.
"El Arte de la Involucion": the guys are back after a huge hiatus, and they have modified their approach a bit, sounding a bit more modern and more abrasive. The bouncy lively rhythms of "Huir o Morir" are surely a decent digression, but it's "Involucion" that shoots the album high up the hierarchy with shattering headbanging riffs, the melancholic semi-balladic sentimentality of "Esperanza" a cool respite. In the second half the band embark on a more overt moshing journey ("Bastardo", "Utopia") with a string of less restrained cuts, the stomping insistency of the final "Respuestas en Mi" pacifying the setting to an extent. Some of the band members are also occupied with the melo-deathsters Murder Hate.

Evolucion Irremediable Full-length, 1997
El Arte de la Involucion Full-length, 2022

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SANGRIENTAL (ARGENTINA)

This outfit indulge in rough classic thrash with the obligatory galloping speed metal insertions. The singer falls behind, though, with his scary hysterical death metal pitch. The guys vary the tempos quite a bit even coming up with the odd heavy/power metal cut ("Descontrol"), but keeping the dark riffage all over. The guitars bite with a clear sharp edge, and more speed in the future would only give them more exposure since now this heavy, mostly mid-paced, approach kind of undermines the guitarists' talents.

Sin Miedo A Morir Demo, 2012

SANGUE DE BODE (BRAZIL)

Based on "Eu Sou a Derrota", this band play a fairly diverse mix of thrash, black, death and something else that is really hard to categorize. The reliance on scattered blast-beats ("Problema pra Dormir") could be grating on the nerves of some, and the extremity of this recording can hardly be bypassed, with "Palavras S�o S� Barulhos" being the more sensible proposition, a face-melting thrasher which later receives support from the intriguing psychedelic shredder "O Mofo" and the atmospheric lead-driven drama "Vybora". The vocals are shouty and hardcore-prone, leading the variegated show with vociferous glee.
The debut tries to capture the prime brutality of Cryptic Slaughter's mythical debut, but this is more in the crusty thrashcore spectre, the blast-beating outrage siding closer with the black metal realm, "Jazigo" being a short grindcore madder, the bouncy thrashing "Messias de Merda" and the corrosive "Filho de um Manequim" the other mellower offerings here, the remainder firmly on the brutal side of life, by no means for the faint-of-heart.

A Sombra que Me Acompanhava Era a Mesma do Diabo Full-length, 2020
Seja Bem Vindo de Volta pra Cruz Full-length, 2021
Eu Sou a Derrota Full-length, 2024

Official Site

SANGUINARIA (PERU)

Based on "Mundo en Sangre", this band plays melodic power/thrash metal with weak amateurish high-strung vocals. Otherwise, the music makes sense: "Vision Diabolika" is cool more intense speed/thrash, and explorations into the more progressive/epic form are also worth mentioning ("Peste Humana", "Desolacion"), although from a thrash metal point-of-view not much happens inside them. Despite its cheesiness and naivety, "Presagio Final" is a good power/speed metal hymn ala more recent Helloween and Gamma Ray. "Sangre Fuego y Terror" is the other more ambitious composition, but the guys lose coherence here and there throughout its more than 9-min, and start thrashing with full force at some point as well.

Mundo en Sangre Full-length, 2001
Entre el Bien y el Mal Full-length, 2001
Gladiadores del Metal Full-length, 2004
Metal Attack Full-length, 2006

Official Site

SANGUINARY (USA, CA)

An excellent demo; the opener "Bathing in Chaos" is a fast-paced thrasher with great sharp riffs and swirling leads, and vocals buried in the mix. The other three songs are longer less immediate exercises in technical thrash (the vocals still remain barely audible, except on the screaming attempts); the tempo slows down and the guitars become much heavier. "Crisis of Conscience" has a great fast middle part which nicely contrasts with the remaining almost doom-laden ones. This is music that would appeal to both thrash and doom metal fans, but the doom metal fans shouldn't expect something in the Candlemass vein; this is more intense and aggressive stuff.

Self-Desecration Demo, 1990

SANGUINARY (USA, MN)

Based on the full-length, this outfit indulge in classic thrash/death which is both overtly moshing ("Coded to Kill", "Servants of Moloch") and heavy and proto-doom ("Shadowmass"), the frenetic riffing on "Detested" resembling early Deicide, "Testament to Pain" another handsome display of gleeful old school death/thrashing spree, the latter dominating the scenery here, the guttural but authoritative death metal vocals leading the frequently hyper-active procession with subversive, brooding panache.

Inhumane EP, 2018
Aeterna Servitus Full-length, 2022

Official Site

SANHEIM (RUSSIA)

A 3-song promo of rough classic speed/thrash ala early Razor and Hallows Eve ("Black Knight"), plus two covers: Venom's "One Thousand days in Sodom" and Motorhead's "Iron Fist", not bad but ruined by the unpleasant gruff death/black metal vocals.

The "Corpse Attack" demo is more aggressive, now pure thrash metal all the way, well done, nicely touching Slayer ("The Lifter") on the more aggressive moments. The songs are sustained in a fast energetic pace seldom sounding less serious (the Motorhead-ish deviations on "Dead Emotions", which also features the only heavy breaks on the demo) although some may complain about the singer whose gruff unrehearsed death-metal timbre is below the usual standards for this kind of music.

The EP is another decent entry into the classic thrash metal field, a varied effort with both fast and slow sections alternating throughout the songs which never become too fast, but deliver with their consistent riffage and stripped-down delivery. The vocalist this time sounds more rehearsed but doesn't stray too much from his dark sinister tone.

Black Knight Promo, 2009
Corpse Attack Demo, 2010
Bringer Of Death EP, 2011

My Space

SANITARIUM (ITALY)

A really valuable addition to the thrash metal cohorts of recent years is this little gem. The guys hit you with wonderful dissonant Voivod-ian thrash on the opening "Silence of the World" which swirls and twirls around you in a seamless fashion also full of weird atonal melodies. "Never Been Alive" is a bit more orthodox with faster-paced passages more prominent the melodies still around to create a nice memorable speed/thrashing tour de force with a thick progressive edge. "All My Enemies" is a dystopian masterpiece with formidable riffs taking turns with surreal abstract licks with an elusive semi-lead blend (think Despair, later-period Helstar). "Among Them" is a vigorous technical headbanger with dramatic accumulations aplenty, the band trying to keep the tempo up the whole time. All the way to the fleeing... sorry, final "Fleeing From Here" which is 7.5min of clever twisted thrashing also serving a cool balladic mid-break. The singer has a decent semi-clean baritone which he tries to pitch towards the higher registers at times, sounding a bit strained on those moments.
The 4-track demo is an auspicious start for the guys comprising the same intelligent, elaborate delivery "Need to Kill" rolling forward with a spinning semi-technical edge and nice melodic leads, before "Seventh" moves more towards the speed metal side with virtuous melodies flying from all sides. "Metal Attack" tries to justify its title with intense galloping rhythms the band speed/thrashing with force, a heavy pounding section splitting the song into two. "Violence" is the last "violent" piece reaching less tamed hardcore proportions seeing the band still trying to hone their weapons for more serious exploits .

Demo Demo, 2013
Trapped In The Crowd Full-Length, 2015

Official Site

SANITARIUM (USA)

There's one musician here doing everything, the name Frank Birkner, and he provides crunchy mid-paced power/thrash which is more on the classic side, but the modern edge of the guitars betrays its origins. This is generally simplistic pounding stuff which gets its fair share of complexity on the longer cut "Soldier of Misfortune" and especially on the over-ambitious instrumental closer "Beyond the Seas of Madness" which is 10.5-min of calm mid-tempo shred without any highlights if we exclude the more interesting balladic interludes, the latter used quite extensively. Fran sings in a not very passionate sterile semi-clean fashion and merges with the pedestrian character of the music.

Sanitarium Full-Length, 2012

Official Site

SANITARIUS (USA)

The band's style is a fine cross between classic and modern thrash metal. There's aggressive Bay Area riffage to be heard, but one can also hear a certain presence of groove as well as stylish technical guitars ala Jeff Waters. The tracks are energetic but not very fast being of the mid to up-tempo variety. Despite the good quality of the material presented on these three EP's, one could sense that there's more to come from this band in the future.
"Eternal" fulfills all the promises from previous efforts with its fine sense of melody (the opening "Believe") reflected mostly in the very good lead guitar work. "Monoxide" is a stylish technical shredder in a dynamic pace which influences the following "Paradigm". Then comes the title-track which is a tad heavier with exemplary lead sections. Its relative simplicity isn't encountered anywhere later since the remaining compositions are elaborate headbangers with other nuances embedded within, fairly eventful listens with the singer also doing a good job with his attached semi-clean, high-strung voice.

Nuclear Trauma EP, 2005
Sanitarius Demo 2006 EP, 2006
Eyes To The Soul EP, 2007
Eternal Full-Length, 2013

Official Site

SANITATION SQUAD (USA)

These youngsters pull out melodic speed/power/proto-thrash of the old school which also has its more carefree crossover side ("'84 By Candlelight"), and generally doesn't try to please the thrash metal crowds, only serving plenty of melodic moments at every arising opportunity. The singer is a melodic mid-ranger who pitches it a bit higher at times, managing to sound convincing all the way.

Inside Room 101 Full-Length, 2014

Official Site

SANITY'S RAGE (BELGIUM)

Very good energetic Bay-Area influenced thrash; the band play with competence and inspiration with sharp riffs which also bring the Channel Zero debut to mind. The tracks (minus one) are lengthy (5-7min) and there are attempts at a more intriguing play which could serve as a good base for a strong full-length.
The full-length is finally a fact; the band take it easy, don't rush to anywhere which is a shame since the music at display here isn't bad at all. The guys carry on in a sure-handed classic fashion crossing direct with more technical patterns on almost every song: check out the hectic ones on "Aberration Mandatory" which even flirts with death metal at some point. Sincere stripped-down thrash can be caught on "Kisses With Fangs", but generally the guys' heart lies with the more elaborate arrangements to which belong at least half the songs including the dramatic closer "Thumbs Up For The End Of The World". The singer has a cool semi-clean timbre that acquires less audible semi-whispered qualities at times the latter overtaken by the crisp guitars which offer a great headbanging ending to this entertaining roller-coaster.

The Rage of One EP, 2006
You Are What You Swallow Full-Length, 2012

Official Site

SANITY'S VOID (USA)

An admirable attempt at retro thrash in the midst of the groovy 90's; not bad actually, even meandering and semi-technical ("Burning Your Cross") on occasion, the main complaint coming from the really muddy sound quality. "Sanity's Void" is a crunchy stylish mid-pacer which rolls on in a steady volcanic fashion, and the title-track is a slow-burning creeper with nice lead sections. "Like This" provides an entertainment of a similar kind, with headlong gallops rising out of the stomping layout to serve a couple of intriguing technical moments and bouts of rowdier rhythm-sections. The vocalist is an intense semi-cleaner who adheres to gruffer angrier tones at times with shade of James Hetfield.

Sculpted Demo, 1994

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SANITY BURNS (UK)

Your "sanity" will "burn" while listening to this very uneven tribute to the old school which is close to the early Metallica antics in the beginning with a pinch of more stripped-down early speed metal ala Exciter and early Overkill, in the beginning. The guys start deviating from the chosen path too much after the opening trio, "Killed in Action" being a moderate power metaller which carries the winds of tenderness after it, reflected in the serene ballad "Embers" and a string of bland heavy rockers which pull this effort deplorably down to the point that most of you would turn it off way before this is over; and for a good reason since till the end we have heavy/power metal hits with barely hint at thrash and would make the fan wonder as to who needed such an invigorating start as the band's target is by no means the thrash metal audience.

Sanity Burns Full-Length, 2012

Official Site

SANITY DESTROYED (BRAZIL)

This is heavy modern post-thrash which does have its more dynamic side ("Fear of Death") although the lyrical semi-balladic "Heaven! Save Him!" is surely a highlight, as is the longer more complex "The Blood in the Sky". The semi-clean/semi-shouty vocalist does a decent job, including on the several more tender moments, including on the relatively calm but effective mid-paced progressiver "I Can't Be Myself" and the atmospheric moody doom/ballad amalgam "Touch the Ground".

Sanity Destroyed Full-length, 2024

Official Site

SANITY OBSCURE (SINGAPORE)

The full-length: this Singaporean act carry the influences on their sleeves (check the band name), but will they be able to live up to the standard of Believer's magnum opus? Based on the full-length, the music isn't a very close soundalike to the early style of the aforementioned Americans, but is intriguing and clever enough to catch the attention of any technical thrash/death metal fan. The atmospheric intro "Dreams-Manifestations" is an engaging start after which the guys begin their surreal journey into the "jungle" of the progressive/technical side of the genre including unobtrusive keyboards, haunting bass-isms, odd time-signatures, intense husky death metal vocals of the dual type (the more vicious, Kelly Shaefer-esue ones are more preferable than the low-tuned guttural ones), and more. Mentioning Shaefer, the references to Atheist are more than passing the Singaporeans using the same sudden switch of tempos and piling of puzzling riffs at the least expected times including frequent speedy passages which never sound awkward and would also recall other more technical practitioners of the past (and present) like Hellwitch, Terrahsphere and Coroner (the drier, more mechanical shreds on the closer "Afflicted Mind"). The compositions are never too long, some may even consider them too short for this kind of music (the longest one barely reaches 4-min) so don't expect show-off musicianship done for its own sake: there's none here. And, like Atheist again, the album is short and to-the-point, in this case failing to reach the half-hour mark, but the twists and turns during this timeframe are more than enough for the listener to want to take a break at some point. This is a maturely constructed effort with a lot of thought put into its making, showing a lot of promise at this early stage of the band's career, and hopefully they will be able to keep those high standards on future efforts.
The EP is a cool rehearsal for the ambitious full-length comprising four cuts of cleverly-concocted technical thrash which starts with the hectic Coroner-esque title-track where the bass rages with style topped by a couple of melodic leads. Then the "false" will be "thrashed" with the next "Thrashing The False" which excels in the choppy riff department among a few intense speedy passages. The other two pieces are more relaxed from the technical side relying more on atmosphere saving the technical exuberance for the full-length.
"Codex Incognitus" is an eye-opener in every way transcending the boundaries of thrash and death metal, the opening "Extraterrestial Abduction" blurring all possible genre classifications with its dystopian mechanical layout, a futuristic Meshuggah-esque creeper with nice trippy walkabouts those taken straight from Pestilence's "Spheres" and DBC's "Universe". Both death and thrash come back for the rowdy shredder "Interceptor" which still perplexes the listener with the regularly applied atonal, angular rhythms, the latter even more accentuated on the surreal masterpiece "Colossal Beast", a transmogrifier of the highest order with a couple of captivating melodic lead sections carving burrows into the totally outlandish "Mekong Delta meets Nomicon" canvas. The short "Interplanetary Warfare" borders on doom/death before "Moon Odyssey (Le Voyage Dans La Lune)" weaves alluring psychedelic vistas with abrupt more aggressive skirmishes and mind-scratching dissonant disturbances. "Technomancer" thrashes with more verve and less puzzling developments with the bass epitomized more fully, the lead guitarist also occupied for the creation of several delectable melodic pirouettes, "Artificial Beings" holding onto the same marginally more linear pattern bringing Coroner's "Grin" to mind with its unmitigated groovy jolts, those staying around for the final "Fear the Sentinel Sphere!", a contrasting piece of musical surreality with more mesmerizing lead contributions among other pleasant surprises like sudden speedy accumulations, etc. This is a really higher form of art that should be heard by metallers from all walks of the metal spectre.

Dethrone the King EP, 2008
Subterranean Constellation Full-length, 2012
Codex Incognitus Full-length, 2018

Official Site

SANKTUARY (CANADA)

Based on the full-length debut, this trio play conventional old school speed/power/thrash metal targeting the 80's scene of their neighbours, above all, and succeeding in producing attached dramatic music with good melodies and even better emotional clean vocals which even capture some of the oblivious blend of Rick Emmett (Triumph). The album is divided into longer and shorter numbers the latter featured more prominently, carrying the more aggressive charge of this effort which clings more towards the speed/power metal side reminiscent of Savage Grace and Griffin; it's by all means worth checking out due to the truly memorable songs and the finely reflected old period from the genre's development. So it's not exactly something fierce, don't be afraid... give it a try.
"Winter's Doom" is more melodic and not as interesting the style now much more power metal-based, "Vermin Lord" serving a slightly more complex delivery than the norm as the only more dynamic number is the closing "Maximum Authority" which is a sure-handed speed metal hymn the vocals on this one acquiring harsher notes as compared to the dramatic semi-clean croons dominating the scenery.

Sanktuary EP, 2008
Black Magic Brew EP, 2010
Something Fierce Full-length, 2013
Winter's Doom Full-Length, 2016

Official Site

SANSKRIT (BRAZIL)

A rough bashing demo of classic thrash/proto-death along the lines of the early "atrocities" of Vulcano and Holocausto. The incessant bash comes with a constantly muddy sound and intolerable shouty, rending at times death metal vocals. "Shadows Of Treason" slows down featuring a few more sensible rhythms, but the rest is vicious aggressive barrage that may scare away the unprepared.

Demo Demo, 1992

SANTA CLAUS (USA)

An obscure trio who offer jolly thrash/crossover that can be quite hard-hitting even touching the extreme aesthetics of early Cryptic Slaughter ("Cross the Line", "Just Like That", etc.) at times and for most of the time the style is closer to thrash with several sincere very short (1-1.5min), hardcore-oriented tracks thrown in the middle. The sound quality is very muddy, and the singer is a listless declamatory punker who deafens the instruments a bit when in action.

Rocks in Your Stocking Demo, 1988

SANTA SANGRE (ITALY)

The full-length: modern power/post-thrash which has a surreal progressive flair ("Schegge") as well as a more aggressive sting ("Passi Di Piombo", "Visione Esoterica"), but generally this is not as intense, but is more thought-out music which hits ambitious heights on the last two compositions those kind of marred by the not very convincing semi-shouty/semi-clean vocals.
The �The Shadow's Forest� demo contains a dark atmospheric doom/thrash mixture which on the title-track is bouncy and confrontational, whereas �Soldiers of the Silent Scream� is an up-tempo trot with heavy riffs and intense skirmishes, the bass player making himself heard with an array of intelligent burps. The vocalist is a gruff death metal reciter who marches alongside the brooding music with pessimistic determination.

The Shadow's Forest Demo, 1998
Ali D'amianto Full-Length, 2016

Official Site

SANTAMAGNA (ARGENTINA)

This band play brisk energetic retro thrash which has both ten-ton behemoths (�N.N.�) and fast-paced disturbers (�El Camino Correcto�), the more epically-built �Destino Hostil� epitomizing the hoarse but steady semi-clean vocalist a bit better. Expect some more radio-friendly power metal (�Viejos Fantasmas�) as well as a lively elevating speedster (�El Tipo Aquel�) later.

Saliendo del Lado Oscuro Full-length, 2024

Official Site

SANTUARIO (BRAZIL)

The band shares this split with three other acts, one of which is Korzus (the other two are not related to thrash). The guys offer two songs of brisk galloping American power/thrash in the vein of Savage Grace and Attacker. The vocals are cool clean mid-ranged ones which need a little adjustment in the high register department.

S.P. Metal II Split album, 1985

SANTUARIO (DOMINICAN REPUBLIC)

Based on the debut, this band offers heavy crushing groovy post-thrash which doesn't shy away from doom, and even funk all this on a hammering riff-base which doesn't waste time with leads or melodic tunes topped up by very angry shouty vocals.

Adicto al Kaos Full-length, 2002
Brutalismo Full-length, 2004
Santuario Full-length, 2005

Official Site

SAPIENCY (GERMANY)

Modern thrash/death metal which sticks more to heavy mid-paced patterns, and as such may tire at some point, especially on the mellower semi-balladic passages ("Mercy", "Wake Up" (yes, indeed, guys, wake up!)). This isn't adventurous, but generic stuff, done professionally but without much enthusiasm. Probably more of the aforementioned enthusiasm has been shed for the works of the progressive metallers Force Trankill where the two guitarists also take part, or for the melodic power metal outfit Everfest graced by the same two guitar players.

Fate's End Full-length, 2010

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SAPROGEN (USA)

This is modern progressive thrash which doesn't win too many points from the vociferous death metal vocals, but the music delivers with the choppy Meshuggah-esque twister "Unmitigated Hate" and the dark creepy "Perfect Storm". Bigger ambition is displayed on the complex dramatic "Waltz of the Damned", but the more compact tighter expletives on "Bred for War" work almost as well, the only unexciting proposition being the closing "Overcome", a light-hearted spacey walkabout.

Thrashed �N Trashed Full-length, 2021

Official Site

SAPROPHYTE (CANADA)

This young Canadian act plays stylish technical thrash/death metal blending fast deathly with quirky jumpy rhythms on the opening dynamic "Different Faces", but "Finesse" is already an offbeat industrial ballad, and the unpredictability becomes really big when "Arterial Abcesses" rushes in with dry clinical Meshuggah-esque riffs. "Death Waltz" can hardly pass for waltz, but is a nice hectic technicaller, before "Mask of Sanity" exits this short effort with style adding another portion of complex mechanical shred. This is an interesting sound which has its rough edges, but with more refinement it could easily turn into a nice addition to the technical scene in their homeland.

Decompose EP, 2011

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SAPROS (POLAND)

A 4-song EP providing one track of heavy proto-modern thrash of the aggro-type and three more numbers belonging to the energetic Bay-Area thrash fraternity resulting in good headbanging music close to the Forbidden debut and Death Angel's "The Ultra-Violence". The riffs are sharp and lashy, and the singer isn't bad although his semi-shouty timbre may annoy at times when reaching for the higher notes.

Time to Kill You EP, 2008

Official Site

SARAM (PERU)

The "Sinners" demo contains four tracks of gloomy dark thrash/death with some of the deepest death metal growls ever heard; if it wasn't for the bad sound quality one could have enjoyed this sinister mix of heavy mid-paced riffage and depressing doom passages, the latter being not far even from masters like Runemagick or early My Dying Bride. The last cut "Glory To The Forgotten Spirit" is a sudden unexpected take on blasting black metal, not a very cool touch with furious unintelligible guitars and unpleasant apocalyptic, very hysterical vocals; the song still contains a sprawling doom-fixated section but it considerably ruins the monolithic wall-like impression created by the preceding material.

Sinners Demo, 1998
Metal Mayhem Genocide Demo, 2004
Embrujo EP, 2005
Sinners Best of/Compilation, 2007

SARATAN (POLAND)

The demo boasts crystal clear production. What we have here is a good effort: dark, powerful thrash which would probably remind you of Nevermore, plus more standard modern thrash metal parts. One would think that with such a talent at display it would be a piece of cake for the band to find an interested label to sign them.
"The Cult of Vermin" is a good debut, elaborating on the music displayed on the demo. "Future Is Grim" is an excellent modern technical energetic thrasher but their other slower, more atmospheric side quickly shows up with the following "Path Of Mistakes". Later both sides take turns with the faster, more technical being the more attractive one, later producing awesome Nevermore-esque pieces ("Serve The Death") the Americans seemingly the main influence on the band. A couple of short, moody instrumentals are also thrown in. Watch out for the great acoustic flamenco guitar on the closer "Vermin" which also boasts a pounding, hypnotic ending.

"Antireligion" is a different "animal" being faster and more aggressive beginning in an openly intense manner with the first two tracks the second of those ("Antireligion Pt. 1") even adhering to a couple of less controlled spasmodic blasts. After the calmer mechanical (which is actually the main word to describe the guitar work here) "Dead Inside" comes another bombastic semi-blaster "My Demise" followed by the intense speedy "Reject Adonai", but the second half is more moderate with all songs mixing slow and fast sections except for the closing "Antireligion Pt. 2" which is more ambitious and technical with another portion of fast raging riffs well mixed with the very good melodic leads and the several clever technical moments. This new offering sees the guys in a drier more clinical, less emotional, light the approach now being closer to modern acts like Altered Aeon and Biomechanical although the Poles, on this album in particular, aren't as fond of technicality which to some may be a setback compared to their older efforts.
"Martya Xwar" is another abrasive modern thrash offering the band now sounding even more ordinary and noisier "courting" later-period Sepultura quite a bit trying to impress the fanbase with some offbeat compositions, like the overlong balladic/doomy quasi-industrial cuts "Silent Sound Of Mourning" and the hammering closer "Asmodea". Shades of the band's more interesting past spring up for a moment on the dramatic shredder "God That Disappears", but this effort is just not good seeing the guys losing the bits of originality they bravely displayed in the beginning.
"Asha" goes even deeper into mechanized industrial waters and also introduces the new singer, a girl with a passionate dramatic timbre ala Anneke van Giersbergen (The Gathering) who is at times assisted by a brutal male death metal throat. The music isn't much to talk about again, just harsh chugga-chugga riffs with a truckload of enchanting Oriental melodies at literally every corner, spiced by spasmodic blast-beats and deeply atmospheric undercurrents reminiscent of The Project Hate.
"Dark Orient" is a full-fledged full-length, and apart from that it's totally immersed in Oriental melodisms including on the weird but captivating doom-laden cover of Metallica's "Wherever I May Roam" where the female vocals produce a really positive impression. Thrash doesn't exist under any form here, and to further describe this poignant Oriental progressive opera would be a waste of time for the serious thrash metal fan.
"Nabatea" brings back the thrash, and one can feel immediately from the opening razor-sharp shredder "The One from Shara" that this won't be an idyllic, tranquil listen. The nice female vocals are even more deeply incorporated, for a decidedly positive effect, pairing well with the main gruff death metal ones. "Valley of the Moon" is another admirable thrasher with sudden more brutal developments and flashy lead sections; and "The Dusk of Raqmu" is a doom-fixated pensive semi-ballad with dramatic accumulations. The second half slackens, though, with the lyrical etude "The Lament to al-Qaum", the acoustic instrumental "Qasr al-Farid", and although "The City of Tombs" is a nice more technical thrashy proposition, the Oriental semi-balladisms on the lengthy closer "Mysteries of the Ancient Paths" don't make the requite positive impression.

Infected with Life Demo, 2006
The Cult of Vermin Full-length, 2007
Antireligion Full-length, 2010
Martya Xwar Full-Length, 2012
Asha Full-Length, 2015
Dark Orient EP, 2017
Nabatea Full-length, 2021

Official Site

SARCAS (SLOVAKIA)

Based on "Rise of the Snowflakes", this Slovakian trio plays modern industrialized thrash/post-thrash which juxtaposes sterile groovy rhythms against more regular banging ones, the alternation not very even but delivering in the long run, thanks to the bellicose "Gangsta Paradise", the enjoyable playful KMFDM-esque "Click Ads & Shut Up", and the thumping industrial thrasher "Men in Black". The singer is a threatening death meal throat, but his subdued tirades are frequently interrupted by both female and male inclusions.

Cesspool of Humanity Full-length, 2019
Rise of the Snowflakes Full-length, 2024

Official Site

SARCASM (SLOVENIA)

"Crematory" is a surprisingly good release which mixes thrash, speed and classic heavy metal. The vocals are an acquired taste, having a ticularly high-pitched tone. Then the band got lost to resurface some 13 years later. The bad news is that the high-pitched singer, who had given such a distinctive face to the band on the debut, has been replaced with another, very average one. The music has lost its impact although it still is the same mixture of the three aforementioned styles. There are very cheesy moments ("Sarajevo By Night") which ruin even more the not very positive impression from the rest of the album. Certainly Sarcasm were a lot more capable than this.
"Revolt" is much more satisfying now pulling out cool speed/thrash of the classic type again interrupted by stomping heavier numbers. The mixture works well although the fan's heart will be sold for the speedy side where nice headbangers like "Crematory Generation" and "Divja Kri" belong, and especially the short brutal smasher "Mutant Hamsters", and the glorious speed metal hymn at the end "Metal Mania". More technical guitars can be heard on the galloping early Iced Earth-esque "Dealer", as well as slight balladic leanings on "Bang You're Dead".
"Igra Narave" is the comeback album but shows the band in a different light having moved towards the 90's power/speed metal scene with a touch of the groovy movement. "Skles" of their much better past can be heard on the hectic technical shredder "P.P.N.", but the rest is seriously underwhelming with just one more "blast from the past" at the end, the short speedy closer "Zena".
Something to Believe In" will give you "something to believe in" with its faithful rendition of the good old speed/thrash which is nicely spiced by several interesting melodic stompers ("Demons"). "Voices of Verdun" thrashes with force but "Ghosts in the River" is the "pain reliever" with its mellow balladic style. Later on the focus is on the faster-paced numbers some of which are graced by cool melodic leads ("We Are at War") and catchy sing-along choruses. The closer "Surrender" even lashes proto-death riffs as a finishing touch the otherwise melodic singer serving a portion of more aggressive tones to better suit the approach.
"Thrash": wow, if this isn't a most original title... anyway, the guys have chosen it wisely, and the musical approach nicely reflects the title choice. This is modernly produced retro speed/thrash which sees the guys thrashing with gusto, sticking to fast-paced riffs dissipating the energy with the odd slower cut, but generally this effort is all about intensity and the band should have no problems winning the headbangers' hearts with the sharp guitars and the frenetic pace. The vocalist this time isn't as melodic his mid-ranged, not very emotional, antics still providing the edgy support to the vigorous musical "thrash" delivery.
"Pot v Raj" is by no means weaker than the preceding offering, and admirable more complex sagas ("Begunec") make the situation more appetizing regardless of the presence of radio-friendly tunes like "Heavy Metal", those overwritten by fast direct rippers like "Flasa Whiskeya" and "Adrenalin". "Virtualna Laz" is the other sing-along mellowness, "Tvoj Tattoo" lashing fiery riffs to no end, the speed metal happiness "Hitrost" another sure hit with its blitzkrieg attitude, not to mention the closing speed/thrashing madness "Pedofil". The band are surely back on track, but they should remind of themselves on more regular terms.

Crematory Full-length, 1989
Igra Narave Full-length, 2002
Divja Kri Full-length, 2003
Revolt Full-length, 2006
Something to Believe In Full-Length, 2011
Thrash Full-Length, 2013
Pot v Raj Full-length, 2020

Official Site

SARCASM (SWITZERLAND)

This is the other band of Theo Hilfiker from Infected. This 4-tracker is far less impressive than the very good full-length of his other act, being your average modern groovy post-thrash trying to bring more life to the standard picture in the form of "Innocent Loser", which is faster and edgy, but is completely cancelled by the following funky joke "Spacecake", which judging by its length (5-min) was disappointingly not considered a joke by the band.

In-Sect EP, 1993

SARCASM (USA)

Based on the "Man of God?" demo, this band play rough thrash/crossover ala Hellbastard with short, 2-min maximum, songs which mostly contain intense mid-paced riffs. "To The Death" is a furious deathster, deserving its title with the aggressive guitars and the small portion of wild chaotic leads. The singer shouts in a more restrained for the style fashion also semi-reciting at times. The guys later changed their name to Maximum Penalty, but there's no information as to what style they played under this moniker.

War Song Demo, 1986
Man of God? Demo, 1986

SARCASMO (ECUADOR)

Decent classic thrash is at play here, the lads mostly moshing with heavy seismic riffs at the beginnign, the energetic crossover rhythms of "Paraiso a Largo Plazo" well implelenting the headbanging barrage on "Sarcasmo" and then hardcore-ish fever on "Cibernauta Alcatraz", the shouty hardcore singer an able if somewhat intimidating presence. Brace yourselves also for the thrash/crossover merriment on "Canal Doble Moral" and the closing title-track. Some of the band members are also engaged with the heavy metallers Ciudad Infierno and Resistencia.

Frente Sucio EP, 2015
Zona de Nadie Full-Length, 2023

Official Site

SARCAST (URUGUAY)

Based on the "El Pacto" demo, this act indulge in dark moody but ripping enough old school thrash which also carries quite a bit of melody on the potent opener "El Rey Cana", the doom ruminations of the title-track further darkening the proceedings, before 'Sin Que Me Vean" attempts something more energetic assisted by the high-pitched shouty vocals which can come as either death or black at various stages throughout.

El pacto Demo, 1995
Creature of Death Demo, 1997

Youtube

SARCASTIC (CZECH)

This is rough semi-amateurish thrash with gruff semi-clean inexpressive vocals which on the high notes manage to sound close to Kerrmit (Tyrant (Germany)). The music is served in different paces the mid-paced more accentuated on the uneven riff-patterns carved by the odd screamy lead section. The sound quality is a bit muddy, but the guys pull themselves together to overcome this trammel on the closing shredder "Souls' Hunter" which also shows their penchant for a more serious song-writing which never materialized.

Sarcastic Demo, 1992

SARCASTIC (MEXICO)

Based on the demo, this act plays typical for the time thrash/death metal with the Floridian school an obvious influence, early Death in particular. The vocals are vintage early Chuck Schuldiner (R.I.P.), whereas the music is more thrash-based, quite fast without losing it: check out the explosive piece of brutality "No Forgiveness". The other four songs aren't too far behind speed-wise with "Power" slightly relieving the pressure, pounding in a more mid-tempo manner in the beginning, later also offering more melodic hooks.

No Forgiveness Demo, 1990
Nacimiento Hacia Las Alturas Full-length, 1992

My Space

SARCASTIC (NORWAY)

This is simplistic rough thrash in mid-tempo very close to early Venom and Sacrilege, "Slow Asphyxiation of Internal Strangulation" being a particularly impressive cut, heavy stomping thrash in the best tradition of Sacrilege's "Within the Prophecy" with a few more diverse speedy sections. Later on there are a few shorter faster songs where the spirit of Slayer shows up for a bit. The singer remains the same throughout, a throaty mid-ranged death metal growler.

Day of the Dead Demo, 1990

SARCASTIC (SWEDEN)

Based on the "The Haunting" demo, this band play a fervent mix of thrash and proto-death that has quite a bit of intrigue thrown in, the meandering delight "The Awakening of My Dreams" a really nice introduction, the dramatic accumulations of "The Dreamdance" another notable ingredient, the not very expressive but steady semi-clean vocals adding some raw charm to the proceedings. The shorter material ("Temptation", "Cursed" are straight-ahead moshing thrashers, the band adding two covers, Metallica's "Harvester of Sorrow", slightly marred by the repetitive riffage; and Slayer's "Black Magic", better performed with raging lashing guitars. Some of the band members are also engaged with the black metallers Author of Pain and Mastema, the doom metal warriors Third Stone from the Sun, etc.

The Gathering of Souls Demo, 1994
The Haunting Demo, 1995
Past, Present... Forever Demo, 2001
Forever Fucked Up Chaos Demo, 2004

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SARCASTIC ANGEL (PORTUGAL)

Based on the "Haunting the Prayers" demo, this band plays power/thrash in the American tradition, elaborating things a bit with long albeit somewhat clumsy numbers with the final result sitting somewhere between poor man's Liege Lord and Manilla Road's more up-tempo efforts from the late-80's/early-90's. The sound quality is very bad with the bass put too much up front, leaving very little room for the guitars to be heard. Not that there's much to hear since the riffs are repetitive and monotonous, producing only one more dynamic speed/thrasher (the title-track).

Time To Change Demo, 1991
Haunting the Prayers Demo, 1992
Steps Demo, 1994

SARCASTIC EXISTENCE (GERMANY)

This German trio pull out old school death/thrash; cool intense music with both more complex ("Kill Your Neighbour") and straight-ahead bashers ("Suicide Mentality"), the atmospheric mid-pacer "Denial of Christianity" an effective macabre occurrence. "Cosmic Drama" notches up the drama (no pun intended) with more elaborate arrangements, but "Sacrificed" is a short non-fussy violator, the closing motifs on "Infected State" siding with the doom metal movement for a downbeat introspective finale. The singer is a shouty deathster, an intense threatening presence ala Don Cochino (Pungent Stench).

Arts of Execution Full-Length, 1995

SARCASTIC EXISTENCE (SWITZERLAND)

A rough obscure demo which is influenced by Hellhammer and early Celtic Frost with faster breaks those reminiscent of Messiah. In other words, these guys follow their more renowned compatriots by also adding the appropriate more brutal death metal passage the latter coming with a sophisticated technical edge. It's a pity that the sound quality is really bad taking away considerably from the musicianship which is not on such a basic level, truth be told. The singer is hardly audible his unearthly grunts distantly resembling the early attempts at "singing" of Andy Kaina (Messiah).

Judgement of the Dead Demo, 1992

SARCASTIC OBEDIENCE (GREECE)

Based on the full-length, this outfit indulge in old school thrash/death that also comes quite technically-executed at times, the vehement opener "Cataclysmic" sweeping the neighbourhood with sharp intricate arrangements, the choppy more controlled "Fading Faith" bordering on the openly progressive with the sprawling instrumental section. Some surreal rifforamas on "To Misery..." as opposed to the chapter of the dazzling brutality movement (Cryptopsy, Suffocation, etc.) that is "Annihilating the Truth", "Prodigal Son" another chapter from aggressive death-prone technicality, thrash not left much room to breathe, assisting here and there for the creation of this admirable opus that also features the lyrical atmospheric instrumental piece "Transcedence" at the end, this one missing the forceful shouty death metal vocals. Some of the band members are also busy with the death/doom hybriders Humanity Zero.

Internal Disturbance EP, 2013
Fading Faith Full-length, 2024

Official Site

SARCATOR (SWEDEN)

Based on the full-length, this act serve intense old school speed/thrash which also comes served with a more sinister black-ish vibe ("Abyssal Angel"), the aggressive death metal vocals also creating the impression that something more brutal is going on, but on the music front is's the good old thrash that rules, the guys shredding with more complexity ("Deicidal") here and there, but overall not letting then pedal off the speed, with raging cuts like "The Hour of Torment" and "Circle of Impurity" following in quick succession, leaving the listener pleasantly exhausted from the incessant pogo.
"Alkahest" offers the same layout if we exclude "Ascend", an aggressive/thrash/death/core piece; the rest swings between the dreamy semi-balladisms of "Dreameater" and the more aggressive progressive histrionics of "He Who Comes from the Dark", the steady mid-paced march epitomized on "Devil Sun" not a negative occurrence by any means, the closing 10-min title-track offering quite a bit of music to be savoured, but sadly missing this invaluable dynamic streak.

Screams from Below EP, 2019
Sepulchral Noise EP, 2019
Sarcator Full-length, 2020
Alkahest Full-Length, 2022

Official Site

SARCAZM (RUSSIA)

Fast energetic modern thrash/death metal with a slightly dirty guitar sound which doesn't give a chance to the otherwise good leads to be heard clearly; the delivery is close to the one of Dew-Scented and Corporation 187, although to these ears the slower battle-like riffs deliver in a better way ("Satan's Revenge").

Just Hate Us Demo, 2007

SARCAZM (SWEDEN)

Modern thrash metal not too far from Sepultura's album that same year ("Chaos AD") with horrible synthesized vocals, and a rough hardcore-ish cover of Metallica's "Motorbreath" at the end, also ruined by the angry throaty vocals.

Breath, Shit, Excist... EP, 1993

SARCOFAGO (BRAZIL)

With its merciless brutal sound the first two Sarcofago albums are highly influential on the future black and death metal movement, along with the early works of their compatriots Sepultura, Vulcano, Sextrash. "I.N.R.I." contains extremely vicious aggressive stuff, probably a closer companion to Protector's same year's "Misanthropy" even than Death's "Scream Bloody Gore", although here the concentration is more on black metal. Merciless very fast, bordering on grind, songs are served one after another, seldom spiced by heavier doom/black passages, which are necessary otherwise one may not be able to stand through this exhausting visceral experience. Listening to this album one wouldn't need a very big imagination to see where the roots of the most extreme modern acts (Impaled Nazarene, The Berzerker, Marduk, etc.) lie. The musicianship is on a basic level, but this is not an obstacle for the fan to appreciate this sincere early slab of primal untamed brutality.
"Rotting" tones down the aggression, and music-wise this is a much more proficient effort, although this may be a pullback to some. The speed is not so much accentuated on, and the slower passages are longer and more frequent, all this well expressed on the excellent opening "Alcoholic Coma", which boasts solid riff-work with semi-technical leanings. "Tracy" is long 9-min epic black/thrash metal, a potent mixture of raging fast and heavy doom riffs. The remaining tracks repeat the same formula, with only "Sex, Drinks, & Metal" blasting out the whole time, being much shorter, also graced by a fine melodic section. The infatuation with aggression and speed here has been diminished to a big extent this time the guys relying more on thought-out arrangements and more complex guitar work.

"Laws Of Scourge" takes an even more sophisticated approach, and although it was crucified by the majority of the band's fans, is actually a decent work, concentrating on the death/thrash metal side of the band leaving their black metal roots far behind. Both the melody and technicality are raised one level up, and the final result is cool technical thrash/death, at least in the beginning, sitting somewhere between mid-period Death and early-90's Messiah. The speed is omnipresent, often reflected in furious short blasts, but the more technical hooks are all over them. After two fast-paced brisk technical death/thrashers the band surprisingly slows down big time for the otherwise good epic atmospheric doom opus "Midnight Queen": something completely new in the guys' catalogue. "Screeches from the Silence" speeds up, and contains breathtaking melodic keyboard-driven passages. "Prelude to a Suicide" is heads-down sinister doom, and may justify its title with the more faint-hearted. "The Black Vomit" is a ball of fury, sounding like a leftover from the debut, but when "Secrets of a Window" slows down for the umpteenth time, one may really consider listening any further, especially when he hears the very soft acoustic interlude. "Little Julie" will hardly make even "little Julie" happy being another dark slow doom/thrasher. "Crush, Kill, Destroy" expectedly proves its title right, lashing out furious guitars and nice melodic leads, trying also to reach the first two songs in the technical sector. The metal fraternity saw the band in a new light with this recording, for better or worse, which closed the first period of their history.

Afterwards the band's career went down the hill, first with "Hate" which wasn't exactly a total waste, trying to marry their vicious thrash/death/black metal style with the modern industrial tendencies resulting in a very uneven affair, still quite fast and relentless, but totally lacking spontaneity and originality, sounding mechanical and unnatural with the drum machine used the whole time worsening the situation. The guys hit the bottom with the awful modern "thrash-meets-black-meets-death-meets-industrial-meets-something too terrible to be defined" brand on "The Worst" (a very appropriately chosen title, by the way), the drum machine constantly creating super-fast artificial noise, stifling the guitars more than just occasionally. "Crust" was unnecessary seeing the band now following those who learned from them (the Australians The Berzerker, in this case), blasting all the time in a very unpleasant dry fashion producing something which one may have difficulties calling music.

INRI Full-length, 1987
Rotting Full-length, 1989
The Laws of Scourge Full-length, 1991
Crush, Kill, Destroy EP, 1992
Hate Full-length, 1994
The Worst Full-length, 1997
Crust EP, 2000

My Space

SARCOMA (GREECE)

Old school thrash with gurgling death metal vocals; enjoyable stuff overall, with frequent melodic ornamentations and strong visionary bass presence. "Sarcoma" is a diverse brutal piece recalling mid-period Messiah, and "Totally Decomposed" is a steady mid-pacer with dark overtones. "Infected Souls" combines both sides for a thrilling roller-coaster ride, the highlight on this interesting but marginally flawed affair.

Naked Earth Demo, 1993

Youtube

SARCOMA INC (NORWAY)

Many bands these days try to put all extreme metal styles into one, and few are those who manage to do that well. This band, which consists of to musicians only (also involved in Limbonic Art, Zyklon, Trail of Tears, Dimension F3H, etc.), unfortunately, do not belong to this group as their music is black, thrash and death metal of the unsurprising and generic type.
"Psychopathology" is another larger-than-life offering but packs more punch combining the orchestral arrangements of early Emperor with the operatic aesthetics of Bal-Sagoth and the blasting outrages of Impaled Nazarene. So is there any thrash metal at all here? Well, there is, on the slower and longer material: parts of the atmospheric Immortal-esque "Suicidal Death", and the closing doom/thrasher "Torment Rides Forever": a brooding steam-roller track.

Torment Rides Forever Full-length, 2004
The Dark Prophecy Full-length, 2005
Psychopathology Full-length, 2008

Official Site

SARCOPHAG (BULGARIA)

This not very known Bulgarian formation indulge in direct simplistic speed/thrash with echoes from early Living Death, above all, only that the very muddy sound is a major obstacle for the guys' sincere efforts. "Minuta Za Mrtvite" is a major ripping galloper solely ruined by the weak impotent vocals, and again the bad sound quality. "Robija" is a more serious attempt at thrashing, but is served in a live setting which further hampers the proceedings among which one may distinguish some clever technical riffs.

Minuta Za Mrtvite EP, 1988

SARDO (USA)

These are the same guys, who are actually brothers (family name Sardo), who started their career with pre-Agent Steel act Spectre, and whose sister married none other than John Cyriis himself. Based on the debut demo, this band indulge in fast furious thrash/crossover which is not as wild as the one of Cryptic Slaughter, but is not that far from it. The guys calm down a bit in the 2nd half with more moderate speed/thrashisms, but this is really aggressive stuff with good clean semi-shouty vocals. The band try something more serious at the end with two longer compositions, and "Baptized" is actually not a bad gloomy proto-doomster. Some of the band members reached the full-length stage under the name Thrustor with two albums released.

Demo Demo, 1986
SARDO Demo Demo, 1987

SARDONIC (BRAZIL)

Based on the "Illusions of Life" demo, these Brazilians offer primal amateurish modern power/post-thrash which suffers from a truly bad sound quality which gives a very hollow sound to the drums, among other annoyances. The band try to bash the old school way ("Impunity") at times, but those sections soon grow into pure hardcore without much sense. The singer shouts in an angry quarrelsome manner, not really singing.

Illusions of Life Demo, 1994
Decease Peace Demo, 1995

SARDONIC (GERMANY)

Based on the EP, this band plays fast intense thrash/death metal of the retro type closer to the early Swedish school: think early Cemetary, Entombed, Merciless. The music is more death metal-based ranging from furious (but never blasting) sections to more controlled heavier ones where the sound smells mid-period Bolt Thrower as well.

Say 10 Full-length, 2004
Symptomaniac Full-length, 2006
asites EP, 2009

Official Site

SARDONYX (USA)

An interesting and unknown band; the roots of their music are deep in American power metal, but there are quite a few thrash riffs as well as progressive passages. The bass work is striking, and slightly overshadows the other instruments. The vocals are especially good with a nice mean edge not miles away from Dave Mustaine, but more diverse and dramatic. The tracks are long and quite atmospheric, but always interesting with stylish riffs and time changes. "Corridor to Light" is a masterpiece of progressive metal which could easily put to shame many much more famous acts from this field. "Ft. Drum" is an excellent 2.5-min technical thrash instrumental which will remind you of Savage Steel's "Do Or Die". There's certain epic atmosphere as well, but not in the cheesy, 90's way.
The "Linear Progression" EP is an alternative form of progressive metal, soft pacifying music, a very pale copy of the strong debut.
"Sons of the Kingdom" is an admirable return for the guys although the delivery has very little to do with thrash; the band have opted for a dark progressive brand of power and doom metal that delivers the goods in a pleasantly depressive, ship-sinking manner, recalling the works of the 90's Swedish wave (Veni Domine, Memory Garden, Memento Mori, etc.).

Majestic Serenity Full-length, 1994
Linear Progression EP, 2005
Sons of the Kingdom Full-Length, 2018

Official Site

SAREPTA (GERMANY)

Based on the "S.U.N.K." EP, this act plays playful groovy thrashcore with angry Phil Anselmo-sque vocals, maybe a bit gruffer with a semi-death metal shade. The music is too reliant on the groove, but there are a couple of heavier seismic moments that may catch your ear.
"Preserving the Madness" is a bumpier, much more thrilling ride which even unleashes a few nice gallops on "Resolved to Kill". Later on we have the energetic Megadeth-esque roller-coaster that is the title-track, the formidable proto-deathster "King of Deception", the steam-rolling behemoth "The Sovereign Is Dead"... not to mention "Stumpfes Herz", another noteworthy exercise in classic galloping speed/thrash. This is a nice comeback effort which sees the band breaking the scholastic mould from their past exploits.

Mind Wipe Full-length, 1995
S.U.N.K. EP, 1997
Soulscars Full-length, 2001
Preserving the Madness Full-Length, 2020

Official Site

SARGON (PANAMA)

The debut EP: modern Swedish thrash/death metal, fast and melodic, maybe thrashier than their Swedish counterparts, as is evident from the nice energetic "Crestfallen"; still the overall approach smells Dark Tranquillity quite a bit.
"In Contempt" is a further evolvement from the approach on the EP thrashing in a modern deathly fashion alternating between fast and slower numbers occasionally blasting with passion ("Restless", which also contains great thrashy parts); and "Dead In Vain" uses the inertia after it to produce a fine portion of healthy energetic thrash. The final "Thrash N' Roll" delivers to justify its title providing an entertainment not far from Carcass' "Rot'n Roll", except for the fast part at the end. The drummer Alex Marquez is a well-established authority on the metal scene having taken t in renowned acts like Malevolent Creation, Demolition Hammer, Hellwitch, Disincarnate, etc.
The "The Bitter End" EP is a faithful follow-up to the material heard on the band's works so far being energetic modern thrash/death which this time is plagued by more frequent slower sections including a merry speed metal-ish tune on the closing "Thrash N' Roll" (which is a re-worked version of the song from the album) which doesn't quite deserve the "thrash" part of the title.

Vehemence EP, 2009
In Contempt Full-length, 2011
The Bitter End EP, 2012

My Space

SARISSA (GREECE)

This act is one of the best kept secrets of the Greek metal underground. Their debut demo is a fine slab of classic heavy/power metal following the American standards (early Laaz Rockit, Jag Panzer, Griffin), but for some mysterious reason this effort failed to produce an interested label in signing the guys, and they had to wait for seven long years before their first official full-length release saw the light of day. Only one song from the demo had survived ("Macedonian Army"), the rest sounding a little heavier and a bit slower, with strong epic overtones and well-embedded keyboard melodies, this time bringing also the Swedish epic metal pioneers Heavy Load to mind. The high quality of the music on offer could not be denied, but the band hid from sight once again.
The time of the action is 2004, and the band are apparently alive and well. No questions about what happened during those long 10 years of absence from the scene since "Masters of Sins" "apologizes" for it with a heavy crushing sound mixing power and thrash metal to a fairly positive effect. The guitars are both sharp and heavy, nailing a riff after riff with the utmost intensity seldom leaving the mid-pace, with the odd galloping rhythm ("To These Powers (I Swear)") springing here and there. The atmosphere is quite dark, touching the one created by Eidolon and Hexenhaus, but in the vocal department this band beats both by a long shot: the singer Nick Iglezos is a treasure providing a unique vocal performance on every single song, covering all ranges, staying mostly in the mid-parametres producing standout dramatic singing sometimes following the guitar melodies, but his occasional brutal growls and emotional high-pitches are by no means less impressive. Style-wise the music is quite close to the last Hexenhaus album, their continuation Fifth Reason, and Memento Mori and Abstrakt Algebra on the slower moments. The guitars are classic-sounding, and the leads this time are brilliant, never too long, mixing melodic with screamy hooks, and their "duel" with the operatic sinister keyboard background creates drama seldom achieved even by acts like Therion and Bal-Sagoth. Prepare to run for cover on the closing "Hypocrisy Crusade", which comes splashing right after the peaceful semi-balladic "The Struggle", to scare everyone with brutal hyper-blast riffage in the beginning, which gets repeated throughout the song the latter remaining a pretty intense experience, offering aggressive operatic thrash/death/black ala Bal-Sagoth and early Therion, with Iglezos singing in a rougher more low-tuned manner. Well, this well-kept secret now seems quite revealed, and hopefully the band will come up with something new before 2014...

Demo Demo, 1987
Sarissa Full-length, 1994
Masters of Sins Full-length, 2004

Official Site

SARJAN HASSAN (MALAYSIA)

Based on the spit, this act plays straight-ahead thrash/crossover sitting somewhere between early Prong and Wehrmacht, on the faster sections. Impulsive stuff with short tracks, which at times bash in a direct hardcore manner.

Demo Demo, 2005
People Again-Sarjan Hassan Split, 2009

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SARKASM (CANADA)

This band started their existence in the very distant 1990. A string of demos in the early-90's carved a certain path in the Canadian underground, including with two other formations that the band members took part in, the death metallers Deimos, and the power metal outfit Days of Yore. On their comeback stint they exercise pretty decent old school thrash/death with a hefty technical flair, the pulverizing qualities of "Pulseless" exacerbating the setting, but "The Collapse" and "Massacre the Impure" keep thrash in check, also the Death connection which disappears for the somewhat plodding cumbersome "Beyond the Stigma". The singer is a shouty deathster whose vociferous timbre can also acquire more tolerable confines.

As Empires Decay Full-length, 2023

Official Site

SARKE (NORWAY)

Sarke is the name (or pseudonym) of a Norwegian black metal stalwart who has also taken part in other black metal acts (Khold, Old Man's Child, etc.), helped by the legendary black metal guru Nocturno Culto (also Darkthrone, Satyricon), who provides the vocals (all the other instruments are handled by Sarke). The music is very faithful to the old school (Venom, Celtic Frost) being mostly mid-paced and gloomy with nice keyboard implements, but of the background-like, not the omnipresent Dimmu Borgir-type. The music considerably loses speed ("The Drunken Priest", "Frost Junkie") on quite a few tracks, but acquires this effective hypnotic vibe quite characteristic of the last couple of Satyricon albums. This is eerie minimalistic stuff which may find more acceptance among the black metal circles, but is interesting enough to capture the attention of a wider audience.
"Oldarhian" follows a samey path producing a dark psychedelic take on the retro black/thrash metal idea which is well expressed on the minimalistic creepy opener "Condemned". The dark saga carries on with the macabre doom-prone "Pilgrim of the Occult", before "Pessimist" brings another solid doze of gloomy "pessimism" with its doom-laden Celtic Frost-like riffs. "Flay the Wolf" speeds up nicely with a lush keyboard support creating an intriguing eerie feeling. "Captured" is a sinister doom/semi-ballad influencing a string of tracks until the coming of the definitive doom metal hymn "Burning of the Monoliths", a sorrowful morose composition. Some more energetic optimism is highly necessary here to dissipate the darkness, and the closing "The Stranger Brew" does exactly that pulling out cool faster rhythms reaching Motorhead-like light-heartedness on the closing moments. This is good stuff which will keep you entertained with its unpretentious, but strangely effective, approach which also benefits from the good Tom G. Warrior-like vocals and the good sense of dark oppressing atmosphere characteristic of acts like Thorns, Barathrum, Alastis, etc.
"Aruagint" carries on with the atmospheric saga which this time brings the winds of traditional doom: check out the elegiac "Jodau Aura", and even the short jumper "Ugly". Some dissonant psychedelic groove comes served on "Strange Pungent Odyssey" before "Walls of Ru" introduces a bit more dynamic riffs the latter "killed" by the balladic outro. Still, the melancholy comes too much near the end, the guys grooving psychedelically in a steady hypnotic manner with only the sparse blasting passages on the closer "Rabid Hunger" providing some "light in the tunnel". There's very little thrash to be heard here, and the band are now in the more recent Satyricon league, with all the potential to reach post-black dimensions soon.
"Bogefod": fans of the recently taken by the band path towards murkier, doomier waters will by all means rejoice as the guys have woven another atmospheric masterpiece, but its belonging to the thrash metal movement is plain symbolic, and is solely stitched by the fast-pacer "The Wickeds Transient Sleep", the quirky semi-intenser "Burn", and the stylish tribute to Celtic Frost "Sunken" at the end.
"Viige Urh" carries on with the more encompassing, progressive sound the band have epitomized on the last two opuses, and this slab would again be of very little interest to the thrash metal audience who will find these dreamy psychedelic soundscapes a waste of time.
"Gastwerso" has sparkles of at least semi-thrash ferocity ("Ghost War"), but the overall atmosphere is still one of epicness and melodiousness, the sprawling meditative lyricism of compositions like "In the Flames" and "Cribs Hand" (watch out for some nice female vocals here) the dominant form of art.
"Allsighr" is a more dynamic affair, with brighter tones as well, the band still positioned away from the thrash spectre, relying on quiet psychedelia ("Bleak Reflections") and creepy quasi-doom arrangements ("Funeral Fire") to keep afloat, the resulting therapy suddenly erupting in bombastic impetuous thrashing on "Beheading of the Circus Director", a cool operatic piece which goes away with all the dynamic laurels on this otherwise melancholically lethargic outing.
�Endo Feight� is another �on the verge of thrash� affair, the heavy stomping rhythms of �Death Construction� the creepy atmosphere of the balladic epic �Lost�, the wild proto-blaster �Old Town Sinner� bringing the winds of black for a bit, the other such sign of rebellion being the even less tamed �In Total Allegiance�, a corrosive abrasive violator that makes this recording the band�s most extreme one in quite some time.

Vorunah Full-length, 2009
Oldarhian Full-length, 2011
Aruagint Full-Length, 2013
Bogefod Full-Length, 2016
Viige Urh Full-length, 2017
Gastwerso Full-Length, 2019
Allsighr Full-Length, 2021
Endo Feight Full-length, 2024

Youtube

SARKOMA (USA)

Considering the time when the band's full-length debut was released, it would come as no surprise that the style is typical modern thrash close to Pantera and Machine Head with a more playful, crossover spirit.

Complety Different EP, 1992
Integrity Full-length, 1994

SAROS (USA)

"Five Pointed Tongue": atmospheric lyrical progressive black/thrash metal sharing moments with the doom metal scene as well; this is engaging stuff which will require your attention. There are no very fast moments, and the length of some of the compositions surpasses those of the Opeth material with ease, and are equally as compelling if, of course, you are a fan of the sprawling progressive genre. There's a lot of thrash to be heard, so don't shy away, even those who like the classic side of the style. The two shorter tracks ("Sleeping Beast" and "Collapse of the Tower") raise the flag of thrash metal high, especially the latter, which is a very cool up-tempo thrasher, whereas the former is more of a power/thrash metal mixture.
The full-length is less interesting, from a thrash-metal-point-of-view, and is totally immersed in the doom/black metal idea in the beginning, again with long songs, this time sounding quite one-dimensional. Thrash metal hits in the second half, with the mid-paced piece "Devouring Conscience", which unfortunately turns into ponderous doom near the end, to the listener's utter dismay. And that's basically all which can attract the ear of the regular thrash metal fan; the rest isn't bad at all, but it comes mostly as a mix between Opeth and In the Woods with a pinch of Katatonia-like melancholy thrown in here and there.

Five Pointed Tongue EP, 2006
Acrid Plains Full-length, 2009

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SARSEN (USA)

This is a modern blend of power and thrash with a progressive flavour. The approach is heavy and epic and some pieces can easily lead armies to battle: check out "Soul Hacker". "Curse Of Man" is a larger-than-life amalgam of styles among which thrash shows its head for a few more intense sections. It reigns supreme on the galloping "The Dying Of Katherine Montaine", but elsewhere it's power metal which has the authority bringing the sound close to Manilla Road and early Jag Panzer. The singer contributes to the optimistic atmosphere with his warm attached clean croon.

Sarsen Full-Length, 2015

SATA (USA)

Although this is by-and-large a Death worship, it�s been done with so much meticulousness and attention to detail that it comes very close to the very top of this wave. Expect a more thrash-prone rendition of the late Chuck Schuldiner�s legacy, the guys raging through bouts of �Insomnia� first, fast�n technical music superseded by a lightly more nostalgic trip down death lane with �Depression�; please, ignore the furious blasting black metal diversion mid-way. �Anxiety� is creepy serpentine tech-thrash at its most shining best, and �Dysphoria� is a whirlwind of tight precise riffs, a speedy roller-coaster reminiscent of �Scavenger� of �TSOP�. �Suicidal Thoughts� is a throwback at �The Philosopher� with a faster twist, the rending shouty vocals inhabiting the realm between black and death.

Trapped Within EP, 2023

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SATAN (UK)

This legendary British act are responsible for one of the finest moments from the whole NWOBHM wave: their fabulous debut "Court in the Act". Although it's too early to talk about thrash metal on this one (although this was the very year when the genre was born, in the USA), mighty speed metal killers, like "Trial by Fire", "Break Free" and the brilliant galloping instrumental "The Ritual", all these coming with the finest guitar work around at the time, were some of the most aggressive songs produced in Europe back then, and were by all means a big influence on the coming more extreme styles.

It was obvious that the guys would join the thrash metal legions on future efforts, but their next step was really hard to predict: they changed their name to Blind Fury, obviously to avoid any "black metal" tags, but the music presented on their only album was much softer, and more ordinary heavy metal, which was surely a big letdown for their fans. Fortunately, having realized their mistake, the band were back in the game with their old name, and "Into the Future" was a good return to form: "Fuck You", despite its obscene title, is first-rate speed metal, with brilliant leads and hard-hitting riffs. "Hear Evil, See Evil, Speak Evil" slows down, sounding like a leftover from the Blind Fury album; "Ice Man" is another more energetic number, with a catchy chorus. "Key to Oblivion" is a smashing speed/thrash metal track, and the band's first genuine thrash attempt, although it is still more speed metal-based.

"Suspended Sentence" is all-out thrash metal for most of the time except for the more power metal-sounding "11th Commandment". The band have always been technical players, but here their musicianship reaches the top: the excellent progressive power/thrasher "Avalanche of a Million Hearts", the brilliant technical thrash opus "Suicidal Justice", the crushing opener "Who Dies Wins", which features superb lead performance. "S.C.U.M." is a more light-hearted, but very cool speed/thrasher. "Vandal" is more aggressive, really intense, and could pass for the most aggressive track here along with the faster headbanging "Calculated Execution" which is classic thrash at its absolute best. This effort remains, after all these years, one of the finest achievements of the whole UK scene laying the foundations for two more albums, albeit not as striking, which the guys released under the name Pariah.
"Life Sentence": the "Satans" are here again, in the complete line-up responsible for their seminal debut, and it seems as though the whole NWOBHM horde will be back in action (Angel Witch, Hell, Tank, among others) soon. For this act in particular one may wonder which side of their diverse career they will choose to explore further: would they carry on thrashing on full-throttle like on the Pariah albums; or would they pursue their speed/power metal roots from "Court in the Act"? Of course, no one wants to even think that the guys would repeat the embarrassment which the Blind Fury affair was...
Well, those who bet on the return to the band's very roots were right: "Life Sentence" sounds like the most logical continuation of the guys' debut, albeit coming some 30 years later. It's a sure-handed speed/power metal delight with thrash not saying much except on isolated riff-patterns. The guitar sound has such a unique old school feel that one may really think that all this had been recorded in the early/mid-80's and deliberately left buried for the band to strike hard at some later stage. And they do strike hard mixing simplistic more direct numbers with more elaborate ones producing a classic which would inevitably be viewed as one of the highlights of 2013.
"Atom by Atom" is another top-notch offering from these stalwarts of old school metal, but the overall approach is even further removed from thrash still being a fairly appetizing retro speed/power metal with rousing hymns galore the closing "The Fall of Persephone" a prime progressive speedster with great eventful arrangements alternating fast with slow passages to a great dramatic effect. The sound quality is again more on the semi-pristine side bringing the spawning stages of the NWOBHM movement right at your door, additionally scoring points for those poignant, nostalgic reasons...

Court in the Act Full-length, 1983
Into the Future EP, 1987
Suspended Sentence Full-length, 1987
Life Sentence Full-Length, 2013
Atom by Atom Full-Length, 2015

Official Site

SATAN RULES (MEXICO)

This Mexican trio indulge in pretty decent old school speed/thrash that ranges from the vicious smattering gallops of �Asesino� to the ripping face-melting thrash of �Masacrados�, the vocals acquiring a hefty deathly blend from the get-go and staying this course till the end save for the several higher-pitched shrieks unleashed. The title-track carries on with the galloping proclivities for a noteworthy speed metal journey, whereas �La Purga� is a nod at early Destruction, a fervent leftover from the �Infernal Overkill� recording sessions.

Gritos de Muerte EP, 2023

Official Site

SATAN WORSHIP (INTERNATIONAL)

The debut: the Morgoth drummer Marc Reign has teamed up with the Brazilian speed metallers Sodomizer for this project which follows the classic speed/black/thrash metal path clinging between the Portuguese Alastor and early Exciter music-wise. The prevalent fast-paced delivery is spiced by the odd morose doomster ("Satanik Possession") as more epic speedsters ("Under Sign of the Reaper") also "roam" around not quite fitting the gruff deathly vocals.
"Teufelssprache" is a more simplistic affair with a strong Motorhead-ish vibe, the speedy boogie seldom broken although "The Last Day of Paul John Knowles" is a serious brooding cut ala early Venom. "Satanik Werevolves" and the more ambitiously-woven "Aokigahra" are nods at the early German speed metal movement, and "Mass Murder" is a short non-fussy quasi-hardcorer.
"Satanik Overdose of Hell" moshes with bigger verve, the more diverse layout introduced on "The Grand Bewitchment" also displaying bigger ambition, and although the simplistic direct roller-coasters ("The Cult of Slaughtered Lambs", "Tempel der Bestie") keep coming regularly, there's bigger drama elicited from the mellower material (the atmospheric/doom closure "Bad Gateway", the psychedelic Voivod-esque quirks on "Dahmer's Freezer") despite the presence of the short grindy outrage "Alcoholic Mosh".

I'm the Devil Full-length, 2017
Teufelssprache Full-length, 2020
Satanik Overdose of Hell Full-length, 2023

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SATAN'S HOLOCAUST (GERMANY)

Based on the "Death's Revenge" demo, these obscures provide some of the most torturous and agonizing, and respectively brutal, sounds ever recorded in Europe in the 80's. The guys mix the doom/black/thrash atrocities of Hellhammer with ultra-fast death/thrashing outbreaks easily surpassing the early Sodom attempts at music in terms of chaos and amateurish performance. Needless to add, the sound quality is very bad making the vocals barely heard, but that's perhaps for the better since they are just some raw shouts, very incomprehensive. Reportedly on the second demo the guys had joined the grindcore cohorts which were quickly growing in number following the path carved by their British colleagues.

Death's Revenge Demo, 1986
Lattensep's Return Demo, 1986

SATAN'S HOST (USA)

This band was founded by the singer Harry Conklin after he left Jag Panzer. The music is more aggressive than the one released by Panzer being forceful power/thrash metal along the lines of Liege Lord, Helstar and late-80's Manilla Road. The guys keep very good dynamics starting with the galloping "Black Steele" which flows into the speed/thrash attack "Into the Veil". "Metal from Hell" and "King of Terror" rage on uncompromisingly, on the latter Conklin adding some unholy shrieks. "Strongest of the Night" is only a bit slower, being an evil sinister power/thrasher. "Standing at Death's Door" is pure pounding power metal ala Jag Panzer, and is the only filler here. "Hell Fire" speeds up again, adding a nice epic melodic chorus. The last "Souls in Exile" preserves the speed and the epic, thrashing hard for about 7-min, before the peaceful balladic finale.

Conklin left shortly after the release of this album which was supposedly followed by another one, under the title "Midnight Wind": a mysterious affair which never saw an official release, and is nowhere to be found although it's listed in their official discography as an 1987 release. He sang for Titan Force after that, and had a short spell later with both Riot and Ballistic.

The band had gone missing for more than ten years, to re-emerge in the late 90's with only the guitarist Patrick Evil a "survivor" from the initial line-up. Fans of the debut will be shocked to hear their new material which is full-blooded black metal, crossing the old with the new trends, often quite brutal and vicious. Their modern works are strictly for black metal aficionados, and are good in their own right, but have not even a shade of their old style.

"By the Hands of the Devil" sees the band abandoning their evil black metal ways, although the opening title-track will scare you with its blasting fury, a sure-handed death metal madness with the excellent powerful clean vocals of Harry Conklin, yes, that same one who sang on the band's debut, albeit very contrasting, to the brutal musical approach; the veteran is clearly the star of the show with his standout performance covering a wide range of pitches: from the dramatic antics of DIO (R.I.P.) to the high-pitched screams of Halford: all is here. Then comes "Shades of the Unlight" which is a potent blend of speed, thrash and death metal of the more epic type featuring great melodic hooks and choruses; followed by another great number: the power/speed/thrasher "Demontia", a vigorous progressive epic hymn with again great choruses. "Before the Flame" stretches into whole 8-min providing more laid-back epic power/thrash with the obligatory super-fast implements. "Bleeding Hearts of the Damned" is a very good atmospheric ballad, but "Black Hilted Knife" is an aggressive speed/thrashing shredder, with "Revival" going up the aggression scale into death metal territories once again to produce an encompassing sound with haunting Oriental melodies. "Fallen Angel" blasts again with the speed of light, and may tire you since relief from this fast downpour is seldom offered, except in the form of isolated passages from the songs. Many will be surprised to hear the closer which is a very good original version of The Beatles' "Norwegian Wood", done in a very energetic blasting fashion suiting perfectly the style of the album. This is a welcome shift for the band into more acceptable fields showing them dealing with several styles with ease without messing it up, still far from their power/thrash roots which may sound a bit overdone at times due to the music's hyper-speedy nature.
"Virgin Sails" is closer to the band's old 80's sound being really good power metal with not much thrash again. The modern production gives a great boost to the cutting guitars, but the greatest piece of news is that Harry Conklin is back in the band, and his inspired versatile performance is pretty much the highlight.

Metal from Hell Full-length, 1986
By the Hands of the Devil Full-length, 2011
Virgin Sails Full-length, 2013

Official Site

SATAN'S PROPAGANDA (GERMANY)

It's great to be Satan nowadays, isn't it? He gets everything for free, even "rock". These guys pull out music which indeed has a rock-ish vibe, but is way more aggressive than your regular Motorhead emulator. The closest soundalike would be mid-period Impaled Nazarene, but the Germans never go for speed for its own sake, but keep things mid to up-paced, the former side reminiscent of Barathrum at times, plus the more carefree interpretations of the good old hard'n heavy ("Christobserver") and the obligatory tributes to punk ("Written in Goatsemen"). The title-track is not as impressive, being a somewhat clumsy epic heavy metal cut lasting for whole 5.5-min. The other "rock" tribute, "Rock the Nun Until You Cum", is way more energetic even reaching the early speedy boogie aesthetics of the Exciter debut. The singer is the prototypical raspy semi-shouter, helped by his comrades on the catchy sing-along choruses. An annoyance would be the very buzzy guitar sound, which may have been used intentionally, in order to recapture the primal evil atmosphere of the early black metal recordings.

Rock for Satan Full-length, 2011

My Space

SATAN'S WPATH (GREECE)

This act consists of just two members one of whom is Tas Danazoglou, a famous authority in the doom metal world with service done in heavyweights like Great Coven and Electric Wizard, among others. His pedigree is more than obvious on the dark heavy opener "Leonard Rising-Night of the Whip", but things get serious very soon after on the raging speedster "Between Belial and Satan" which is an appealing cross between early Whiplash and the German school. "One Thousand Goats in Sodom" is a galloping number of the power/thrash type (after all, this is "galloping blasphemy" we are talking about, title-wise a reference to the Venom classic ""One Thousand Days in Sodom"). "Hail Tritone, Hail Lucifer" is epic doom at its absolute finest before "Galloping Blasphemy" expectedly livens up the situation with the following "Death Possessed" another headbanging cut. The attack never stops later on the last stop from it being the doom galloper at the end "Satan's Wrath" which blends the two sides into one entertaining diverse epitaph with loads of memorable melodic tunes ala Iron Maiden including the cool Oriental outro in the vein of "Powerslave". Danazoglou provides a guttural low-tuned death metal tone behind the mike; not too bad, although a more attached melodic singer could have been more fitting.
"Aeons of Satan's Reign" is another appealing effort the guy opening with the early German speed/thrash worshipper "Only Satan is Lord" before the epic galloper "Die White Witch Die" softens the situation. The staple doom dirges start with "Archfiend" which still contains a faster-paced break in the second half. "Ecstasies of Sorcery: is another major speed/thrasher, and later on one can heard a couple of similar up-tempo cuts ornate with a very good taste of melody the latter taking over on the longer slower pieces towards the end ("Lives of the Necromancers") before the versatile closing title-track overwhelms the listener with swirling fast sections, dark doom ones, and some amazing melodic lead guitar work, plus the fine melodic doom exit. The man has done a very good job here satisfying several layers of metal fans by providing a capable amalgam of styles.
"Die Evil" carries on with the able performance of the band whose uncompromising old school attitude now goes more towards early Bathory in the beginning gradually moving towards the German school again ("Diabolical Shudder") with each passing track. Shades of black (the title-track) are dispersed throughout, but the speed/thrashing joy on roller-coasters like "Dead Of The Shallow Graves", "A Mindless Servant Of Satan" and especially the rousing galloping closer "Castle of Torment" is just too big for those moments to "stain" the album.

Galloping Blasphemy Full-Length, 2012
Aeons of Satan's Reign Full-Length, 2013
Die Evil Full-Length, 2015

Youtube

SATANARCHIST (USA)

Based on "First Against the Wall", this band play retro black/thrash which ranges from well constructed thrashers ("Paradox"), to short bursting crusters ("Boil Alive"), to pure black metal outrage ("Tempest of Sorrow"), to even cool attempts at melo-death ("Feast") the latter style fitting the singer like a glove as he's a rough semi-shouty deathster.

Making Threats at Punks Again EP, 2014
First Against the Wall Full-length, 2017

Official Site

SATANARCHY (SWEDEN)

Energetic thrash/crossover spiced with heavy guitars in the vein of early Celtic Frost from time to time; jolly, catchy, simplistic riffs will you find here aplenty. Rarely are some tracks cool exercises in slower doom-flavoured music ("Behold the Dragons of the Revolution"), and to these ears this side seems the more attractive one; the singer also helps in this direction with his gruff Tom G. Warrior-like delivery. Some of the band members also play in the black metal outfit Spectral Tombs.

Disgraceful World Full-length, 2002

My Space

SATANIC (CANADA)

"From Hell": a satanic trio from Quebec who pull out evil sinister classic thrash; fast uncompromising music quite comparable to the Japanese Fastkill and the Swedes King's Evil. Just when you've thought you've figured it all out, comes the excellent intricate opus "Beast Within" to reshuffle the cards with its atmospheric breaks and entangled guitar work; the absolute highlight here which stands head & shoulders above the rest although short biting bullets like "Cockroach Eat Flesh" and "Desolation Land" are nothing to complain about; this is well done tribute to the old school executed with energy and vehemence to spare, also including a nice faithful cover of Bathory's "Necromancy". Earlier the band were known as Satanic Glue Sniffers, and had two albums released under this moniker.
The debut is sustained in pretty much the same vein, with longer more ambitious ("Mephistophelian") opuses taking turns with short blitzkrieg rippers ("World of Chaos") the latter side more widely covered, the labyrinthine structure of the more engaging "Armageddon" rivalling the more immediate material in terms of spontaneity even, the closer "Tchernobyl 86" another exercise in more progressive, less orthodox thrash. The band members are also active with the death metallers Hellborn, and the retro thrash formation Propagator.
�Taste of Vengeance� doesn�t break any new ground, the vicious pummeling riffs of the tank-like �Mass Annihilation� gelling well with the blitzkrieg impetuosity of �They Live We Die� and the corrosive steam-rolliness of �Demonic Scars�. The speed/thrash optimism of �Blood Spill for Eternal War� is also welcome, as is the ambitious belligerence of the final �Final Sacrifice�, minus the overlong acoustic finale.

Architecture of Chaos Full-length, 2017
From Hell Full-length, 2019
Taste of Vengeance Full-Length, 2024

Official Site

SATANIC (COLOMBIA)

This outfit specialize in classic speed/thrash with more brutal black metal deviations. Tracks like "Evil & Power" betray the guys' infatuation with the early speed metal movement (think Exciter) as well as Motorhead, but the title-track is an assured full-blooded thrasher, and "Princess of Fire" is a cool atmospheric piece with dark macabre overtones. The vocals are semi-clean/semi-declamatory ones which suit the music with their strangely dispassionate, detached timbre. Some of the musicians also take part in the thrash metal outfits Metistor.

Murdering Black Metal Full-length, 2017

Youtube

SATANIC DYSTOPIA (UK)

Simplistic classic thrashcore served on a harsh noisy background with a lot of crust thrown around. The guys bash violently without any sophistication, also touching death metal here and there. In the second half the situation gets under control and the slower numbers present there smell early Celtic Frost ("Black Stallion") quite a bit except for the shouty death metal singer who doesn't mind rending his throat mercilessly all around.

Double Denim Shotgun Massacre Full-Length, 2013

Official Site

SATANIC PRIEST (EL SALVADOR)

Classic speed/thrash played with a lot of verve and gusto; these are short aggressive jolts full of fury and vehemence, the more melodic roller-coaster �Lust & Alcohol� recalling the 80�s German speed metal movement (Scanner, Iron Angel, etc.), whereas �Metal Attack� is a more brutal black-peppered outrage. There�s no respite anywhere, but the good sense of melody displayed all over makes this listening experience the preferred one, including on the early-Metallica worship �Good Beers Good Times� and the uncompromising destructor �The Ninth Gate�. The vocals are harsh semi-declamatory shouty ones, smelling death metal more. Some of the musicians are also involved with the death/thrash hybriders Apes of God.

...of Blasphemies and Lust! Full-length, 2024

Official Site

SATANIC RIPPER (CHILE)

Based on the full-length, this band play a furious mixture of black, thrash and death metal with generally short ripping cuts ("Sexual Schizophrenia", "Chalice, Altar, Spells") violating the listener's environment, the harsh throaty deathly vocalist assisting to the best of his abilities. "Blood Magick" is a cool atmospheric stomper, but its suggestive creepiness is nowhere matched, the guys moshing relentlessly, showing bigger ambition on the more complex varied saga "Open the Grave". The band members also play in the retro thrashers Infernal Slaughter, and the death metal cohort Hallux Valgus.

Southern Black Spells Full-length, 2014
Ritualistik Sanktuary Irakunda EP, 2020

Official Site

SATANICA (ARGENTINA)

These guys specialize in heavy mid-paced thrash of the classic type; despite the bonus the music gets for sounding classic at the time, points are taken away for its one-dimensional delivery and the bad semi-death metal singer. Oh, and the sound quality is not that good, making the leads too screamy although the ones on "Bestias Uniformadas" are really cool, both technical and melodic.

Anesthetizing The Reality EP, 1994

Official Site

SATANICA (JAPAN)

Based on "After Christ, the Devil Comes", this Japanese act pulls out decent retro speed/thrash mixing early Whiplash with more meaty guitars ala Angel Dust and Iron Angel. Two blistering speed/thrashers open the album in a high note, after which the band have problems going back to the more aggressive patterns: "Mad Beast" shows the guys' more lyrical side being a cool semi-ballad, and "Whisper of Chaos" and "Sacrifice Hunter" are slightly confusing proto-modernish numbers in mid-tempo at best. Then the glorious speedy sound returns for another three pieces, although they are more of nods towards the 90's speed/power metal heritage, all this finished with the operatic epic instrumental "Golgotha". The singer is quite cool, though, having a dramatic high-strung voice also possessing abilities in handling the lower registers. Two of the members also take t in the classic heavy metal act Witch's Kiss.
"We Are Satan's Preacher" is another sure-handed effort, speed/thrashing with melody, the opening "Evil Metal" being a particularly evil cut ala Pile Driver and Exciter. "Show No Mercy" is a more uplifting speed metal roller-coaster, before "Witch Doctor" reduces the speed a bit to more moderate power/thrash, which also stays around for "The Grudge" (could e a tribute to the Japanese cult horror film?), which concentrates more on melody to a fairly catchy effect. "Soldier of Death" is a sinister doomster, but be prepared to mosh around on the next "Kill or Lose", which is classic speed/thrash at its best. "Black Assassin" is a heavy steam-roller with the staple melodic leanings, dragging the short pounding "Valhalla" along with it; before the final "Razor Holocaust" which is a re-recorded version of a song from their debut, wraps it up with the closing portion of hard speed/thrashing rhythms in the best tradition of early Whiplash and Pile Driver again.

Knights in Satanic Service Full-length, 2004
After Christ, the Devil Comes Full-length, 2007
We Are Satan's Preacher Full-length, 2010
Black Assassin EP, 2011

Official Site

SATANIKA (ITALY)

After a long string of EP's, the band are finally able to produce a full-length ("Satanikattack") and it shows them in a bright (albeit unholy) light for the production of pretty decent retro black/thrash, helped by none other than Mr. Bobby Gustafson (Overkill, Skrew, Grip Inc.). The tempo is quite intense with major headbangers ("Atomic Curse", "Razor Maniac") roaming around intercepted by aggressive, blasting black metal cuts ("Morbid Priest"). "Fetish Bitch Kult" is a cool shift into sinister doom/thrash, followed by a short string of more moderate numbers, before the arrival of the closer "Brain Damage" which is a return to the speedy patterns. The singer is a typical black metal rasper with a characteristic, reverberating tone. The band's founders also have a few other projects: the symphonic black metal outfit Lord Vampyr; and the black/death metal hybriders Nailed God.
"Nightmare" is another speed/thrash roller-coaster the shadow of the guys' German peers looming over the album, the one of Sodom particularly heavy. This is pretty much "Agent Orange" of the new millennium, fast intense music with slight touches of proto-death (hello, "Tapping the Vein"!) and a few winks at the good old Destruction ("Mask of Satan" has riffs taken directly from the immortal "Curse the Gods" at the beginning before it introduces wild ultra-brutal blasts later on). There's seldom shift from the fast pace: there are a few more friendly rhythms ("Blood Orgy of the She-Devils") incorporated, but the ferocity of blasting madnesses like "The Executioner" stifle those attempts another one of which is the epic proto-blacker "Carnal Violence".
"Total Inferno" is a more aggressive offering now death metal appearing more often to shatter the listener's world who will by all means be bemused by the soaring epic melodies on "Our Lady of Darkness", and perhaps on the raging blasts on "Ripping Evil". Time for a short rest with the mellower pounder "Gates of Hell", but the brutal assault continues right after reaching the culmination on the excellent progressive deathster "Yog-Sothoth". "Sleaze!!!" is anything but "sleaze", this cut being another primal thrash/deathing headbanger which makes a nice companion to the closing title-track, another burgeoning brutalizer.
"Horde of Disgust": the infernal Italian duo are back, and this slab here shows them as belligerent and vile as ever, the pounding insistency of "The Void" supported by the wicked dirges on "Cosmic Funeral" and the aggressive lashing on "Horde of Disgust", the winds of death well acknowledged in that one. Hardcore comes courted on the raucous violent "Their Hands upon Our Throat", the speed/thrashing closer "Bleed for Darkness" wrapping it on with bile and passion to spare.

Atomic Curse EP, 2010
Brain Damage EP, 2010
Mutilator EP, 2010
Re-animate the 80's EP, 2010
Satanikattack Full-length, 2011
Metal Possession EP, 2011
Infection Full-length, 2012
Nightmare Full-Length, 2014
Total Inferno Full-Length, 2015
Horde of Disgust Full-length, 2023

Official Site

SATHANAS (USA)

Based on the debut "Ripping Evil" EP, this band offers typical old school black/thrash metal with a dirty, 80's underground sound and crushing heavy, mostly mid-paced riffs, plus vicious black-ish snarls for vocals. There wasn't another band at that time to play something similar to them, but their music has definitely had its influence on the more restrained (and better) side of the black metal field (Barathrum, Khold, Thorns, late period Satyricon). Reportedly on their later official releases the band have speeded up a bit, and their style incorporated elements from death metal which, at least on this EP, are nowhere to be found.
"Psalm Satani" is on the dirgy thrash side once again, the shadow of early Bathory only too evident on the opening creeper "Demonic Rights", the atmospheric arrangements on "In the Flames of Witchcraft" contrasting with the rude fast-paced rhythms unleashed on "And Hell Shall Follow". "Blackened by the Antichrist" is the customary for the band black/doom mixture, an anti-climactic approach which also fully embalms the closing "Altar of Heaven", the second half mirroring the Finns Barathrum more than just now and then.
�Into the Nocturne�is the next-in-line intense affair, the dirgy paganism of �Arise from Fire� sitting not very comfortably next to the semi-bashing aesthetics of �Cast in Black�, the shadow of early Bathory rising once again on the catchy mid-pacer �Raise the Chalice� and the macabre atmospheric �There Will Be Demons�, before the fast-paced histrionics of �Tyrants of the Southern Cross� dissipate the heavily-instilled murkiness.

Ripping Evil EP, 1993
Black Earth Full-length, 1996
Armies Of Charon Full-length, 1997
Thy Dark Heavens Full-length, 2001
Cruentus Diabolos EP, 2002
Warlords Of Death EP, 2003
Hex Nefarious Full-length, 2003
Flesh for the Devil EP, 2005
Entering The Diabolic Trinity Full-length, 2005
Crowned Infernal Full-length, 2007
Nightrealm Apocalypse Full-length, 2009
La hora de Lucifer Full-length, 2012
Worship the Devil Full-length, 2015
Necrohymns Full-length, 2018
Psalm Satani Full-length, 2022
Into the Nocturne Full-length, 2024

Official Site

SATHORD (CZECH)

A deeply underground recording which sees these folks offering intense bashing thrash/death with very gruff death metal vocals. The music makes sense on the more audible material (the brisk speedster "Pochod Mrtvych Dusi" with some beautiful melodic leads), but elsewhere it's a bit more than fuzzy distorted guitars the leads being the undisputable highlight.

Thanatology Demo, 1999

Official Site

SATISFIRE (BRAZIL)

This Brazilian outfit delivers pretty basic, semi-amateurish retro speed/proto-thrash which is mostly soft and merry crossing early Venom with Exciter, also adding really good lead guitar work here and there which is far superior to the rough riffage which jumps into all direction without producing any positive impressions, only rarely creating a slight headbanging atmosphere, but never through a whole song. The singer does further damage with his hoarse, unrehearsed drunken timbre, and his annoying semi-shouty antics can hardly be called singing.

Demo Demo, 2005

SATSURIKU ROBOT (JAPAN)

Based on the full-length, this outfit specialize in dry mechanical modern thrash that moves along the established moshing canons, pieces like �Robot in the Pandemic� and the evocative title-track inevitably lading to a sea of sprained necks, �Mad Thrasher� another mad thrasher, the synthesized and industrial gimmicks frequently incorporated also affecting the subdued deathly performer behind the mike. �Carry on� is a more playful speed metal-fixated roller-coaster, and �Episode Zero� is a dramatic power/thrash saga with a more streamlined layout.

First Contact EP, 2022
No Thrash Metal, No Life! Full-length, 2023

Official Site

SATUREYE (SWEDEN)

Classic thrash metal (think Destruction, Kreator) meets the Gothenburg death metal sound; professionally done, very energetic and fast (except for the two modern doom/thrashers "Filled with Dust" and "In Mercury" at the end which bring to mind the Kreator experiments on "Renewal", and Coroner's "Grin"), but hardly memorable, simply because there are hundreds of bands nowadays who tread the same path.

Where Flesh And Divinity Collide Full-length, 2004

Official Site

SATYR (SLOVAKIA)

This act play classic thrash/death which revolves around obstreperous fast-paced accumulators ("Ochranca Smrti") and occasional mid-paced excursions ("Genova Porucha"), the more aggressive deathly sniff emitting from "Predavaj Telo Nech Moze� Zit" nearly matching the threatening growling tone of the vocalist.

Ochranca Smrti Demo, 1992

SATYRASIS (USA)

The debut: modern thrash/death metal ala Dew-Scented and Corporation 187; the guys here vary things a bit more perhaps with cool melodic hooks thrown in here and there, but generally the songs flow in a predictable fashion, mostly in up-tempo which makes the stylish closing "Cyclopean Shores" the highlight: a frantic progressive/technical thrash affair starting and finishing in an atmospheric balladic manner, the in-between containing a potent blend of furious straight riffs and swirling Coroner-like sections with creepy sinister riffs and chaotic leads; those tendencies should be developed further... with ideas like these it's a shame that the guys prefer to follow safer, well-trodden paths most of the time.
"...of the Dead" is a bit better than the debut although again the technical hints given at times on the 1st effort are not the dominant tendency although they're by all means more often inserted. The melody has been increased quite a bit, mostly on the longer compositions (the opening "A Foot in Each Grave", "Excision"). Comes "Waltz for a Marionette" in the middle and the band start weaving those serpentine, ultra-technical riff-patterns once again and the technical lovers should be happy all over since the track lasts for nearly 9-min superseded by a weird eclectic cover of Rush's 'Circumstances" served with a less serious crossover attitude than the original. "Warwhore" later in tries something similar to the previously described "Waltz...", but it ends up being a bit chaotic despite the tasteful application of several intricate motifs. But that's not all since after it arrives the closer, the gigantic 11-min opus "In Ruins" which is epic progressive with copious amounts of melody again, no relations to thrash or death metal, a kind of waste of space on an otherwise fairly cool diverse album.

Creation of Failure Full-length, 2008
...of the Dead Full-Length, 2015

Official Site

SAUd (USA)

Frolic simplistic thrash/crossover the guys performing on a semi-amateurish level showing their obvious fascination with the dying at the time punk scene including the singer who plainly semi-recites in an animated, stoned fashion the whole time. The barrage is mostly in an up-tempo, the more interesting moments being the closing "Suicide Generation" which is more inspired aggressive bash with Slayer-references, with sparse adherences to something more lyrical ("Anguish"), but this one-dimensional raw music is strictly for completists only.

Demo Demo, 1986

SAURON (USA)

This band's debut will bring you back to the days when German thrash metal was just beginning to take shape (the mid-80's). This is furious speed/thrash assault in the vein of early Destruction, Kreator and Sodom. The raw production quality and the buzzy guitar sound are also perfectly conformed with the era. If you manage to overcome the feeling of nostalgia, what awaits you is a headbanging riff-fest finished with a raging (and faithful) cover of Kreator's "Total Death".

Thrash Assault Full-length, 2004
Satanic Assassins EP, 2006

Official Site

SAVAGE (MEXICO)

Three songs of messy bashing thrash ala early Slayer and Whiplash; the approach is samey, up-tempo without many variations and the sound quality is so bad that one will have problems hiding his/her smile the whole time listening to the noisy hollow drums and the very amateurish declamatory vocals. Apparently some of the musicians' cellar has served as recording premises. Well, one has to start from somewhere, right?

Thrash Y Guerra Demo, 2011

SAVAGE AGGRESSION (COLUMBIA)

The debut: fast direct thrash of the retro type: think early Kreator ("Pleasure to Kill", above all) and Exumer's "Possessed by Fire". The guys play with gusto with sharp biting guitars seldom pausing for a break (ironically, the only real one is on "Thrash Metal Attack"). The singer is a good Mille emulator rasping in a similar to the German's early vocal delivery. Some of the band members can also be seen in another retro thrash metal act: Alcoholic Force.
"Infernal Nightmare": the attack goes on on full-throttle here the band thrashing with no remorse seldom pausing for a break "Demons Attack" and "Headangers from Hell" bringing the old German school back in full bloom. "Violent Aggressor" is also a stylish nod to the Angel Dust legendary debut "Into the Dark Past" whereas "Heavy Metal Overload" is a more refined speed metal hymn.

Satan's Strike Full-length, 2010
Infernal Nightmare Full-Length, 2016

My Space

SAVAGE ATTACK (USA)

Wild unfettered classic speed/thrash that is quite high on enthusiasm and energy as evident from ripping pieces like �Up from the Graves� and �Subjected to Agony�, the wilder intensity of �Manic Torture� taken straight from the works of late-80�s Razor. The vocal delivery also clings towards the Canadian veterans, their early days courted with the short speed metal winner �Demoshic Behavior�. The final nod, however, goes towards Motorhead with the merry uplifting speed rocker �Metal Marauders�, a fitting closure to this straight-ahead unpretentious offering.

Sent to Kill Full-length, 2024

Official Site

SAVAGE CHOIR (USA)

A very obscure formation who actually manages to create one of the more interesting progressive power/thrash metal works from the US underground. A very high-strung, almost hysterical, timbre hits you from the very beginning, not far from the early histrionics of Warrel Dane (Nevermore), but this is more out there. Anyway, the music is nothing short of outstanding starting with the lengthy eventful opener "Coron, The Bringer Of Plague". Then comes more aggressive progressive thrashing ala Realm on "Death's Winter Rain" which would be a no-brainer for the technical metal lovers with its constant swirling riffs and sudden fast-paced sweeps. The complexity slightly drops for the next "My Dying World" which is shorter and more simplistic, but "Obey The Voice" is already a puzzling epicer with echoes of Sanctuary and Fates Warning. Stylized technical gallops will overwhelm you on "War Gods Of Atyrix", and you won't help but notice how close this recording sounds to Helstar's same year's "Nosferatu", only wilder and more thrash-prone (check out the maddening "Trois Pieces Breves"). The brutality goes over the top for a while, on the chaotic proto-deathster "Season Of Hatred", but comes the closing "The Messiah", and the situation is under control once again although this number is quite complex with numerous nuances, mostly on the heavy epic side, with a few faster-paced outbursts echoing the Canadian masters Savage Steel. This is an album which should get a much wider exposure: technical/progressive power/thrash seldom comes more compelling than the music offered here.

Winter of Probator Compilation, 2014

My Space

SAVAGE DEATH (USA)

This is an obscure, but essential band who have played a role in the establishment of death metal in the late-80's. The band's music is vicious speed/thrash metal with proto-death ala Possessed's "Seven Churches" moments and a Slayer-like intensity. It's amazing how these guys were never given a chance for an official release, considering the fashionable at the time (or maybe a bit before its time) sound at display on their demos.

Mass Genocide Demo, 1985
Crucified in Hell Demo, 1986

SAVAGE GREED (JAPAN)

This is a not very official continuation of the speed/thrashers Damzell who released two very good speed/thrash albums a bit earlier. The style here is clearly more twisted, with clear technical pretensions, surreal meandering stuff which on "Mane of Antlion" isn't very far from hitting lofty Coroner-esque dimensions. Some death metal drama rises later but these segments never develop further, largely cause the remaining cuts are just sketches of great musicianship, like the choppy cumulative weirdness on "Granding Metal", or the hectic fast-paced madness on "Phobia", this one a lost tractate from early Atheist lore. The title-track is a true revelation, though, mazey progressive thrash with surreal creepy stopovers, a highbrow form of art enriched with numerous time and tempo changes and brilliant leads 3-min of stupendous constantly surprising stuff that largely compensates for the sketchy character of the rest. The vocals are forceful semi-shouty, and don't stand much on the way of the excellent music.

Metamorphosis Addict Demo, 1994

SAVAGE MESSIAH (UK)

This band are the continuation of Headless Cross, a cool act who released two EP's and one demo before splitting up. The music on this album is better, and more thrash-oriented than the "classic heavy metal meets thrash" mix of Headless Cross. This is actually good stuff, energetic and sharp, with a certain Bay Area flavour: think a less technical early Testament. The slower mid-paced thrashers seem to work better, at least for me: the excellent galloping "Heavens Gate". "Conspiracy In Silence" is a great ballad, with a fine performance by the singer, whose main style slightly recalls John Bush (Armored Saint, Anthrax), but lower-pitched, and more varied.
"Insurrection Rising" crosses the Bay-Area sound with slower less intense moments, with Testament again remaining an influence (their early-90's output). This time the faster numbers are the more appealing since the slower ones are considerably softer, clinging towards the ballad ("In Absence of Liberty") quite a bit, with a certain shade of power metal ("Vigil of the Navigator") as well, and their number is too big to make this effort a sure pick for the thrash metal fans. The band relies on melody too much, and it's obvious that they want to touch a wider audience, but, like in the case of Evile's "Infected Nations", this "expansion of the horizons" needs future refinement, before one shouts out: "British thrash is coming of age!".
"Plague Of Conscience" is another larger-than-life offering which crosses thrash, speed and power metal concentrating on melody more which comes aplenty in both the riff and lead department. The songs are mostly in the mid-paced perimetres with thrash stepping forward on "All Seeing I", which is a sophisticated semi-technical number with echoes of early Megadeth. "The Accuser" comes a bit late near the end, being a really invigorating short headbanger, and does its job to wake up the sleeping spirits, since after it comes another more intense thrasher: "Shadowbound", a fast-paced shredder with a few effective pounding sections. "The Mask Of Anarchy" closes the album in a moderate semi-balladic fashion killing the inertia accumulated with the last two numbers acquiring progressive dimensions with its epic length (8.5-min) and several mood changes. The band are still faithful to their versatile style touching the hearts of many a metal fan from several genres, and as such there should be no disappointed with this new release.
"The Fateful Dark" starts reassuringly with the ripper "Iconocaust" which is speed/thrash at its most classic best. The attack carries on in a more relaxed fashion with "Minority of One" and in a more epic, sing-along, manner with the soaring "Cross of Babylon". "Hellblazer" is a major invigorating galloper already making this effort the band's finest hour despite the points taken for the ballad "Live as One Already Dead". The title-track channels early Iced Earth with its shredding mid-paced rhythm section; but the speedy surprises are not finished yet, and here comes "Hammered Down" to "hammer" you down. Hopes for redemption may be raised by the more laid-back galloping delight "Scavengers of Mercy", but expect a neck-spraining exit in the spirit of Paradox later. The band have tried harder here, and their fans can only embrace them tighter after listening to this inspired addition to their catalogue.
"Hands of Fate" mixes things up again, serving the expected brisk speedsters ("Blood Red Road") although the prevalent delivery is on the heavy mid-tempo side with power metal ("Solar Corona") called in for help more than just now and then. Even the more hard-hitting pieces ("Eat Your Heart Out") come with a speed metal-ish flair more, with thrash not having much to do, even less so on mild lyrical ballads like the closing "Out of Time".
"Demons": the power/speed/and a very little bit of thrash amalgamation is on full display here, the band not trying very hard to justify the "thrash" part of it, the more epically power metal executed numbers like "Heretic in the Modern World" and "Under No Illusions" taking over, stifling the few attempts at a more vigorous play like "The Bitter Truth". The bitter truth is that this effort doesn't quite belong on those pages, and another one in the same spirit won't be honoured with even a single sentence when it comes to thrash.

Spitting Venom Full-length, 2007
Insurrection Rising Full-Length, 2009
Plague Of Conscience Full-length, 2012
The Fateful Dark Full-Length, 2014
Hands of Fate Full-length, 2017
Demons Full-Length, 2019

Official Site

SAVAGE RAVAGE (BULGARIA)

Based on the full-length, this Bulgarian batch serve energetic abrasive old school thrash which is supervised by very guttural death metal vocals. The highbrow technical proclivities of �Las Vegan� remain an isolated phenomenon, but by-and-large this is a tribute to the more immediate side of the good old thrash, the heavy pounding �Poniakoga� leaving wounds all over the listener�s body, whereas �Lujecut� is a more modern semi-groovy outtake. Watch out for �Clare�, a dramatic shredder with ship-sinking riffs; and for �Ego�, an interesting varied opus with sometimes meditative quasi-doom rhythms.

Savage Ravage EP, 2013
Savage Ravage Full-length, 2023

Youtube

SAVAGE SKULL (USA)

Six songs of very cool intense thrash of the old school, which will shoot you straight to hell with the furious opener "Speed Demons", but this is just the beginning, since later on comes the proto-death/thrash bomb "Beyond The Morbid Gates" and the merciless "Into The Depths Of Terror", a direct leftover from early Massacra or early Sadus; the rest follows the pattern pretty closely. Another band from the past this EP may remind you of, is Morbid Saint. This is controlled brutality with sharp fast riffs and vicious semi-death vocals ala Darren Travis (Sadus).

Beyond the Morbid Gates EP, 2008

My Space

SAVAGE SPAWN (USA)

A pleasant surprise from the States in the face of these "savages" who may have intentionally chosen their name since their sophisticated technical delivery will remind of the Canadian veterans Savage Steel (check the reviews below) in more ways than just one. The opening "Hand me My Axe" will "hand" you a nice portion of fast-paced brisk technical thrash in the best tradition of Megadeth's "Rust in Peace" as well as the aforementioned Canadians although later the approach takes a more aggressive turn. Then comes the short "Lemmy" which is stripped-down thrash/crossover, an obvious nod to the Motorheads and their leader although the lead section here would be hard to match even by the most devoted Shrapnel performers. "Behind the Mask" is devastating thrash to the death the leads again shining very brightly. Time for thrash with the next brutalizer "Thrashin' Time" which sees the technical delivery from the beginning brought back in style. "Living Picnic" shows no mercy again and by that time the headbangers will be quite exhausted. "Scarab" is another more technical display of musicianship, but wait till you hear the over 7-min of aggressive speed/thrashing shredding "K.I.A" which is a riff-fest second to none. More relaxed straight-forward thrashing on "The Forge" before the guys step on the more technical pedal for "Throw Down the Gauntlet", and the "super critical" closer "Super Critical Mass". The singer is perhaps not such a shiner with his gruff deathly baritone recalling Tom G. Warrior, and he needs some catching-up to do in the future. But this isn't a complaint at all this recording coming as one of the most highly recommended releases from the thrash metal circuit of recent times.

Savage Spawn Full-Length, 2013

Official Site

SAVAGE STEEL (CANADA)

A not very known Canadian thrash metal band whose debut was a pretty decent mixture of thrash and power metal, beginning not with a nightmare, like the album-title suggests, but with the long, complex, but fairly interesting "Hit From The Rear", which has a nice intense thrashy break in the middle. The complexity continues on the following "The Betrayel-Chambers of Darkness", but there's no thrash on it: just cool, mid-paced progressively-laced power metal. The remaining songs are much shorter and direct, and "Nightprowler" is a nice little speed/thrasher. "A Night On The Horizon" is the other more dynamic track of the mid-paced, semi-technical variety. The singer Paul Gleneicki possesses a cool mid-ranged timbre, but his high-pitched attempts are quite piercing, and sometimes annoying.
"Killing Time"(recorded before, but released after "Do Or Die") is an improvement over the debut in every department, with a couple of really inventive riffs and more edgy tracks. It actually "Begins with a Nightmare" (in case of you wonder whether the guys indeed have a song of this title), which is a cool heavy semi-technical power/thrasher. Later things become more interesting, with the aggressive thrash killer "Can't Stop"; the stylish up-tempo semi-technical "Dead and Gone" and "Liar Liar"; the short, but utterly satisfying technical instrumental "Killing Time": the highlight of the album; the fine galloping power/thrash number "No Falling Angel". Gleneicki here adheres to his higher tones much more often, and his screams could easily rival high-singing masters like Mike Soliz (Watchtower), Gary St. Pierre (Hawaii, Vicious Rumours) and Bob Mitchell (Attacker).
Based on the debut (the sophomore album was not known to anyone at that point), one could hardly expect what these guys would come up with: "Do Or Die" is astonishing technical thrash which remained just an underground phenomenon although his influence on the future development of this sub-genre is undeniable. Effortlessly played with loads of brilliant technical riffs pouring from all sides, "Do Or Die" is a compelling tour de force from beginning to end. The frantic, hectic opener "Do or Die" will throw you into aggressive proto-death technical waters, where acts like Terrahsphere and Dead & Bloated (both bands could have been influenced by this album) belong, and this is even the least technical track here. "Enough is Enough" slows down, but only a little, and we have another intense technical thrasher to enjoy. "Time After Time" starts in a fairly aggressive manner once again, but during its 6-min it features quite a few head-spinning time changes, and a whirlwind of sharp riffs. "Better Late Than Never" is more moderate, slower, but the vortex-like technical guitars, which stop just for a split second, in order to continue in an even more abstract way immediately, will delight you all over (this particular formula was later picked by Coroner, and perfected on "Mental Vortex"). "Men of War" is a remastered version of a song from the previous album: the weakest one there, actually, but here it sounds much better with a harder, more biting and technical guitar sound. "Evil Eye" is a superb fast-paced technical masterpiece, which even provides a short brutal proto-death break. The last song "Get Me Out of Here" is in the same merciless vein, but the guitar work reaches further, with a stupendous super-technical middle section.
Gleneicki manages to finally sound more restrained, nicely recalling Bruce Dickinson at times, without completely losing his high-pitched screams, even adding sinister growling deathly decorations from time to time. The band's guitarist Marshall Birch is a first-rate technical shredder (his style could have been an influence on Jeff Waters), and it's a pity that he never recorded anything else after the guys split up. This incredible album is the first sign that there is something in the water in Canada, and virtually gives an early start to the technical scene in that country (I, of course, exclude Voivod with their abstract, surreal, inimitable style), laying the basis for the appearance of other similar masterpieces, like "Alice In Hell", Disciples of Power's "Ominous Prophecy", the Sadistic Vision demos, etc.

Begins with a Nightmare Full-length, 1987
Killing Time Full-length, 1987
Do Or Die Full-length, 1988

Official Site

SAVAGE STREETS (CANADA)

This band play fast bashing thrash/proto-death which clings between the modern and the classic school the thin drilling guitar sound a major obstacle at times for the listener to fully embrace the musicians' skills which still make major lashers like "Sewercide" and the raging "King Tiger" sure picks for all thrash metal fans. "Warwhore" is a short explosive closer to this manic display of prime old school thrash shredding which should come with a better production next time, and a bit longer since this effort only contains six songs closing on just under half an hour. Maybe it's because some of the band members are quite busy with the black/thrash formation Fornication.

FILTH/ROT/WAR Full-length, 2012

Official Site

SAVAGE THRUST (USA)

Cool speed/thrash metal in the vein of Agent Steel and Toxik's "World Circus" with cool high-pitched vocals and powerful sharp riffs. "Acid Bath" is a heavy stomping opener, not really suggesting at the more aggressive nature of the other material, except at the end, when it speeds up for a few seconds. "Speed or Bleed" richly deserves its title: an awesome speed/thrash number with a nice technical edge, quite aggressive. "Madman Marz" carries on in the same spirit with more direct punishing riffs. The rest is not too different, offering a great headbanging fun all the way.

Eat 'Em Raw Full-length, 1990

Official Site

SAVAGER (PORTUGAL)

This band is just one musician, the acronym Rotem, the style clinging towards the classic canons with an uplifting speed/proto-thrash hybrid the man also "flirting" with mellower heavy/power metal deviations ("Warlords") as well as bluesy stoners ("Wild Wild West"). A very mixed bag as a whole which won't capture the hard-boiled thrash metal fan's imagination except probably with the brisk version of Motorhead's "Overkill" at the end Rotem's relaxed, indifferent clean timbre the furthest possible departure of the one of Lemmy (R.I.P.).

Savager Full-length, 2017

Official Site

SAVANT (BRAZIL)

Based on "Serial Killers' Tales", this act pull out intense old school thrash which crosses the Bay-Area with the German movement. The rigorous fast-paced rhythms that dominate the landscape are at times intercepted by slower, more officiant ones ("Mishappen Earstern Geek"), but the backbone of the album are strictly head-splitting headbangers like "The Gray Man" and the excellent semi-technical shredder "Suicide Premonition". The vocals are hoarse shouty ones who fit this kind of music, and can pass for the exemplary thrash antics recalling the ones of Charlie Steihauer (Paradox).

Portrait of Reality EP, 1999
Evidence Elimination EP, 2004
No Hope Full-length, 2007
Serial Killers' Tales Full-length, 2017

Official Site

SAVIOR (USA)

Based on the demo, this is well-constructed aggressive classic thrash/death with expressive vicious death metal vocals. It's a pity that the guys hadn't gotten a wider exposure having in mind the up-and-coming death metal vogue where they could have fitted just fine, in a way no worse then Merciless and Loudblast. The band shift the pace starting with the explosive "Propaganda" before moving onto a more technical and dramatic delivery without changing the song-length (3-4min). "What Once Was" is a particularly stylish achievement, a standout blend of melody and technicality in the best spirit of Pestilence's "Testimony of the Ancients". On the other hand, the final "Insanity Plea" is bashing death metal at its purest graced by short, but impressive, screamy leads. This is so good that one would barely sleep before tracking down the full-length hoping at the same time that the band would rise from the ashes one of these days for at least one mote "temptation"...
The full-length is strictly more on the death metal side like the inspired brutal shredding on the opening "Impaired Thought Process" clearly shows, but comes "Radiation Exposure", a brilliant technical "operetta", and thrash is back for a while. The remaining material than the "radiation exposure", but stylish technical licks can be caught on almost every track later on the short brutalizer "Conformity" going out with all the "laurels", closely followed by the aggressive early Suffocation reminder "Contemplation Of Abuse". "Bleeding At The Heart" is another striking display of technical death metal mastery, before the band finish with a sloppily produced linear deathster. Regardless, this is a really strong effort which could have grown into something more substantial if the band had survived longer.

Brutal Tradition Demo, 1992
Exploitation Full-length, 1994

SAVIOR FROM ANGER (ITALY)

Quite good power/thrash metal of the old school which starts with the crushing thrashterpiece "Claustrophobia" after which the speed decreases for the proto-modern "Victim Of Rage", but immediately picks it up on "No Way Out" which thrashes hard in a fine Bay-Area manner. A couple of mid-paced power/thrashers follow before "Mindstruck" brings the Bay-Area spirit back. Later on there is one excellent ballad: "Through This Life" where the very good melodic singer rules; he performs very well everywhere controlling both the lower and the higher registers with ease. More headbanging thrash comes as a finishing touch with "Shock Wave" and "Puncture Of Submission"; the latter is a bonus track, but, man, these guys unleash hell of a brutal thrash there nicely contrasting with the very melodic vocals. This is a promising debut which will make quite a few heads turn in the months to come.
"Age of Decadence" is a bit on the mellow side the band mixing power and thrash in equal dozes with very little vicious thrashing involved this time. The compositions aren't very eventful mid-paced hymns the bigger dynamics carried by isolated numbers ("Concatenation") which impact is greatly "stolen" by ballads ("Warrior Princess") and other tender gimmicks. The bonus track "Bloodline" sticks out oddly at the end with its intense speed/thrashing rhythms, and isn't really deserving since the band plainly take it easy this time from the more speedy side of the spectre relying on melodic relaxed riffage to please a bigger range of fans.

Lost in the Darkness Full-length, 2009
Age of Decadence Full-Length, 2013

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SAW (USA)

There�s only one musician involved here, the name Joe Longobardi, who specializes in old school heavy/power/proto-thrash with a strong epic current, the latter aptly helped by the levelled clean vocalist. �Forgotten Ruins� is a more sprawling epic opus, and �Beast� is an imposing progressive beast lasting for whole 11-min, with hard moshing sections interlaced with near-meditative digressions.

The Last Messiah Full-length, 2024

Official Site

SAWCHAIN (SWEDEN)

Based on the "Architecture of Evil" demo, this band prefer to stay within the confines of the style which represents their homeland best in the past few years: modern thrash/death metal recalling Terror 2000 and Corporation 187.

Abra Cadaver Demo, 2002
Monument Of Hate Demo, 2002
Architecture of Evil Demo, 2004

Official Site

SAWHILL SACRIFICE (FINLAND)

Three tracks of excellent intense classic thrash/death metal; fast relentless music with vicious apocalyptic death metal vocals. The delivery is quite close to the Merciless debut, so expect plenty of headbanging fun and risks for sprained necks all over. The sound quality is very good giving the lashing guitars a strong sharp edge, especially on the speedy semi-lead sections (check out the thrash metal fan's Paradise "End" at the end).

Sawhill Sacrifice Demo, 2010

Official Site

SAWTHIS (ITALY)

The debut: modern post-thrash mixed with metalcore; by all means skippable with not much to hold on to, just rehashed jumpy riffs and terrible shouty vocals which in this case stay more on the death metal side. This is actually the continuation of thrash/deathsters Sothis who released one album in 2006 of much more aggressive and more appetizing music.
"Youniverse" would be another waste of time for the thrash metal fans being full of metalcore references and other annoying gimmicks which see a band not willing to pursue a thrash metal career. With that being the case that's enough said...
"Babhell" is another metalcore affair the band notching it up here and there, but their efforts don't suffice to place the band back on the modern thrash metal map.

Egod Full-Length, 2010
Youniverse Full-Length, 2013
Babhell Full-Length, 2017

Official Site

SAWTICIDE (UK)

Both EP's show a unit intent on generating as much unrelenting mosh as possible from their short stay on the circuit, the shadows of both Slayer and Morbid Saint fixed all over the lapels of these brief entries, "Lost in an Empty World" alone killing all the posers with a 20-mile radius with its violent unrestrained riffs, "The Harvesters" partly calming the ball down with a couple of more flexible melodic configurations, before "Man Made Horrors Beyond Our Comprehension" levels the entire scenery alongside the decent cover of Death's "Zombie Ritual", the singer abandoning his screechy hysterical shouts for a timbre quite resembling the one of early Chuck Schuldiner (R.I.P.).

The 11th Plague EP, 2020
Man Made Horrors Beyond Our Comprehension EP, 2023

Official Site

SAWTOOTH (USA)

This US trio unleash passable modern thrash/death that comes served with a highly computerized sound, the latter ingredient by all means grating on the nerves at times. Expect flashes of grindcore (�Chromatic Immurment�), semi-technical developments (�Beaten Past Expiry�), and brave industrial ventures (�The Omnicide�), the barely audible guttural death metal singer sometimes assisted by a husky whispering �witch�.

Invocation Full-length, 2024

Official Site

SAX (CZECH)

Based on "Zona Strachu", Sax play fast tight, technical thrash metal with great bass performance. This is really high quality stuff; reminds me of the Dutch techno-thrashers Usurper, but faster, or Koma from Russia. The music takes more chaotic and frantic dimensions bringing the sound close to Terrahsphere as well ("Rudy Mor"). Such intense delivery definitely tires, and here comes a heavy, slower track in the vein of late 80's Slayer ("Duaene Smrt S POlova"). But that's the only song the guys take a break on, and later thrash even more aggressively (the death-tinged "Killer Hammer"). The last song "Ten, Kdo PoPil" is the culmination of this impressive release, a fine blend of very speedy and precise technical riffs.
The debut showed slight pretensions at the death metal field which were supposed to develop further on the follow-up, but "Moravske Narez" loses the technicality somewhere although the great bass work and the speed are almost intact. Still the music is more ordinary this time, and more aggressive, but not death metal, reminding of Turbo's "Dead End" at times. Shortly after this album's release the vocalist Pavel Pijek left to found his own project, Sax Pijak (see the review below).

Zona Strachu Full-length, 1991
Moravske Narez Full-length, 1993

Official Site

SAX PIJAK (CZECH)

The band was formed after the Sax (see the review above) singer Pavel Pijek left the other band (reportedly under not very pleasant circumstances). If we compare this album and the second Sax album, we will find out that both efforts aren't miles away from each other, but this one here delivers the goods in a better way. It is more aggressive, more technical, and overall faster, and comes as a fine combination of Gammacide's "Victims of Science", Sepultura's "Arise" and Invocator's "Excursion Demise". It touches death metal occasionally ("Smetiat Perverzity", "UPitee Svif1a"), and some of the songs are really quite fast. To release a thrash metal album with a strong 80's flavour in the mid 90's, was definitely a challenge to oppose to the fashion at the time, but Pavel Pijek was probably just looking for a way to show to his old band who the real thrash metal talent was, and having managed to do that in a good way, he probably left the music scene soon after that.

Velika Nerva Full-length, 1993

SAXO (MALAYSIA)

Generally the average thrash metal fan approaches bands from the more exotic countries with caution and prejudice with the firm belief that quality metal from such distant lands could only come out of Japan. With bands like Saxo around things might change; these guys play fairly good metal which has its roots in thrash, but there are also moments from traditional and power metal (and three ballads). The music is more on the melodic side, and recalls some future bands from Japan, like Sex Machineguns and Hellhound.

Satu Perjuangan Full-length, 1991

SCAAR (SWEDEN)

Modern thrash/death metal similar to many other Swedish acts, with heavy groovy parts ala Pantera and Exhorder also heavily involved. Energetic abrasers like "Deathmachine" and the raging semi-technicaller "Spitting Morbid Cancer" stir the mood big time, but expect tangible industrial atmosphere to settle in with the murky "The Poltergeist Song" and the groovy earthshaker "Test Tube Killers". Run for cover on the brutal death metal madness "Infected", before the band take you out into the light with the pleasant balladic doomster "Planet Evil" and the catchy post-thrash groovefest "Revolting Obscenity". The singer is a shouty hardcore throat, an intimidating presence that occupies quite a bit of room.

The Second Incision Full-length, 2005

Official Site

SCAFFOLD (AUSTRIA)

This is full-fledged state-of-the-art prog-thrash, strictly classic stuff which blends high-brow works of art like Toxik's "Think This" and Osiris' "Futurity and Human Depressions" with the more impetuous vehement tech-thrashing of teams like Terrahsphere and Midas Touch. In other words, fans of the outside-the-box in music will have a most meaningful field day which will begin totally out of order with "Out of the Art Order", the title-track, a disorienting labyrinthine shredder with constant time and tempo changes, the dizzying rifforama assisted by intense shouty vocals, the man rending his lungs somewhat unnecessarily as his exploits behind the mike invariably pale before his colleagues' genius. The latter also finds expression in a couple of impetuous speedy skirmishes, not to mention the authoritative bassisms and the stupendous virtuoso leads the latter providing a breath-taking epitaph. Dense impenetrable riffage characterizes "Rip Your Thoughts" which also rips your thoughts with frequently applied fast-paced arrangements and some very intriguing vocal semi-recitals, the dramatic music reaching a culmination on the thick staccato rhythms towards the end, a hallucinogenic vortex of virtuous guitarisms worthy of Deathrow's "Deception Ignored" even. "Educational Establishment" is the faithful sequel to the preceding showdown, 2.5-min of impeccable tech-thrashing with psychotic aggressive whirlwinds rising out of a patiently-woven section, this drill repeated several times throughout to a startling effect, the clicking articulate guitars giving a royal boost by the crystal-clear sound quality. More musical brilliance with "Insufficient Evidence", another tractate from the forbidden mind-stirring manuscripts of ancient Austrian music lore, superb entangled near-instrumental thrashing with beautiful melodies supporting the riff-fest, the vocals venerably stepping aside save for a brief downbeat declamatory appearance. Spell-binding stuff no more no less, the finest achievement within the thrash boundaries on Austiran soil.

Out of the Art Order EP, 1993

SCAFFOLD (RUSSIA)

Based on the "Labyrinth of Pain" demo, these guys mix thrash and death metal in a quite cool manner. The bass performance is really outstanding, and slightly overshadows the rest. The music is pretty fast, but also quite technical; there are balladic parts which are nice "calms before the storm". At their best, the band manage to combine aggression and technicality in a way not worse than mid-period Messiah ("Choir of Horrors", "Rotten Perish"), or even another good Russian band: Koma (their debut, and the demo after). The downpoint is the guys' penchant for frequent blast-beats which do not seem to match the otherwise technical approach too well.

Origin of Debility Demo, 1993
Labyrinth of Pain Demo, 1994

SCAFFOLD (SERBIA)

Based on "Years of Decadence": classic thrash with brutal death metal vocals; a cool contrasting mix which notches up the atmosphere with the dark brooding the title-track before switching onto something way more dynamic later, with brisk headbangers like "A Night to Remember" and the death=peppered "Die Aggression Wird Introjiziert". However, the alternation between the two sides is kept alive thanks to other heavy steam-rollers like "Murder With Clear Conscience" and the Bloodbath cover of "Suicidal Future", the balance well achieved with no preference given to either aspect.
"Codex Gigas": another appetizing thrash/death hybrid by these veterans, boosted by intimidating guttural death metal vocals. Longer more technical, also more death-laced, propositions ("1763 (Consecrated Ground)") take turns with immediate vigorous shredders ("The Butcher of Rostov"), "Five Circles in Barbed Wire" greatly reminding of early Death ("Spiritual Healing, above all), the lofty keyboard strokes on"In These Dreams" also bringing to mind Nocturnus. "At the Dawn of a Judgement Day" is a heavy atmospheric proposition, and "VariolaVerad" is a more ambitious progressive odyssey with numerous melodic ornaments, the saga wrapped on by a cover of Bloodbath's "Psychopathic Mind", and the short acoustic elegiac instrumental "Rotting in the Rain". Some of the musicians are also busy with the heavy metal cohort Clan.
"The Other Side of Reality" is an early good effort from this worthy cohort who were already on a fairly proficient level from the very beginning, with melody and progressions dexterously blended on nearly every track, the keyboard presence ensuring the Nocturnus connection although this is a more straight-forward opus, with lightning bolts like "Taurunum" pairing well with slow-burning melodic darkers like "Woman & Love", the dominant death/thrash hybrid taking a few breaks (the mellow semi-balladic pageant "The Knife"). "The Truth Is Buried" is a rough direct headbanger, and "Memories from the Past" is a lengthy progressive saga sustained in a dreamy mid-pace with echoes of the German doom/death purveyors Dark Millennium.

The Other Side of Reality Full-length, 1994
Like Devil in the Church EP, 2015
Years of Decadence Full-Length, 2019
Codex Gigas Full-length, 2021

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SCALPAL (USA)

An obscure American trio who indulge in intense, but quite messy as well thrash/proto-death that borrows from aggressive roller-coasters like Sacred Reich's "Ignorance" and Dark Angel's "Darkness Descends", the very sloppy sound quality ruining the musicians' intentions to a fair extent. This is generally pretty fast bashing stuff which manages to even capture the manic intensity of the Cryptic Slaughter debut ("Angel Of Darkness") on occasion. The vocalist simply spits the lyrics in a belligerent staccato deathly fashion not bothering to actually sing.

Demo Demo, 1990

Youtube

SCALPING SCREEN (FINLAND)

Based on "13 Revolting Strains", this band offer ordinary unimaginative modern thrash/death metal with good forceful Phil Anselmo-like vocals. The music covers all possible nuances which can be encountered on the modern field, but there is too much concentration on groove, and at times the sound comes close to Pro-Pain ("Two Face"), switching completely to hardcore for a while ("Dead End", "Images of Reality" and elsewhere).
"Twelve out of Chamber" doesn't stray from the chosen path, but there's hardly any death metal to be heard, and the sound overall is more consistent, keeping a good energetic tempo the whole time, with Pro-Pain again being the closest soundalike, and probably Sick of It All on the more intense sections ("Deal", "Collapse"). "Fight for Life" is a cool speed/thrasher but the rest smells hardcore quite a bit.

13 Revolting Strains Full-length, 2003
...Blood Out Full-length, 2005
Twelve Out Of Chamber Full-length, 2009

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SCAMP (DENMARK)

Groovy jumpy post-thrash which comes as more aggressive, and more technical Clawfinger at times; yes, the sound is quite technical on some parts ("A Familiar Word", "Strategy", the cool heavy Prong-esque "You"), but tries not to stray too much from the trite formula.

Re-Draft EP, 2005
Mirror Faced Mentality Full-length, 2008

My Space

SCANDIUM (GERMANY)

Based on the "Public Nuisance" demo, this act specialize in crushing speed/thrash which crosses the thrashier aesthetics of early Angel Dust with the more restrained speed metal histrionics of Scanner. The music packs a punch an all counts turning to pure aggressive thrash towards the end on "Let the Existence Live or Die". The singer is a cool semi-cleaner who semi-recites for most of the time, but his antics are comprehensive and appropriate.
The "Out of Silence" demo is a turn towards more technical and more atmospheric music. The riffage is creepy and seldom too fast the technical chops flowing mostly from the brooding "Behind the Scenery". "Live or Let Die" is more on the semi-balladic side, and the final "Politicans" is a merry power metal hymn, a kind of an underwhelming epitaph to this otherwise worthy, promising effort. Some of the musicians are active nowadays under the name Mass Murder Machine; the style is classic thrash.

Cruel Executer Demo, 1985
Frontiers of Hell Demo, 1986
Public Nuisance Demo, 1989
Out of Silence Demo, 1990

SCANXION (UK)

This underground British trio comes up with two songs of jumpy doom/thrash which moves from slow heavy passages to faster more intense ones, clearly concentrating on the former, and as a whole this stuff will hardly appeal to the headbangers, especially when those speedy parts come up all of a sudden, and feature pure senseless bashing. There is quirky atmosphere created by the gloomy monotonous riffage, and this approach could have turned into something more stylish in the future, but the band had reportedly switched onto grunge/alternative rock in the vein of Nirvana and Fugazi, on their next three demos of the early 90's.

The Poetic Justice EP, 1990

Official Site

SCAPE.GOAT (FRANCE)

Modern thrash with hoarse, hardcore vocals; the music is energetic and edgy, mostly up-tempo, and with some slower, melodic implements which work quite well combined with the sharp riffage ("Synergy", "Blank Army").

Zero Demo, 2006

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SCAPEGOAT (CANADA)

This is quite cool old school prog-thrash which comes served with a hefty portion of energy ("Materialist Domination"), think the Australians Bezerker's Lost", or Toxik's first. There are entangled vortexes aplenty ("Scapegoat Till the End") as well as quirkier variations on jumpiness and funkisms (the dizzying shredder "Dealing On Peace"). "Instinctive Life" is a heavy steam-roller which takes it a bit easy on the technicality, and "Hope In Distress" follows a similar pattern, only a tad more quietly with a few lyrical passages embedded. The title-track is the centrepiece, a marvellous progressive thrashterpiece which meanders through virtuoso lead-driven sections, dense mazey rifforamas, unwavering mid-paced marches, and atmospheric balladic interludes. "Le Frede Lamitie" is a more relaxed goofer, a fusion-esque dreamy semi-balladic cut which is partly ruined by the not very emotional semi-clean vocalist the latter missing from the closing idyllic all-instrumental etude "Voiceless Wailing", a somewhat downbeat finale to an otherwise fairly eventful, full of surprises, opus.

Mest Demo, 1993

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SCAPEGOAT (GERMANY)

This act could be considered the continuation of the German speed/thrash metal act Defender, who released one demo and one EP in the late 80's. The line-up also includes Tosse Basler, the singer of another underground "hero", Poison Asp, as well as the drummer Alex Koch from the black metallers Mystic Circle. Based on "Goddog of Prey", this band plays typical 90's modern power/post-thrash, blending groovy and fast parts, but lacking both edge and heaviness in both the guitar and the vocal department. Often is the music pure hard'n heavy ("Stoker") and as such could attract a wider circle of fans.

Purify Full-length, 1995
Until You turn to Dust EP, 2000
Goddog of Prey Full-length, 2002

Official Site

SCARANGELLA (USA)

Modern dark industrialized thrash sustained in a heavy officiant manner with more operatic arrangements those recalling Hollenthon and partly early Therion. The band are at their best when they weave more complex, more progressive pieces ("99 Days") where both doom and gothic come to play with vistas resembling the ones created by the Swedish powerhouse The Project Hate, the shouty death metal vocals also accommodating those multi-layered soundscapes whenever they're not disturbed by the cleaner more emotional insertions.

Archetype Full-Length, 2018

Official Site

SCARECIN (USA)

A cool 3-song demo of aggressive Slayer-influenced thrash; the only thing which differs it from their mighty compatriots, is the more stylish leads which are short, but well-constructed.

Demo Demo, 1990

SCARECROW (GERMANY)

This band, who had tried their hands on a more speed metal-based sound under the name Beatifix a few years earlier, deserve to be better known mainly for the reason that they manage to forge their own unique sound which is a blend of dark heavy, semi-technical thrash and enjoyable more melodic numbers. The vocals are the downpoint being weak and indifferent of the declamatory, semi-singing variety. Actually if you remember the first two albums of the British Sacrilege, then you might get an idea about the style here (check out the very ambitious, 12-min track "Condemned To Be Doomed, part2") although the approach of the Germans is a bit more varied and more technical. The first part of that same song, which is the opener, is a fine instrumental piece, shredding in an awesome mid to up-tempo thrash manner with aggressive bashing parts alternating with more controlled galloping ones, also featuring a cool balladic lead-driven passage and standout lead guitar work everywhere else. "In the Beginning", supposedly the intro, is curiously placed as the second track, killing the gained inertia to a great extent, being plain thundering noise accompanied by an indifferent chanting voice. "I Owe You..." continues the curiosity mixing heavy almost doomy elements with chaotic abstract riffage not too far from early/mid-80's Voivod. "Nuclear Radiation" is nothing like the previous one offering more laid-back thrash/crossover, but with "Personal Problems" the more serious song-writing returns to the fore with dark sinister riffs ala Infernal Majesty (as well as the "personal problems"- ha ha!). Then comes the aforementioned 12-min opus which sounds almost identical to the previous track, the reason for the bigger length being the stretched balladic passages. More softer thrash/crossover as a finishing touch with "Eternity", to which the very thin melodic punk-ish vocals are a much better match.

Condemned to Be Doomed Full-length, 1988
No Reason to Be Sad EP, 1989

SCARECROW (POLAND)

Ultimately vicious thrash/black/death, fast and brutal, with simplistic guitar work and a raving mad singer, who rends his lungs out; short tracks with a tinge of grind even: not for the squeamish side of the thrash fanbase.

Deo Optimo Maximo Demo, 1989

SCARED TO DEATH (GERMANY)

This thrash trio from Germany plays energetic modern thrash metal with classic leanings ("Extreme Aggression", which is not a Kreator cover being much less aggressive than the Kreator song, and hardly deserves its violent title; the intense speed/thrash riff-fest "Dark Harvest"). The horrible industrialized vocals on "Paint The White House Black" ruin an otherwise good jolly speed/thrashing piece. The guys manage to sound convincingly on the slower longer tracks, too: "Crucifixion" which offers interesting dark pounding riffs; the cool bonus track at the end "Deine Zeit" which is more melodic with a crossover shade.
"Fatal Destroyer" is another "fatal destroyer" thrashing with passion and with a more overt classic flavour. The songs are generally fast-paced with quite a few melodic "ornamentations" both in the riff and lead department. "Trail of Death" has a more officiant epic colouring, but the wilder headbanging side ("Manic Mullah", "Crew of Vengeance") seems to be the more attractive one. The title-track is a more serious shredder with a more elaborate rhythm-section which remains more on the quiet side after that until the arrival of the final "Progress Denied" which thrashes hard with a portion of really cool melodic leads.

Deathconstruction Full-Length, 2008
Fatal Destroyer Full-Length, 2014

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SCAREFIELD (INTERNATIONAL)

An international duo who specialize in an old school power/speed/thrash compendium the latter not too far from early Blind Guardian and Persuader. Fans of several walks of metal will have fun here, the competent Hansi Kursch-like (Blind Guardian again) vocalist leading the varied showdown which settles for both steady mid-paced odysseys ("Altar of Fear") and soaring speedy sagas ("Child of the Corn"), the lead guitarist a prominent performer with his blazing but not overly long inclusions. Watch out for the short blistering "Primitive Shadows", an eminent speed/thrasher; but don't cringe too much on the cool soulful ballads "Dream" and "Always", these two tractates lowering the level a bit towards the end.

A Quiet Country Full-length, 2024

Official Site

SCAREMONGER (INDONESIA)

Simplistic thrash/crossover with a few nice melodic touches; the good sense of melody, however, is ultimately ruined by the raspy blacky vocals which are at times interrupted by growling death metal ones. The band change the pace keeping the tempo up on at least half the tracks to ensure there'll be no passive bystanders in their shows, but at least a handful of enthusiastic jumpers-around.

Arbitrary Paradoxist Full-Length, 2015

SCARIOT (NORWAY)

Scariot are very close to grabbing the title "the best Norwegian metal band of modern times", and well deservedly so. Their debut album offers a cool, albeit an uneven mix of power, thrash and death metal. It jumps from straight-forward Swedish death metal ("Crimson Tears") to pure cheesy heavy/power ("Cruisin'", "False Power") and it's near the end when thrash metal sneaks in ("Sister"), but still crossed with melodic power metal hooks. "The Bad Man" is finally a truly satisfying number being a heavy, but also speedy thrasher. The duel between the gruff, low-tuned death metal vocals and the soaring clean ones does not work all the time and as a whole this album leaves quite a bit to be desired.
"Tongueless God" is a nice switch to technical thrash with brutal death metal vocals, and great leads. The music is mid-tempo and heavy, with occasional takes on Swedish death metal ("The Cynic"). Some tracks are really impressive exercises in technical metal ("Death Request"), whereas some go into progressive territory (the nice atmospheric instrumental "Tongueless God").

"Strange to Numbers" is a big improvement over the predecessor cleared almost completely off all other influences (the exception: the laid-back heavy metal number "Lady X"), and concentrating on the thrashy side, again technical, with a unique dark sound, recalling Nevermore. The death metal vocals which were not doing such a good job earlier, are gone, and the new singer has a powerful clean voice, much more suiting to the music. This is a tour de force consisting of great complex tracks with mighty riffs, Oriental melodies, more direct intense headbangers ("Broken Circle - Cutting Glass", "Clear Mind"), and really infectious choruses (the closing, progressively-laced "Inner Mica"). The music is never too fast, but is often up-tempo and emanates a lot of energy.

The band looked well set to conquer the metal scene, and not only in Norway, but the singer Oddleif Stensland departed, to found his own band (Communic is the name; he had already tested the soil previously with a demo, under the name Ingermanland, which worked great), leaving the others hanging for four long years when finally Daniel Olaisen, the band's founder, and its actual face, summoned a stellar cast, consisting of the almighty Steve DiGiorgio, and two members of the progressive metallers Spiral Architect, for the recording of "Momentum Shift". If those who have crossed the band off the list after the Stensland departure, have to put them back, and much higher than the first time: this is first-rate technical thrash that has something in common with the previous album, but goes way further, perfecting the technical guitar sound without forgetting about the more aggressive side of thrash ("Nothing"), and about the genuine Oriental tunes, which here are even more, and are simply brilliant (check out "Slaves", containing one of the greatest choruses of the past few years). A marvellous cover of Death's "Symbolic" arrives near the end, to make this work even more compelling, and also make it one of the main pretenders for the "album of the year" award of 2007.

Deathforlorn Full-length, 2000
Tongueless God Full-length, 2001
Pushing For Perfection EP, 2002
Strange to Numbers Full-length, 2003
Momentum Shift Full-length, 2007

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SCARLET ANGER (LUXEMBOURG)

Based on the full-length, these lads provide intense proto-modern thrash akin to Dew-Scented and Corporation 187. The band know their craft playing with gusto unleashing piercing leads and cutting riffs alternating the speed from the opening duo ("New God Rising", "My Battlefield") with a couple of more laid-back stompers ("From Fool to King", "Face of Evil") later on. Both sides take turns occasionally intercepted by a few more clever decisions (the technical Annihilator-esque riffs on "Prince of the Night"). The singer is a forceful semi-cleaner who possesses both aggression and melody displayed at various moments throughout the album.
"Martyr" is a nicer, both more complex and more melodic affair, the well-measured pounds of the title-track siding well next to then impetuous speed metallisms of "No Time". "Akrasia" is a cool streamlined power/thrasher, and "Hunger" is a major headbanger with more entangled decisions ala Paradox, the atmospheric accumulations of the slow-building "Behind the Mask" drawing trajectories not previously explored by the band.

Kill the King EP, 2011
Dark Reign Full-length, 2012
Freak Show Full-length, 2016
Martyr Full-length, 2024

Official Site

SCARLET KING (USA)

Based on the full-length, this act pull out heavy seismic classic thrash/death that moshes with little restraint on "Legion" and "S.T.", but knows its pounding heavy side as well as evident from the ten-ton behemoths "Revelation" and "Dead Is Dead". The guttural death metal singer supports the remorseless musical idea with all the bile and venom he can muster, getting both low-tuned and growling, and Chris Barnes-like screeching on the vicious pummeling title-track.

Scarlet King EP, 2022
The Twitch of the Death Nerve Full-length, 2023

Official Site

SCARLET SKY (BRAZIL)

Despite some modern implements, the debut retains quite a bit of the 80's sound and is a good work of interesting minimalistic thrash metal which sounds kind of mechanical and dry without strictly belonging to the 90's school. The music isn't aggressive and nicely combines up-tempo riffs with stomping, Celtic Frost-like ones ("The Cannibal"). More intense numbers are a rarity ("Death Angel", the short aggressive "Hurted Innocence"), and the closer "Guru" is an ambitious technical track with cold dry riffage recalling the style later adopted by Voivod a few years later. The vocals are very annoying, by the way, being bad undeveloped semi-hardcore shouts, and one might find it really hard to believe that they are delivered by a girl.

"The Portrait of a Nation" sounds more modern and more laid-back not strictly belonging to the thrash metal field the whole time ranging from crossover ty numbers ("Body Bags"), to high-octane proto-groovy doomsters ("Dogs At Night"), to weird avantgarde cover versions (the surreal industrial take on The Doors' "Strange Days"; the more faithful wild interpretation of The Exploited's "Why?"), to "remnants" from the past (the brutal retro shredder "Witch Of The Streets" which comes accompanied by nice classical semi-acoustic guitars; the frantic mix of heavy steam-rollers and raging proto-blasting sections "Brazil Champion"). There are certainly displays of bad taste, like the awkward "Pussy Power Rap" which is a jumpy pointless groover, and overall this exuberant amalgam doesn't really strike as too impressive coming with an awful noisy abrasive synthesized guitar sound, on top of other annoyances.

Scarlet Sky Full-length, 1993
The Portrait of a Nation Full-length, 1994

SCARPATH (FINLAND)

A new formation specializing in modernly produced old school thrash in the German school vein. Expect a nod to the "holy three" of German thrash spiced with a slight doze of death metal ("Your Departure"). The riffs are sharp and the vocals are very shouty to the point of hysteria, but there's no novelty on display for one to be thoroughly concentrated despite the competent execution. The guys also entertain themselves in the death metallers Exremains, and the thrash/death metal outfit Spirit Disease.

Scarpath Full-Length, 2015

Official Site

SCARRED (LUXEMBOURG)

Based on "Gaia-Medea", these folks provide modern thumping thrash/death with escalating dramatic developments bordering on the progressive, and inevitable excursions into the post-thrash realm. The blend works for most of the time except on the moments when jumpy groove takes over the latter suddenly intercepted by compulsive neck-spraining sections ("The Great Pan(dem)ic") some of them reaching blast-beating heights ("Low"). The more abstract side (the technical post-death dirge ala later-period Godflesh on "Mosaic") is more attractive, especially when it's more dynamic ("The Knot") with stylish technical "decorations". The guys overdo it a bit on the overlong closer "Medea" which is whole 11.5-min the second half being just doom/balladic tunes with industrial undercurrents.
The self-titled is a calmer more atmospheric recording, the delivery moving from tranquil doom vistas ("Mirage") to ruder semi-technical walkabouts ("A.D...Something"), to brutal death-laced expletives ("Chupacabra"). The latter are sparse at best, pacified by lengthy balladic strolls ("In Silent Darkness") and short sleep-inducing all-instrumental etudes ("Lua").

New Filth Order Full-length, 2009
Gaia-Medea Full-length, 2013
Scarred Full-length, 2021

Official Site

SCARRED BY BEAUTY (DENMARK)

A 3-song EP of noisy abrasive modern thrash/death metal with touches of metalcore; the music is chaotic with sudden constant switches from one pace to another creating a complex but incoherent, focusless picture.

We Swim EP, 2009

My Space

SCARRED MIND (BELGIUM)

Based on the full-length, these guys offer a mix of classic and modern thrash with good lashing guitar work and ordinary hoarse semi-shouty vocals. The music moves from all-out headbangers even touching Slayer ("Hollow Eyes", the speedy roller-coaster "Scarred"), to moody doom pieces ("Seven"), to jolly crossover ("Fuck Off") happinesses.

The Sweet Taste Of Sickness Full-length, 2004
The Anomaly EP, 2008

Official Site

SCARS (BRAZIL)

Typical modern death/thrash metal, led by the singer of the split-up technical death metal wizards Strangulation; the aggressive attitude is perhaps a bit more than usual which places this EP closer to death metal territory most of the time; no traces of technical play here. However, this isn't a complaint at all as the sheer energy and speed involved would win almost anyone in the long run.
"Devilgod Alliance" is a better effort, now deeply immersed in retro thrash, fast and relentless, with fewer more brutal death metal moments. The album starts in a crushing manner with a fast thrash duo before "Feast of the Damned (Red Death part I)" crushes your skull in the best tradition of mid-period Sepultura with heavy mid-paced riffs. "Diabolization" continues the assault with more aggressive death metal guitars and a nice balladic interlude which ripens into the excellent short acoustic instrumental "Five Minutes Before Darkness" that may remind you of the intro to Destruction's "Curse the Gods". "Inner God Death" is the only full-blooded tribute to death metal after which the enjoyable thrash show carries on uninterrupted for four more tracks until the coming of "Devilgod Alliance", another slower smashing steam-roller. The end is put in the form of an Overdose cover of "Scars" from their 1995 album of the same title, that same album apparently being the godfather of the band.
"Predatory": the band are back after a lengthy absence, but they haven't forgotten how to thrash with power, and the first half of the album is sustained in a fast blitzkrieg pace. Later on the guys slow down and introduce a couple of more restrained mid-tempo tracks ("The 72 Faces of God", "Ghostly Shadows") where the classic clout is dissipated a bit by more modern additives. Watch out for "Violent Show", a very cool fast-paced winner, and for the excellent short lead-driven instrumental "The Unsung Requiem", a virtuoso piece worthy of Yngwie Malmsteen even.

The Nether Hell EP, 2005
Devilgod Alliance Full-length, 2008
Predatory Full-length, 2020

Official Site

SCARS (CHILE)

Based on the full-length, this band play quite cool retro thrash with a strong early Exodus-esque vibe which also tolerates the odd mid-paced stomper ("Scars of Life") among the less bridled vitriolic thrashers that range from direct mosh ("The Lost Joke") to some shattering near-death experiences ("Call Me Chaos"). "C.F.A.N.O." clings more towards the frolicker speed metal side, but watch out for the more contrived "The Replicant" and the great melodic leads on "Wreaking Havoc" which show bigger musical proficiency. The vocals do the damage in a passionate shouty fashion, the man not hiding his fascination with Steve de Souza (Exodus again).

The Lost EP, 2017
...or Die! Full-length, 2019

Official Site

SCARS (NORWAY)

Based on "Trust No One", this act deliver modern power/thrash/post-thrash the guys relying on gothic-like atmosphere to pull it through, leaving the more aggressive developments aside, the established mid-tempo idyll easily hitting the doom parametres ("Volcano"), the final result probably closer to mid-period Cemetary, also due to the very comparable hoarse semi-deathly vocal presence. Some of the band members also shred with the post-death outfit Mecalimb.

In Constant Suffering Full-length, 2014
Trust No One Full-Length, 2022

Official Site

SCARS (SWEDEN)

Three songs of intense thrash/death with shouty death metal vocals; the band try to sound more intriguing ("Distrust") here and there, but generally this is an aggressive roller-coaster with "Apathy/Solitude" at the end constituting a nice doom epitaph with an even cooler acoustic ending. The band members were kept busier with the death metal legion Votary for one more demo, and are still around with the thrash/speed metal heroes Hostile Reaction.

Mental Relief Demo, 1994

Demo Download

SCARS OF ARMAGEDDON (USA)

This act offer a slightly progressive brand of power/thrash which has its epic inclinations as well and boasts a very good soulful singer who brings a lot of drama to the proceedings. The guys vary things quite a bit overdoing it a bit on the longer numbers ("Our Dying Day", "Edge of Darkness") with too many musical decisions accumulated, but few would complain when the galloping shredder "The Return" hist them, or the moshing speed/thrashing closer "Versus God" which is a swirling piece with super-fast sharp guitars.

Never Sleep Again Full-Length, 2013

Official Site

SCARS SOULS (BRAZIL)

Based on "Highbreed", this act plays edgy thrashy progressive power metal supported by nice emotional female vocals (the name is Andrea Palmieri, and she is also responsible for the unobtrusive keyboard background springing up from time to time) which are not too far from Doro Pesch, maybe a tad more melodic and attached. The album opens in an attacking manner with the galloping "Addiction", but the next "Warnings" is already a more laid-back progressive composition. The complexity goes up on the 9.5-min opus "Feelings" which mixes heavy sharp guitars with elaborate semi-balladic arrangements to a fairly positive effect recalling mid-period The Gathering. "Open Letter" is a dreamy ballad with very good vocal performance cancelled by the short intense power/thrasher "Hybrid"; nothing progressive here, just straight dynamic shred. "Parallel Systems" is another exercise in a bigger complexity, this time all-instrumental, relying mostly on meaty doom riffs blending well with the fine keyboards. "Solitute" beats everything in terms of length (12-min) and elaborate structures producing a satisfying "cocktail", albeit a bit overlong, of hard-hitting passages and mellower balladic ones. "Y O K A N" follows a similar pattern closing on just above 10-min, but the guitars are edgier, and the pace is faster resulting in the best song on the album, a fairly nice slab of complex progressive power/thrash which never loses the intensity exiting in an admirable doom/orchestral fashion. The "final impressions" come from "Final Impressions", and they may not be the best ones since this closer is a pure acoustic ballad and brings little to the album's diversity provided that there already were quite a few more quiet moments encountered previously. Still, this is a cool effort which target is not exactly the thrash metal fanbase, but those who love the more versatile and thought-out side of metal would do no wrong tracking this work down.

Troia Full-length, 1998
Highbreed Full-length, 2006

Official Site

SCARSNEAR (RUSSIA)

A melodic brand of thrash and death metal, roughly done, with a buzzy sound and low-tuned guttural vocals. The guys stick to monotonous mid-pace, bordering on doom/death ("Polnoch") at times in a way not too far from early Pyogenesis. The few melodic touches could have been more appealing if it wasn't for this awful sound quality.

Demo Demo, 2006

SCARVE (FRANCE)

One of the better French metal acts for the past ten years, Scarve play potent technical industrial death/thrash metal with a modern sound which is as close to bands like Meshuggah as it is to Atheist or later period Death, but with a nice thick modern production, and a strong presence of industrial metal. On the longer songs the guys spread further adding some progressive elements, and combined with the quiet passages, smell Opeth quite a bit. Two vocal styles attack you here: one in the death metal-mould, the other clean, and quite good. Perfectly conformed with the demands of the contemporary French metal scene, Scarve are surely one of its leaders nowadays.

Six Tears of Sorrow EP, 1996
Translucence Full-length, 2000
Luminiferous Full-length, 2002
Irradiant Full-length, 2004
The Undercurrent Full-length, 2007

Official Site

SCATTERBRAIN (USA)

Formed by ex-members of the thrash/crossover band Ludichrist, Scatterbarin play thrash sounding like a less serious Mordred ("Fool's Game") plus funky metal ala Faith No More. This is, of course, a loose description as there is more happening throughout the bands' career. If you like fun thrash, but Anthrax are too heavy for you, and Faith No More are out of the question with only one track related to the genre ("Surprise, You're Dead"), then Scatterbrain seem like the perfect choice.

Here Comes Trouble Full-length, 1990
Scamboogery Full-length, 1991
Mundus Intellectualis Full-length, 1994

My Space

SCATTERED (MACEDONIA)

The debut: quite good classic power/thrash metal of the 80's American type with both epic and progressive tendencies not far from Liege Lord's "Master Control" and the Germans Pcychotron. The album begins in a more restrained epic fashion with two more moderate numbers, but comes "The War of Life", and things get aggressively thrashy. "Anger Slave" is a heavy pounder with a cool faster galloping break near the end which provides great melodic hooks. "Mirror" is an excellent dark power/thrasher with speedy overtones, the latter completely overtaking the short headbanger "Reflections", which still finds time for swirling technical decisions. Things get serious once again on "Epic Liberation" which is indeed "epic" with its nearly 9-min of top-notch technical thrash which is a tour de force of complex technical riffage and faster more direct sections, and a fine epic exit (which is, actually, the only more epic t of the song). The final "Equilibrium" starts in a fast & furious manner, and your head will start banging spontaneously, before the sound acquires slower, almost doomy, shades in the second half. This is an impressive convincing debut which may make one take acts from this small European country more seriously from now on.
"Extrospection" is a very follow-up to the strong debut the band speed/thrashing with the requisite amount of complexity on the opening "In the Box" before "Electric God" introduces choppier, more technical riffs on a more dramatic base. "Kamshik" ("whip" in English) is the next in line fast-paced shredder with virtuous lead sections, and "Bring The Golden Crosses" is a more elaborate composition with more lyrical balladic "decorations". "Suicidal Revolution" speed/thrashes with full force recalling more recent Paradox with the more intricate gimmicks presented, and "Factories Of Ignorance" shreds with more technicality trying to reach the heights of Helstar's "Nosferatu", and almost succeeds also thanks to the following "Back To Nothing", a prime technicaller with atmospheric undercurrents and plenty of twists and turns. All the way to the closer "We Create" which is a stomping progressive piece with technical, also speedy in the 2nd half, accumulations galore making this effort another noteworthy addition to the scarce Balkan thrash metal catalogue.

Introspection Full-length, 2010
Extrospection Full-Length, 2016

Official Site

SCATTERED GUTS (USA)

The debut: this is modern post-thrash with shades of stoner/doom coming as a cross between Crowbar and Pantera, maybe not as dynamic and aggro as the latter. The vocalist is a shouty quarreller with a covert death metal-ish blend, but does a good job to keep the proceedings immersed in a heavy squashing miasma. The thrashy side comes pounding and mid-paced the exception being the energetic stomper "What Is Agony" which really moshes hard compared to the much more pensive rest. There's nothing brutal or death metal-related music-wise here; no "scattered guts" of any kind...
"The Wake" begins in an open hardcore fashion with "Burn the Night", and outbursts of energy like that are to be come across very often later, the guys playing invigorated and full of enthusiasm as evident from the frolic thrash/crossover winner "Gone to the Great Beyond" and the corrosive headbanger "The Alchemist". The threatening stompiness of the title-track tells a different story for a bit, but by-and-large this is a headbanging fest if we also exclude the nice atmospheric progressive closer "Wraith".
"Human Entropy" is easily the band's thrashiest affair, the moshing winner "The Impact Zone" everything around, the officious march on "The Arrow of Time" cancelled outright by the headbanging fest stirred on "Ear Ringer", and although "Dig Your Grave" is an elegiac balladic/doomy sprawl, there's little wrong in the clinical surgical thrashing offered by the stylish roller-coaster "Moonlight Ignite".

Embrace the End EP, 2013
No Guts, No Glory Full-Length, 2015
The Wake Full-Length, 2019
Scattered Guts EP, 2023
Human Entropy Full-Length, 2024

Official Site

SCATTERED REMAINS (USA)

Choppy crunchy modern thrash/post-thrash which suddenly veers into a tech-death/thrash territory with the contrived marvel "Salvation Denied", before "The King He Dies" exhibits the groovy side of this batch, a clumsy doom modernizer. "Murder Times Ten" provides some classic Bay-Areasque vigour, but same wave also courted by the rough semi-clean James Hetfield-like singer.

Terminate All Rational Thought Demo, 1993

SCAVENGER (ESTONIA)

This compilation displays an act indulging in technical death/thrash metal of the classic type not far from Morbid Angel, also vocal-wise, but the Estonians' sense of melody is bigger and their music's complexity is higher even aiming at the progressive field on the longer compositions (the atmospheric doom "Labyrinth"). The main flaw would be the sudden jumps from technical mid-paced to furious blasting passages those switches coming unheralded the latter lasting for just a few seconds, but are quite frequent.

Keeper of the Knowledge Best of/Compilation, 2001

Fan Site

SCAVENGER (IRELAND)

This is an original band who manage to combine power, thrash and traditional heavy metal with depressive/doom passages, not too distant from the last few Katatonia albums. This combination works well (check out "Ethereal Journey" and "Daydreams in Dystopia"), and Scavenger have all the rights to be considered one of the prime bands on the Irish metal scene of recent years.

Keeper of the Knowledge Best of/Compilation, 2001
Madness to our Method Full-length, 2004

Fan Site

SCAVENGER (SWITZERLAND)

This is just one man, the name Sascha Fels, who specializes in quite cool classic speed/thrash with shades of Paradox and their compatriots Poltergeist. The sound ranges from immediate fast-paced headbangers ("Thoughts of A Maniac") to more complex shredders ("Never Ending Hate") with appetizing semi-ballads ("Cry of Innocence") thrown in in-between. Fels provides a leveled mid-ranged clean timbre which works very well with the excellent highly energetic musical delivery.

Neverending Hate Demo, 1994

SCENARIO II (HOLLAND)

The debut: modern thrash/death with symphonic arrangements which give it a somewhat pompous operatic appearance at times, not without the help of nice female vocals and the occasional keyboard background. Early In Flames is a good reference point plus a pinch of Bal-Sagoth and mid-period Therion due to the epic song-structures. The guitars possess both edge and melody, and are given enough chances to produce something faster and more energetic. The vocals are of the brutal low-tuned death metal type, but have a slight shouty shade which makes them clearly heard.
"A New Dawn": this is hardly "a new dawn" as the approach is nearly identical to the one from the debut, modern epic death/thrashisms with the symphonic elements even more deeply embedded with very good female vocals appearing here and there to a pretty positive effect. When the guys thrash ("Awake", Rapture") they do a fairly decent job, but expect also pure heroic hymns like "Hysteria" which are closer to more recent Amorphis.

Uniforms of Death Full-length, 2009
A New Dawn Full-Length, 2017

Official Site

SCENERY (SZECH)

One of the better practitioners from the technical death/thrash metal field for the past 10 years; the debut is the band's most aggressive, and arguably their finest achievement. The music is a seamless mix of Coroner's "Mental Vortex" and Pestilence's "Testimony of the Ancients", relying on both speedy intense and complex thought-out passages, a full expression of which is found on the excellent opener "After Life Before Life". "Bethrayer of Life/Destructor of People" is a technical/progressive masterpiece, a bit more moderate speed-wise, but "Why Won't You Listen to Me?" is already more dynamic with nice melodic semi-balladic insertions. "The Drowning Shadow of Mankind" is a complex dream-like take on thrash with numerous tempos and moods, mostly instrumental with sparce vocal participation. It influences the rest of the songs which are similar labyrinthine exercises in technicality without many fast "temptations", but totally satisfying with the high level of musicianship and the original ideas thrown in.

"Philosophy Of Ages" loses all the speed the debut had and the concentration is on complex structures, mazey arrangements, and quite a few fine melodic hooks which nicely alternate with the sharp technical riffs. Now the sound has moved more towards late-period Death and Atheist with several fusion/jazzy passages ala Cynic. What may annoy the listener is the inclusion of a couple of longer semi-balladic passages which are usually placed in the middle of the tracks, and are hardly necessary (I mean length-wise) since at least half of the songs start in a quiet balladic manner. The bass work is great recalling the one of Steve DiGiorgio on the Death efforts. One may mourn the lack of more dynamic moments although the more elaborate approach will by all means delight fans of the style, especially those who will find time to listen with care.

"Continuity" is not far style-wise from its predecessor, but is kind of better since some of the intensity has returned resulting in a few very cool speedy passages, but on the other hand there are purely balladic vocal sections where the singer abandons his gruff semi-death metal delivery and unleashes his nice clean vocals (could be another singer?). Still, this album delivers on all counts lashing technical riffs from all sides boasting the presence of pleasant more speedy "surprises", like the galloping "Behind Horizont" and especially the great progressive opus "Evolution Mirror", a feast for the ears with smashing fast sections, virtuoso harder-to-swallow ones, a nice keyboard background at times, and a haunting acoustic ending.
The lengthy break is put an end with "Mental Confusion" which will thoroughly delight the lovers of technical music who will twist and turn trying to follow the numerous moods and time-changes on the atmospheric opener "Mist Of Reality" which is followed by the equally as complex head-spinner "Malleus Maleficarum", a mazey number with outstanding bass performance and a few operatic inclusions. "Abyss of Awaken" is a shorter, but hardly more relaxed piece the guys changing the pace on this one to a fairly disorienting effect leaving the more dynamic moments for the absolutely spell-binding, weird amorphous title-track which dissipates the otherworldly futurism with great melodic leads and fusion-esque etudes. "Armful Of Eternity" could be considered some of the pinnacles of surreal abstract technical thrash/death ever, a colossal cut with echoes of Diskord and Serdce. These 4-min of technical brilliance would overshadow everything elsewhere, but the band carry on, first with the more moderate "Apostate" which hist the top in the lead department, and second with the 2-min instrumental extravaganza "Hallucination" which is obviously an interlude with its mellow spacey arrangements. The closer "Sieve Of Infinity" is another sheer display of technical mastery, a labyrinth of time and tempo-changes with dissonant rhythms galore and sudden faster-paced passages. This is a true masterpiece of intelligent music for the thinking, serious metal fan (for the rest this may indeed be not much more than "mental confusion") and should find a well deserved place in many top tens at the end of the year.

The Drowning Shadow Of Mankind Full-length, 1997
Philosophy Of Ages .... Full-length, 2002
Continuity Full-length, 2006
Mental Confusion Full-Length, 2012

Official Site

SCENERY OF THE BLACK MASK (RUSSIA)

Modern groovy mid-tempo thrash with rough death metal vocals and a rich dark sound; "Bitch Bride Suicide" is a very cool take on the atmospheric avantgarde style of the Australians Alchemist, and the last track "Warzone" is a cover of the Danes Konkhra.

Bitch Bride Suicide EP, 2009

SCENT OF REMAINS (USA)

The already proven groovy formula is given a slight more complex twist here, but not hard enough to make this effort stand out despite the several clever moments and the good lead guitar work. Nice clean vocals jump up on "No Excuses" to replace the gruff death metal ones and leave a much more positive impression. They make one more appearance on the closer "Uno Mas Tiempo" to "duel" with the "monster" for the making of a nice creepy progressive modern thrasher, the highlight of this otherwise pretty average effort.
"Under a Blackened Sky" treads a similar to the debut path, the bad post-thrashing in a sure-handed, but not very exciting, way adding a big doze of nice melodic leads along the way those additions contrasting with the brutal growls which appear from time to time as assistance to the much better mid-ranged semi-clean main vocals which already impressed much better on the debut. The approach may bore the listener near the end since the variety is sadly lacking, the groove settling too comfortably into the song-structures to make this effort a truly compelling listen even for the post-thrash lovers.

Mind.Thought.Fear Full-length, 2010
Under a Blackened Sky Full-Length, 2013

Official Site

SCENTERIA (SWEDEN)

Modern death/thrash metal with the Gothenburg school a clear influence; good stuff sounding like a thrashy version of Dark Tranquillity. The guys have a good sense of melody which works well with the energetic up-tempo riffs. The music is pure thrash most of the time, except for the closing "The Abyss" which comes with a genuine gothic edge ("Forever Lost") which could have been emphasized on a little bit more, since it gives the style the necessary touch of originality. "Infected War" is a cool stomping thrasher which nicely changes the tempo for a while. Cool keyboards could be heard in the background ("Reign Of Hate") from time to time.

Art of Aggression Full-length, 2004

Official Site

SCEPTER (USA)

Many bands have tried, but few have succeeded as well as Scepter to bring the old Celtic Frost sound back to life. There is little offered here at from classic Celtic Frost, but with cool music like that one doesn't really care for more.

Metal Supremacy EP, 1996
I'a6m Going To Hell Full-length, 1998
Fucking Metal Motherfuckers Full-length, 2003

SCEPTIC (POLAND)

The techno death metal wizards Sceptic have taken a break from their intense complex death metal schedule with this fairly good technical/progressive thrash opus. The music remains elaborate, but the Death-influenced guitar work is not that widely covered; instead some touches of Pestilence"s "Testimony of the Ancients" could be felt: the opener "Unbeliever's Script", but the rest shows an obvious Coroner (sitting between "Mental Vortex" and "Grin") influence, interrupted by melodic death metal-styled leads. The tempo is mid-paced with numerous twists and turns, great guitar performance, albeit not as hard-hitting as on their other efforts, featuring one good slower atmospheric track: "Controlled by Mind", compensated by the fastest song on the album "Shapeless Entity", which again brings Pestilence, and Death, to mind. "Voices from the Past" is a good quiet instrumental which isn't really necessary, and is 7-min long, since earlier there already was one similar track; a long, and not very necessary, tribute to Death's "Voice of the Soul". "Waves of Destruction", the album closer, is another atmospheric, less riff-based number, which might make the listener frown a bit as there were quite a few of them here. This album was universally criticized by both critics and fans since it was quite a departure from their very effective style, but for fans of the more technical and atmospheric side of thrash metal it will be by all means a really engaging listen. Later the band safely returned to their old sound.

Unbeliever's Script Full-Length, 2003

Official Site

SCEPTIC AGE (TURKEY)

The demo: this is interesting complex retro thrash which suffers from the bad noisy production. The guys shred with style diversifying things with various elements all within the thrash confines making the songs long and quite eventful the dramatic technicaller "Brain in Chains" being a nice combination of cutting riffs and sudden fast-paced passages. The singer isn't on par with the music his semi-clean indifferent approach lacking the depth and dramatism to fit the more elaborate nature of the music. Some of the band members were also involved with the thrash metal formation Darkphase.
A resuscitation ritual has brought the band back from the dead after nearly 30 years of hibernation, but the good news is that the band don't sound rusty at all, and although this (the full-length) isn't the good old thrash all the way, there's little wrong with cuts like the crunchy semi-technical demo reminder "Disordered" or with the quirky Voivoid-ian "I Am God". "Trial by Fire" is old school thrash at its most dispassionate and spacey, a pretty effective hypnotizer, but to these ears the highlights are the diverse semi-balladic slow-burner "Obscured Mind" and the brilliant Megadeth-esque closer "Brain in Chains", another remnant from the demo, a cool energetic way to wrap on this exciting diverse saga which sees the guys in a fairly good shape after a gigantic absence, ready to re-conquer a throne that has never been theirs.

Brain In Chains Demo, 1990
The Dregs Full-Length, 2019

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SCEPTIC ANGEL (BRAZIL)

This is pretty decent old school thrash with a prominent Bay-Areasque sting and a more ambitious progressive current ("Learning your Lie") on the longer, more elaborate material. The delivery is fairly energetic save for the stomping moroser "Tomahawk" and the epic power/thrasher "The Cross to Kill", the speedy crescendos of "The End" and "Rest in Peace" ensuring there will be a lot of moshing here, the excellent clean attached vocals another undisputable advantage.

Sceptic Angel Full-length, 2019

Youtube

SCEPTICAL SCHIZO (FINLAND)

The debut demo is rough energetic thrash with some of the most horrifying early death metal vocals. The level of proficiency isn't very high with very thin noisy guitars and drums. The tempos alternate as the faster-paced side ("Forbidden Games") is the one producing the better results as the slower moments are too plodding and tedious.
The "Danse Macabre" demo shows bigger professionalism although the approach is again on the bashing side with more expressed strives at death metal resulting in a few admirable headbangers ("Comfortable (Open Your Eyes)") plus a couple of interesting doom/death collaborations ("Thoughts of the Dead"). The vocals are a bit better with a deep guttural baritone, but are at times not very clearly heard.
The "Dispossessed" demo brings back the thrash, and although the production qualities remain on a semi-pristine level, one will still enjoy the intense diverse roller-coaster "Brainwash" and the lashing ball of fury "Victim of Perversity" which pairs well with the more death metal-prone "Peerless Pastor" as the two most brutal showings here.
The band changed their style to atmospheric doom/death metal on the few EP's they released later before switching to the Lavra moniker where the doom metal-prone approach received an intriguing, goofy punky vibe. At the same time some of the band members also took part in the gothic/doom metallers As Divine Grace.

Demo #1 Demo, 1989
Danse Macabre Demo, 1990
Dispossessed Demo, 1990
The Four Seasons Demo, 1991

SCEPTRE (INDIA)

Based on the full-length, these guys play modern-ish heavy thrash, more dynamic and less groove-based, seldom leaving the mid-pace. The riffs are pounding and heavy, but are varied and do not merge into one another with the casual more classic hook thrown in ("Charred", the nice short instrumental "Twilight's End"). One may wish to hear something faster, and "Quicksand" comes in to fulfill those wishes banging hard in an old school Defiance fashion. This song must have tired the guys a bit, since after it they offer a much more melodic power metal composition: "Search", and another instrumental, this time acoustic and quiet ("Circles Of Silence"). After this "rest" comes a time for another headbanger ("Revolution") which closes the album with both meaty and speedy riffs featured inside.
"Age of Calamity" thrashes harder with heavy dramatic riffs ("Wrath Of God") which are just about to tumble into heads-down death metal. "Prophesy Deceit" is a more relaxed technical pounder, and later on things take a desired headbanging turn, first with "Fatal Delay" and then with the more aggressive death metal-laced shredder "7 Seals". As a whole this is a better effort showing the guys ready to compete with the rest of the world for the conquest of the thrash metal throne.

Sceptre EP, 1999
Now or Never Full-length, 2008
Age Of Calamity Full-Length, 2013

Official Site

SCHAFOTT (GERMANY)

This hellish trio pull out cool varied classic thrash which ranges from immediate headbangers ("Ostara", "Eucharistic Birth") to more elaborate, nearly progressive experiences ("The Black Flame", the excellent operatic opus "Azazael's Dream") where some black and death metal can be heard. The delivery comes close to early Destruction ("Satan's Throne") except in the vocal department where we have a vicious semi-shouty black "raven".

The Black Flame Full-length, 2017

Official Site

SCHAKAL (GERMANY)

This is pleasant modern power/thrash which isn't designed to sprain necks all over although it picks speed (the galloping delight "Das Raubgetier") at times and even becomes curiously semi-technical ("Eis und Glut") on occasion. Later pieces like "Bauernopfer" are more than welcome with their intensity breaking the "idyll" and giving an enormous boost to the remaining material among which "Die letzte Plage" is an awesome speedster. Still, for most of the time the band are content to pull out more moderate music which should have no problems finding its fans from both the power and the thrash metal crowd.

Schakal Full-Length, 2015

Official Site

SCHEMA ZETA (ITALY)

This young Italian formation pull out modern power/thrash which is rich in melody, but in the aggression department it leaves a lot to be desired. The music flows nicely remaining mostly within the mid-paced confines and may logically lose its appeal since there's little variety in the approach except for the more dramatic riffage on "Clessidra" near the end. The vocals are leveled clean ones avoiding more dramatic performance which this uneventful music simply doesn't deserve.

Viola Full-Length, 2015

Official Site

SCHIZOID (CANADA)

Bashing dynamic thrashcore with more open Slayer-esque aggression ("Obnoxious Attitude") pulling the string at times, but cuts like "Death Deliverer" are pure unbridled hardcore aggravated by then brutal shouty semi-death metal vocals.

Beer Thief EP, 1987

SCHIZO (ITALY)

The band's debut is a good piece of very aggressive thrash/proto-death mixed with slower longer tracks, not too far from Necrodeath and quickly won them a cult status. They apparently decided to try their hands at more quality thrash after a very long break. "Cicatriz Black" is pretty much in the same vein: a frantic mix of outrageous death/thrashers and more restrained melodic pieces (check out the instrumental "The Sicilian Clan" at the end).
"Sound of Coming Darkness" is probably the band's finest hour; it's too bad it's only four songs. This is high-class heavy technical thrash which on the best moments even touches Sadus' "Elements of Anger", the vocals more adjusted to the gruff semi-shouty death metal department. There are still extreme fast-paced expletives to be found, of course, but they come nicely intertwined into the more complex tapestry which on "Through Hollow Minds" is a surreal nightmarish trip with stomping meandering riffs and frequent tempo changes. "Into a Darkened Room" is a steady mid-paced march with not too many intricate tricks embedded, but the brooding hypnotic rhythm-section carries the song easily, the more hectic, less predictable layout of the excellent puzzler "Built With Bricks of Shame" tolerating a couple of fervent more energetic escapades. "Melancholy Waters Lie" is a dirgy doom hymn with a slight industrial vibe, a wink at the numetal vogues of the time, but done professionally, without any unnecessary electronic or noisy gimmicks.
"Hallucination Cramps" is a wild brutal affair featuring fast aggressive retro thrash/death metal the whole time and as such can easily pass for the band's most extreme effort so far. Furious blasting sections (the unrestrained violator "Psycho Limbs Cut Apart", the short grinding insanities "Spiritual Cancer" and the very appropriately-titled "Electric Shock") take turns with calmer Slayer-esque ones (the marginally more controlled semi-technicaller "Ward Of Genocide"), the only mercy shown on the mid-paced smasher "Absent" and on the very cool elaborate, almost progressive-sounding odyssey "Executionerves", a nice mix of dark doom rhythms and semi-technical steam-roller guitars; which is followed by the closing "Mind K", a surprisingly downbeat quasi-doom stroll with an abrupt tornado of blistering intricate fireworks at the end.
"Rotten Spiral" is a welcome return of these "psychos/schizos" to the scene, and the opening "Leaders Of Deception" is a hypnotic mid-pacer with sudden outbreaks of rage: the approach seems intact from their past exploits. "Skeptic Flesh" follows the established pattern very closely, but "Neurotic Propaganda" is a short raging cut with surreal, twisted implements bordering on the spacey. The title-track clearly shows a bigger ambition, a semi-technical mid-paced stomper with a speedy Slayer-esque mid-passage. "Deathwire" is another short headbanging respite, but "Freikorps" brings back the broodiness plus the obligatory brutal "rude awakening" with a proto-death "sting". "Hysterical God" is the next in line "brutality vs. stompiness" composition, a formula repeated on the closing "Final Warning" which serves more melodic sections and good leads as well as a nice more quiet exiting outro. One can never go wrong picking these guys on any day although the hard liners may mourn the obvious decrease of aggression the focus now clearly on atmosphere and heaviness.
The "Total Schizophrenia" demo is a vicious fist in the face, one of the most extreme recordings in the annals of Italian metal, and not only. Although the band come to their senses on the moderate mid-pacer "Just Before I Die", the rest is pure madness, including the more ambitious "Psycho Terror", one of the first successful attempts at blending thrash with the oncoming death metal sound. "Breath The Violence" borders on hardcore with its simplistic ripping riffs, and "Nazi And Proud (X)" has a stylish more atmospheric operatic beginning, missing the intense super-shouty rending vocals.
The "Wounds (In the Clay)" demo is the first actual sign of normalcy, the guys still thrashing and deathing with bile and vehemence on "In Primordial Kaos", but "Over Lifeless Boughs of Time" is a moderate mid-tempo shredder with a more dynamic second half. "Circle Of Filth" is a short maddening brutalizer, and "Epileptic Void" is a restrained semi-technical delight, a cool meandering number with an insane speedy closure.

Total Schizophrenia Demo, 1987
Main Frame Collapse Full-length, 1989
Wounds (In the Clay) Demo 1992
Sound of Coming Darkness EP, 1994
Cicatriz Black Full-length, 2007
Hallucination Cramps Full-length, 2010
Rotten Spiral Full-Length, 2016

Official Site

SCHIZOID (NICARAGUA)

The debut: excellent modern technical thrash which sounds pretty close to Voivod's "Negatron" and E-Force's "Evil Force", but is more varied than both. The album begins with the manic technical shred on the hallucinogenic masterpiece "The Awakening", before "Breeding Malaise" brings some stomping doominess with formidable heavy riffs and a great fast technical deathy ending ala mid-period Death. "The Deception" clings towards the old school, and is a satisfying speed/thrasher of the more standard type. Not to worry, though, as the more complex delivery comes back on the 8-min cold mechanical opus "Paths" which is followed by a cool short balladic instrumental with the appropriate title "Within The Silence". The approach reaches super-technical progressive dimensions on the multi-faced "Asylum Pt. 1" which is 13-min of quirky rhythms, hectic time-changes, a few pounding passages, and abstract speedy parts with a dry sterile shade. The closer "A Call To Arms" is a sure-handed epitaph to this diverse, but by all means satisfying, effort lashing in a similar to the opener mid to up technical fashion, getting nicely brutal in the middle for another cool nod to Death, before the final portion of technical riffage convinces the listener beyond the shadow of a doubt that this talented act may stand proud even on an oversaturated scene as the US or the Brazilian ones.

"Liver" is another no-brainer of thought-out technical modern thrash as the band waste no time bemusing the listener from the get-go with "The Sloth" which is nothing like the lazy animal mentioned in the title, but is a masterpiece of amorphous steam-rolling thrash that refuses to speed up, but satisfies all over with the steel precise execution and the clever meandering arrangements. "Vertex" is a "vortex" of spinning, super-intricate riffs in the best tradition of Theory in Practice with progressive build-ups adding more to the outlandish nature of this cut which also moves up the speed scale with more aggressive dashes. "Supercritical" moshes in a clinical Altered Aeon and Darkane-sque manner only that at some stage the band here unleash a cavalcade of spastic jumpy guitars ala Atheist with stylish gallops circling around to an even more positive, galvanizing effect. "Mockery of Words" puts forward a bunch of melodic tunes, but don't expect "the idyll" to last very long as the guys resume the intricate "carnage" with the gallops even more accentuated on creating dizzying headbanging environment not to mention the superb Coroner-like riff "salad" in the middle, and the blazing melodic leads. "The Devils Servant" exhibits raging shredding tendencies from the very beginning, and at some point it becomes pure technical death metal "madness" the guys racing with the best out there "the insanity" reaching fever-pitch proportions in the middle with some of the most consummate riff-spirals ever. "Imprisonment" brings back the thrash first in a heavy mid-pace, then in a more dynamic manner, but nothing overtly technical occurs for a change. "The Product" is "a product" of steel sharp technical riff-patterns which semi-gallop at the beginning before more impetuous thrashing springs up also notching up the intricacy before marginally more orthodox shreds wrap it on. "Walking Amongst You" doesn't let up any steam the band moshing hard from the get-go with smattering mazes of some of the most technical riffs around piling on top of each other the leads trying their best to match them in terms of complexity. Wow, this was some amazing music coming from a very unlikely place on the metal map; there's still more to come from this camp, it seems to me, so keep your eyes and ears on the alert.

"Evil Incarnate" simplifies the guys' approach also adding a bigger doze of melody some songs literally overflowing with it ("Emperor"). The leads are on a particularly high level the whole time, and the more technical delivery shows up ("Harvest", the excellent head-spinner "Spiritual") the guys shredding with more style here and there. The pace is quite dynamic with a few stompers ("Opposer") provided some coming with curious epic decorations ("Tyrant"). "Treachery" brings back some flashy technicality which, combined with the swirling melodic crescendos, makes for the highlight here although the closing "Lake" isn't far behind being a gorgeous balladic instrumental with a dazzling lead performance.

The "Neuron Blow" single is just one song (guess the title!) the guys carrying on with their elaborate technical style as this cut could have been a leftover from the "Liver" recording sessions with its stylish twists and turns, the steel technical riffage, the virtuoso lead pyrotechnics aptly embedded into the challenging soundscape which also tolerates the attached pathos-like Russ Anderson-like (Forbidden) vocals the overall delivery also reminding of that band's magnum opus "Twisted into Form" as well as another entry from the other side of the Atlantic, the Dutch Paralysis' "Arctic Sleep". A full-length of the same calibre could easily conflagrate the metal roster, and not only in North Ammerica...

Asylum Full-length, 2005
Liver Full-Length, 2013
Evil Incarnate Full-Length, 2017
Neuron Blow Single, 2018

Official Site

SCHIZOPHOBIC (USA)

The EP: all-instrumental modern thrash metal of the peaceful type concentrating on melody more; the guitar work is good accentuating on the leads, but there isn't much speed covered, the tempos not changing much throughout making all the three tracks sound like one big symphony. Still, this isn't completely without merits coming with a very good sound quality and catchy melodic hooks.
The full-length is a more cleverly-constructed affair with more edge and more individual numbers. The melody is certainly here, but its role isn't that dominant, and some really intense sections ("Second Omen"; this one is a serious thrasher) will make you jump around. The other material settles for the not so eventful mid-pace, but the shredding isn't bad at all the final "Razorblade" trying to justify its title by pulling out the most aggressive razorblade riffage on the album turning into an admirable headbanger at the end.

Shock Therapy EP, 2010
Schizophobia Full-Length, 2011

SCHIZOPHRENIA (ARGENTINA)

A 4-track demo of intense retro thrash/proto-death channeling Sepultura's "Beneath the Remains", above all, the bass playing a major role although the good forceful semi-deathy vocalist isn't a throwaway, either. The songs are short and to-the-point with speedy lashing riffs flying from all sides and slight hints at more technical execution ("Macabre Work").

The Future We'll Be Living in... Autodestruction Demo, 1991

SCHIZOPHRENIA (COLOMBIA)

Based on "Rites of Annihilation", this act serve classic speed/thrash assisted by rending overshouty black metal vocals. The overtly speedy aesthetics displayed by the title-track and the soaring "Oscuridad Eterna" are the leading exponents here, the harder more brutal thrashing unleashed on the all-instrumental piece "Schizophrenia" transformed into a maddening death/thrash amalgam on the closing "Emperor of Death".
�Conjuring the Beast� carries on in the same manner, ripping energetic classic speed/thrash served with raucous muddy production and this time an articulate thundering bass. �Outburst from Hell� is the prime exponent of vitriolic fury here, the sinister epicer �Condenado Al Dolor� proving the requisite change of scenery for a bit, but expect no-bars-held bash on the closing � Cruelty and Reality�, a bursting spasm of hellbent old school metal steel.

Rites of Annihilation Full-length, 2015
Conjuring The Beast Full-length, 2023

Official Site

SCHIZOPHRENIA (SWEDEN)

Based on the "Crime Time" demo, this new band plays a blend of classic and modern thrash of the more melodic variety, mostly mid-tempo, with an Annihilator-influence in the guitar work, and heavy metal tunes thrown in for good measure ("Special Agent"), plus a cover version of Vio-lence's "Calling in the Coroner".

Just for Giggling Demo, 2006
Crime Time Demo, 2006

Official Site

SCHIZTOME (UK)

Based on "The Art of Dying", this band plays a frenetic mix of thrash, death, hard and even grindcore. The opening "The Art Of Dying" starts the album in a thrashy headbanging fashion, but later on the other styles come onto the scene, and things get wild, but entertaining, although the guys favour hardcore more, as well as grind (the fierce brutal "Symbiotic Disharmony", the 1-min hyper-blast monster "Return To The Pit").

Puritanically Unreconstructed Full-length, 2003
The Art of Dying Full-length, 2005

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SCHOOL OF VIOLENCE (USA)

This is simplistic melodic heavy/thrash metal with a hardcore spirit, more in the mid-paced range with a jolly uplifting attitude. Some songs are a direct take on the Motorhead style: "Man at the Top", others suddenly exit the thrash metal field going straight into heavy metal territory ("Reign Of The Clown", etc.). The thrash metal fan might frown on quite a few times on the toothless guitars, but the band's intention was hardly to please this particular side of the metal spectre.

We the People...? Full-length, 1988

SCHWEISSER (GERMANY)

The band's first three full-lengths and the EP's surrounding them are fine representatives of the 90's metal scene: modern, aggressive, groovy thrash with an industrial flavour at times, featuring also vicious death metal tunes and a saxophone; the latter extra feature adds a ticularly unusual touch to the music making them one of the more interesting practitioners of modern thrash in Germany. With the genre's fading away in the late 90's, the band adopted a more accessible, non-thrash, alternative approach.

Schweisser EP, 1990
...auf der Autobahn zur Holle Full-length, 1992
Eisenkopf Full-length, 1994
Willkommen im Club Full-length, 1996
Malaria EP, 1996
Friss Scheisse EP, 1997
Heiland Full-length, 1997
Bitte warten Full-length, 2000
Vermissen Single, 2000
Pororoca Full-length, 2006

Official Site

SCIENCE FICTION (CZECH)

This is really good; and indeed, once the brilliant lead-driven intro grabs you, you know that there will be many pleasant moments with this one. Well, the lead guitarist remains the star of the show, but the rest do their best to at least assist him competently, and as a result we have professionally executed dark/gothic modern thrash metal with an industrial edge, full of nice melodic hooks, most of them with a strong Oriental touch. The riffs are really heavy (check out "Schizofrenie") and nicely contrast to the breath-taking guitar melodies and the keyboard background, which is constantly present, but isn't irritating at all. The tempo is mid-paced for most of the time seldom intercepted by slower softer numbers: the cool atmospheric "P'f8fzrak". The second part is less hard-hitting and the riffs lose their edge coming overshadowed by the fine leads almost completely on quite a few times (this guy should move to a more renowned band; his talent is too big to remain unrecognized: check out his amazing performance on "Prokletf"). "Vyvrhel" wakes up for a more aggressive and more up-tempo play near the end, and the final "Cherokee" brings something more elaborate on the table, being a very good progressive number where the lead guitar steals the show for the upteenth time on this album.

I.N.R.I. Full-length, 2001

SCIENCE OF DEMISE (SWEDEN)

Based on "Bloom", this band indulge in progressive modern post-thrash which is too eventful for the regular fan comprising complex passages, epic twists, Oriental motifs, and more. The pace is not very fast the band moving forward in an officiant doomy manner the jumpy complicated picture assisted by low-tuned death metal vocals. The guitars have both a melodic and a mechanized dry vibe which nicely intercept on every song making them an interesting engaging listen.

Final Act of Purification EP, 2009
Submerge Full-length, 2011
Bloom Full-length, 2013

Official Site

SCIENTIC (DENMARK)

A new talented act is rising; these guys from Denmark pull out quite cool technical/progressive power/thrash which combines the best from Nevermore, Chaoswave and the Germans Psychotron, and twists it through a more progressive perspective ala Zero Hour and Manticora (also from Denmark) resulting in encompassing numbers full of surprises, like the unobtrusive orchestral background on "Reality Lost"; the catchy shoruses on "Oceania"; the bombastic keyboard implements on "Anthropogenic"; puzzling Coroner-esque riffage on "Holonomic Confusion". On top of that one will come across precise intelligent shreds around every corner which move from a mid-paced chugga-chugga section to a faster-paced sweeping one in no time. The singer provides perfect support with his warm emotional clean timbre which resembles Warrel Dane (Nevermore) and Chris Salinas (Zero Hour). Some of the musicians also play in the similarly-styled progressive power/thrash metal formation Indoctrination.

Empire of the Mind Full-Length, 2012

Official Site

SCIMITAR (UK)

Based on the full-length, these lads serve ripping old school thrash which doesn't rely on constant speed, but is also built around a couple of intriguing melodic layouts which work quite well with the faster-paced ways of execution ("Cursed City"). "Sleepy Hollow" is the highlight, an atmospheric masterpiece of cleverly-constructed thrash starting with an alluring balladic intro before the guys start galloping with force by also adhering to slower stomping passages to aggravate the dark somber environment, the excellent melodic leads adding more depth to this great opus. Time for more immediate, blitzkrieg thrash with the short "Behead the Beast" and the more technical "Unholy Forger" before "Back to War" introduces more laid-back crossover moments into the album's frame which is further supported by the Motorhead cover of "Ace of Spades", done well with more restrained speed metal-ish overtones, the inebriate semi-clean vocals sounding a few octaves higher than those of Lemmy (R.I.P.). Some of the musicians used to play with the black metal formation Unholy Wrath.

The Act of War EP, 2013
Plague in the Vatican EP, 2014
Where Darkness Dwells Full-Length, 2017

Official Site

SCINTILLA (USA)

This is decent retro power/speed/thrash which boasts excellent bass support, above all; the style is quite comparable to Meliah Rage and early Imagika the vocals a bit gruffer but not bad at all, assisting both the more dynamic ("Steed of Satan", the vigorous headbanger "Devastation X") and the heavier stomping ("Transient Scum", the doom-laden "Flash") cuts with passion, helped by his colleagues on a few shouty choruses.

March to Your Grave Full-length, 2020

Official Site

SCISSORTOOTH (CANADA)

Trippy modern post-thrash which is served with a nice psychedelic vibe (the spasey extravaganza "Yellowhead"). There's also groove involved and overall the more dynamic moments aren't that many the guys settling for more optimistic stoner/doomy rhythms in the second half. The vocals are semi-clean and uplifting with a slight drunken edge.

Nova Gomorrah Full-Length, 2015

Official Site

SCOLOPENDRA (FRANCE)

Based on the full-length debut, this act offer noisy abrasive modern thrash with harsh industrialized death metal vocals. The approach clings towards death metal on the more intense moments ("Spartan Killer Instinct"), and the cyber-atmosphere created by the artificial noise may come as too much for the regular metal fan. In the second half death metal appears even more frequently moving the album up the brutality scale.
"The Alienation Spread" is a more interesting proposition with more complex arrangements distantly recalling The Project Hate. The industrial gimmicks remain, but the focus this time are the elaborate multi-faceted shredders like "Modern Crusader" and engaging progressive opuses like "Near Death Experience" where death metal plays a more prominent part. "Blood Bound" is an intriguing quasi-doom saga, and "Parallel Life of Suffering" is a flamboyant technical deathster with more officiant stomping breaks. "Vojd" is a nice more psychedelic offering with hectic overlapping rhythms, and "Eternal Passion" brings thrash back for a highly entertaining melodic ride with fever-pitch crescendos and dazzling technical insertions. "Komodo Dragon" is a more encompassing opus with deeper atmospheric undercurrents ala Septic Flesh, betraying the heightened technical patterns established earlier.
"Citadel of Torment" stays the course, the steel semi-technical rhythms of "Panic Epidemic" carrying on on the equally alluring "Neuro Dissection", a more melodious proposition with atmospheric walkabouts. "Event Horizon" stomps the neighbourhood with assured elephantine strides, and "Mental Torture, Pt. 2" brings back the more mechanic industrialized veneer of previous recordings. "Black Fortress" stands for the highlight, a technical futurister with potent spinning riffs and a few more laid-back stopovers.

Apostasy Beyond Sanity EP, 2011
Cycles Full-length, 2016
The Alienation Spread Full-length, 2017
Citadel of Torment EP, 2024

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SCORCH (USA)

Heavy, intense, groovy post-thrash with a strong industrial edge; the tempo is slow-ish, almost doomy, and the guys refuse to put more energy into the proceedings. As a result their music is monotonous and repetitive despite the intense, but one-dimensional riffage.

Faces Full-length, 2003

Official Site

SCORCHED EARTH (SERBIA)

This is energetic stylish old school thrash/crossover which makes itself heard with stomping heavy riffs and brief unpretentious breezers (�Exercise Caution�, the spacey semi-technical �Cannot Be Hidden�), the composed semi-declamatory hardcore vocals leading the show with authority, helping the cause on the semi-intricate chopper �Hard Towards Oneself� and the surprisingly brutal, bordering on grind outrage �Inside Us�. �Technical Hardcore� richly deserves its title, though, a really nice more entangled take on the unbridled hardcore idea, the complete opposite to the uncompromising extremity of �Dva Kostura�, but nicely complementing the more contrived idiosyncrasies of the closing kaleidoscopic marvel �Terrorbater�, the longest number on this fairly entertaining affair.

Signs Of Struggle Full-Length, 2023

Youtube

SCORCHED EARTH (USA)

Based on "Devils in Iron", this is a cool mix of some well executed energetic thrash and some mostly mid-paced, heavy death metal riffage. The heaviness is further aggravated by the inclusion of groovy parts going at times into sludge/doom-territory.
The debut is a rawer, less polished affair mixing the two sides not too well, relying on long compositions which include quite a few slower, doomy sections the latter again not very well blended into the overall amalgam. The fast parts have a rushed hardcore-ish feel to them which is further aggravated by the forced shouty death/hardcore vocals.

Thy Kingdom Crushed Full-length, 2000
Gods, Kings, and Conquerors Full-length, 2003
Devils In Iron Full-length, 2006

Official Site

SCORCHED-EARTH POLICY (USA)

Based on the demo, these folks deliver funky alternative post-thrash which lacks a bit, but has its quirky nature due to the very jumpy rhythms and the not very predictable twists and turns, not to mention the good dramatic clean singer whose bluesy croons would be perfect for some more orthodox doom/stoner outfit.

Insurrection EP, 1998
MMVI Demo, 2006
Millennial Delusions EP, 2011

Official Site

SCORCHT EARTH (USA)

Seismic trudgy old school thrash with some quasi-epicness creeping underneath the not very polished noisy production, the passable semi-shouty semi-clean vocals holding their ground without creating much havoc, the short impetuousness of "Operation Barbarossa" deftly complementing the brisk fast-paced rhythms of "Gimme Some Skull".

Scorcht Earth Demo, 1992

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SCORZONERA (CZECHIA)

Based on �Den Zuctovani�, this act specialize in not very imaginative groovy modern power/post-thrash, the abrasive energizer �Splin� bonding well with the bouncy speedster �Politik�Selma�, the rough but measured clean vocalist leaving a rather positive impression. �Fet� jumps the more brutal purer thrashy wagon, and �Cernobyl� is a decent pounding proto-groover.

Scorzonera Full-length, 2017
Den z�ctov�n� Full-length, 2023

Official Site

SCORN (CANADA)

This is mostly semi-technical thrash/death metal the guys unleashing loads of stylish hell with the opening "Frenzy" before settling for shorter more immediate rippers ("Psychotic Acts", the title-track) those not completely devoid of more interesting moments. "Phagocytosis" is an engaging semi-galloper, and "Chemical Lobotomy" is more on the technical death metal side, the subdued but brutal death metal singer accommodating those more aggressive musicalities with bigger panache. The musicians also play with the death/black metal cohorts Unbowed and Northern Cry.

A Comedic Tragedy Full-length, 2020

Official Site

SCORN (FRANCE)

Retro thrash of the ripping energetic type; the band mosh on with little remorse, attempting something more intricate ("Resilient") as well, but the actual merits of this recording are in its less bridled, headbanging side ("Dripping Veins", the title-track), the speed/thrashing impetuousity of "The Urge to Kill" and the meandering hectic tricks on "The Horde" tussling for the highlight, the harsh semi-shouty death metal singer adding some organized noise to the stylish musical melee.

Winds of Torment Full-length, 2022

Official Site

SCORNAGE (GERMANY)

The band walks the fine line between the old school and modern thrash; so bands like Sodom and Slayer are as much influences on the band's style as The Haunted or Dew-Scented. Fans of the aforementioned acts will find a lot to like here. Both albums offer good energetic, headbanging, up-tempo thrash, occasionally mixed with heavier, slower sections. The approach is a bit one-dimensional, and the songs tend to merge together.
"Born to Murder the World" is straight, direct retro thrash, well done, leaving the modern elements far behind for most of the time. The guys play fast and tight sometimes adhering to brutal death metal intensity ("The Scent Of Things To Come"), sometimes offering sprawling, but interesting (don't read technical or progressive) thrash opuses offering intense thrashing for about 10-min ("Born to Murder the World"). Still, the band's real power lies in the shorter, more immediate bombs ("If We Really Knew", "Dead and Gone", "There are no Innocents"), which send their message home in a more convincing manner. The end is preserved for the encompassing, again a bit lengthy "And Now He Rises" where the guys insert all that was previously heard on the album, including a short blast-beating section to boost it up. Besides the feeling of deja-vu, which will not leave the listener the whole time, including strong resemblance to same year's Kreator's "Hordes of Chaos", Scornage are perfectly all right as one of the classic thrash metal defenders, even in a saturated field like the one we are enjoying nowadays.
"ReaFEARance" is another capable offering returning to the more modern patterns from the band's beginnings although this isn't a real pullback the guys ripping a riff after riff with the utmost intensity producing some definitive headbangers along the way: "Frozen Throne", "We Bury Our Dead Alive" which even blast-beats for a while. The attack is almost non-stop the aforementioned blast-beats re-appearing here and there ("Fury") later on the classic spirit admirably recaptured with the intense Kreator-worship "In A Cage" and the ultra-speed/thrasher "The Holy Rape" which will make all your fillings fall out. The final "Sbed Again" is a worthy exercise in a more technical play again following the more recent style of Kreator. This is by no means worse than its inspired predecessor; it just shows that the band are falling into a certain niche which will inevitably satisfy their core fans, but may make them "lazy" to look for new horizons to explore...

Ascend EP, 2000
Aggression EP, 2001
Sick of Being Human Full-length, 2004
Pure Motorized Instinct Full-length, 2006
Born to Murder the World Full-Length, 2009
ReaFEARance Full-length, 2012

Official Site

SCORNFORGER (FRANCE)

This formation plays direct speed/thrash of the modern school with fast ripping riffs and screamy death metal vocals, which are at times intercepted by lower-pitched growls. The intensity is seldom interrupted (the mellow power/thrash on "1692"), and unstoppable galloping pieces like "Hell Ride" and "Panick Attack" will keep the spirits high, those also carrying a certain classic flavour. The closing "Satan's Whore" is a heads-down retro headbanger finishing this energetic effort with style, and more moments like this in the future would only increase the guys' appeal. They also play in two more acts: the death metal outfits Dividead and Unchained.

Neighbours are Livin' Dead Full-length, 2011

Official Site

SCORNGRAIN (FINLAND)

The title of their debut can give one a clue as to what to expect from this band: this is modern, industrial thrash sounding like a mixture between Fear Factory and ...And Oceans with raspy black metal vocals mixed here and there with clean and death metal ones. The music packs a punch with meaty sharp riffage well blended with the purely electronic industrial landscapes which will also remind you of the cyber-black/thrashers The Kovenant. On the other hand, "Cyberwarmachine" is a pure headbanging piece ala early Skrew, and "Killing Breed" is an excellent sinister steam-roller. "4D Religion" is intense industrial thrash shred, and just before the end one will encounter one more aggressive offering: the more industrial-tinged "Dawn Of Hypocrite Dod". The closer "No Funeral For The Last" is a u-turn from the guitar-driven mayhem heard so far, into atmospheric keyboard-infused stuff with fine orchestral arrangements.

"Utopia.anoia.Perversions!" is more heavily industrialized, and a more melodic affair as a whole, but in this case this doesn't mean the inferior one. This album sums up the best from the apocalyptic electronic landscapes of Front Line Assembly and the more riff-based approach of acts like Skrew, Die Krupps, and Swamp Terrorists. The guitars bite strongly on more than half of the tracks, and their role remains pretty big in the second half pulling out a few very cool edgy thrashers ("Cure Equals Suffering", "Age of Disgust", the short explosive headbanger "Once In a Knifetime", the crushing riff-monster "Cure Equals Suffering"). The final "Fade And Vanish" is an imposing thrash/doom/industrial amalgam coming close to the orchestral grandeur of Front Line Assembly's "Hard Wired". With almost all of the industrial thrash metal heroes long gone, this act should be paid respect for doing a good job in keeping this rare nowadays "breed" alive.

Cyberwarmachine Full-length, 2004
0,05% Full-length, 2006
Utopia.anoia.Perversions! Full-length, 2010

Official Site

SCOTOMA (CYPRUS)

Based on the "I want to Fly" EP, this band plays a slightly alternative version of the 90's groovy post-thrash metal formula spiced with more original semi-technical guitars, but the band's choice to use several vocal styles one of which is utterly annoying, being clean of the alternative variety, ruins things quite a bit. Not that the music is anything special, especially with the inclusion of the very non-metallic ballad "Moment of Silence", which may remind you of Queensryche's "Silent Lucidity".

Scotoma Demo, 1994
Outside the Slaughter House Demo, 1995
Bloodbrothers Best of/Compilation, 1996
Realife Demo, 1996
Desert Fish Single, 1997
I want to Fly EP, 2004
Sonic Arts 2.0 Best of/Compilation, 2005
Killing The Machine EP, 2007

Official Site

SCOURGED FLESH (AUSTRALIA)

Based on "Welcome to the End of the World", this band plays a blend of modern and classic thrash, mid-paced with heavy guitars and a couple of melodic implements. The approach is kind of samey on all tracks since the guys totally refuse to speed up, even for a little bit, and soft funky vocal experimentations, like the ones on "Extinct", are simply laughable. "Episodes of Hate" finally contains a more speedy energetic material for the headbangers, at least for those who are still around to hear it. The band members have two side-projects: Burial Grounds, where the music is harder and faster, still in the thrash/death metal realm; and the similarly-styled Grave Forsaken.
"Bury the Lies" offers the same mid-paced one-dimensional music with very few faster surprises, but there is a nice female vocal participation on a couple of tracks which suit well the morose doom/gothic atmosphere of the album.
The debut sounds very close to its follow-up offering not very exciting mid-tempo riffs with a death/gothic shade, and the guys' steady refusal to speed up even for a short bit makes things even less appealing, except, maybe, for the short hard'n heavy shift on the closing "Wait For The Other Side". On top of that in the vocal department we have a very brutal low-tuned growler who doesn't really improve the situation with occasional guttural Chris Barnes-like screams.

Released from Damnation Full-length, 2006
Bury the Lies Full-length, 2007
Welcome to the End of the World Full-length, 2009

My Space

SCRAM (GERMANY)

Based on the full-length debut, these guys try hard to be the new Kreator, doing their best to sound like this legendary band used to in the 80's. They do a decent job when staying close to this pattern, trying at times to move away from the main influence, but it's these moments which show that the band still have to put a lot of effort in order to make a more lasting impression on the metal scene.
"Rich, Rotten & Poor" shows a more individual face, this time more polished and thought-out, the guys adding death metal to the proceedings although still the shadow of "Pleasure to Kill" is pretty obvious on the faster and shorter material. The musical proficiency is bigger also reflected in a few more lyrical moments: the mid-paced opus "Daily Insanity" which will scare you with its sudden ultra-speedy mid-break. "Desaster Out Of Ashes" is another dramatic piece without too much speed present, a cool shredder of the less ordinary kind. The listener may start getting a bit annoyed after "Deepest Black" also refuses to accelerate, but the final "Death" is a keeper with its steel lashing riffs showing another act intent on playing a more prominent role on the European thrash metal scene, and this time they by all means sound more convincing.

Suicide Kills EP, 2001
Radial Neuropathy Full-length, 2004
Rich, Rotten & Poor Full-length, 2010

Official Site

SCRAPER (GERMANY)

This batch indulge in stomping intense retro thrash which is assisted by throaty shouty death metal vocals. The initially unleashed high energy is sustained throughout although both "King of Nightmares" and "Apparition" are heavy volcanic propositions with hammering riffs those opposing to vitriolic headbangers like "True Virus" and "Deus Ex Machinegun", the more lyrical escapades on "Way of Destruction" bordering on Swedish melo-death.

Hunger Within Full-length, 2020

Official Site

SCRAPER HEAD (BRAZIL)

Aggressive thrash/death metal of the classic variety which isn't constantly fast, but offers slower shifts ala late 80's Slayer ("Torpid Thoughts", the heavy semi-ballad "Suicidal Tendences" which has very little to do with the band cited in the title). The riffs are simplistic, and the approach is one-dimensional and samey on the faster tracks, topped by gruff death metal-ish vocals. The songs are short barely going over the 3-min mark.

Lost in a Dream Full-Length, 1997

SCRATCHED SURFACE (BRAZIL)

Based on "The Silent Flood", these guys play modern choppy thrash with metalcore leanings and unpleasant noisy shouty vocals. The style is quite predictable without too many claims at originality or sophistication except for the few atmospheric passages which come ambient-ornate and are a nice touch, the most stylish part of this pedestrian offering.

Look Away Blind EP, 2005
Nine Novembers Fall Full-length, 2008
The Silent Flood Full-length, 2011

Official Site

SCREAM ALLEGIANCE (UK)

This British act offer a modern take on the power/thrash metal hybrid which sticks to steam-rolling riffs which are not "strangers" to more dynamic patterns (the galloping rhythms on "Your Prayers Will Not Be Answered"; the speed metal killer at the end "Easy Prey"), and generally manages to avoid the groovy pitfalls along the way. The singer has an authoritative clean timbre which doesn't have a very big range, but commands the proceedings with confidence recalling J.D. Kimball (Omen, R.I.P.).

Scream Allegiance EP, 2012

SCREAM MEANS FEEL (RUSSIA)

An energetic mixture of modern and classic thrash with lashing riffs and subdued growling death metal vocals at times interrupted by better clean vocals which take the upper hand on a few numbers. The guys shred with no remorse spitting a riff after riff with an admirable intensity which decreases in the 2nd half replaced by a few more laid-back semi-balladic moments.

U Chertui Full-Length, 2012

Official Site

SCREAM OF DEATH (BRAZIL)

Based on "Visible Sins", this act indulge in ripping old school thrash accompanied by rough semi-shouty death metal vocals. The setting seems a bit contrived as the compositions are longer, but to these ears the shorter more concrete pieces ("Fear My Hate", "Mente Preguicosa") kind of generate bigger excitement with the more death-laced, also more technically executed "Beyond the Death" another highlight. Some of the band members are also active with the death metal outfit Visceral Slaughter.

Madness of Mankind Full-length, 2013
Visible Sins Full-length, 2020

Official Site

SCREAM3DAYS (ITALY)

Based on "Rhesus Negative", this outfit indulge in dark modern thrash/death seldom races with the speed of light, but rely on atmospheric mid-tempo decisions to pull it through, with a couple of rowdier excursions ("The First and the Last", "Divine Spark-DNA") livening the officiant setting. The throaty death metal vocals can hardly be viewed atmosphere enhancers, but don't exactly stand on the way of the decent music which acquires mild progressive tendencies on "Inanna" and the choppy dramatic closer "Rhesus Negative". Earlier the band were known as Paulzeder when the style was more on the gothic/death hybrid side.

The House Without Windows EP, 2011
Kolera 666 Full-length, 2017
Rhesus Negative Full-length, 2020

Official Site

SCREAMING JESUS (USA)

This is a pretty decent modern thrash/post-thrash act who lash with passion (the opening rager "Trapped", the inspired semi-technical headbanger "Prophet") at times, but by-and-large this is a tribute to the times of release, and although "Never" breaks the mould with more volatile more intricate riffage, the prevalent sentiment is the groovy one, regardless of the presence of short blistering joys ("Hand") and engaging more entangled Bay-Areasque closers (the excellent multi-layered "Gloom"). The singer does an admirable job with an attached semi-clean James Hetfield-esque timbre, and a couple of more brutal synthesized takes on the death metal growl. Some of the band members also played in the heavy metal formation Sheer Creed.

Hand Full-length, 1994

Official Site

SCREAMING SAVIOR (CHINA)

Based on "Infinity", this band plays modern thrash/black with orchestral arrangements strongly recalling mid-period Dimmu Borgir and early The Kovenant. This is good diverse music which emits a lot of atmosphere, and the major complaint would come from the overuse of the keyboards which stifle the guitars at times. "Pray to the Chthonic" is a very cool balladic prelude, and the closing "Across the Boundary of Cosmos" is a more technical rendition of the main bombastic theme on the album with a good pounding guitar support. The vocalist is the staple husky raven seldom helped by emotional clean insertions.

Eclipse of the Dark Lunar Full-length, 2009
Ocean of Asura EP, 2011
Infinity Full-length, 2012

Official Site

SCREAMS OF ERIDA (USA)

Based on the EP, this band play modern thrash with elements of metalcore, from which the music loses a lot, since there is hardly an intense headbanging element to be heard and often do more aggressive passages get choked with a very blunt metalcore break. Mid-paced melodic stuff is what you'll get here; skippable.

Burn The World EP, 2005
The Red Testament Full-length, 2006

Official Site

SCREAMS OF HATE (BRAZIL)

This is angry groovy post-thrash/thrash which rages hard at the beginning with hard-hitting guitars and cuts like "Concept" and "Insane" will make the fans headbang in no time. The very shouty quarrelsome deathly vocals may get on your nerves a bit since they take quite a bit of space, but at the same time they are easily overshadowed by the better music like is the case on the excellent semi-technical shredder "Spilling Hate" near the end.

Neorganic Full-Length, 2016

SCREAMS OF TRANQUILLITY (AUSTRIA)

This is melodic old school black/thrash which is rife in melodies those coming left'n right, in quick succession, the sinister blacky vocals creating additional drama the latter still letting a couple of full-blooded thrashers ("Wrath", "A Shattered Path of Pain") sneak in. The middle is occupied by heavy epic tracks ("Tormentor of Sinners", the folk-tinged "Baptised in Alcohol") which give the album a more officiant aura.

Rival The Sun Full-Length, 2020

Youtube

SCREAMZ (GERMANY)

A mix of modern and classic power/thrash metal quite close to Xentrix's "Kim" with the Brits' album's characteristic heavy balladic sound well epitomized. Both sides are well balanced with "Fighting Fingers" coming up boldly with vigorous galloping riffs, closely followed by the crossover happiness "Live in the Gutter" at the end. The rest is still edgy sticking to sharp mid-paced riffs supported by semi-gruff clean vocals which hold a nice melodic pitch the whole time.

Cash Full-length, 1995

SCREWED DEATH (GERMANY)

This is cool varied retro thrash with crisp dynamic riffs and lengthy semi-progressive compositions, and cuts like "The Death Remains Within" and "Dawn of Anarchy" contain enough intriguing riffs to satisfy the more pretentious crowd. The harsh death metal vocals are perhaps the most ordinary ingredient, the deathly drama unleashed on "Insidious Visions" deftly barred by the visionary rhythmic extrapolations on the 9-min epicer "Among the Dishonored", the near-10-min closer "Mortal Dread" trying to match the latter's grandeur with another array of less conventional and several alluring balladic interludes.

Death Before Dishonor Full-Length, 2023

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SCRIPTURA (FRANCE)

Monotonous uneventful groovy post-thrash with harsh semi-shouty vocals; the guitars drag except for the more lively moments when the music turns to pure hardcore. There are attempts at a more industrial sound ala Treponem Pal, but the guys very soon give up treading those waters.

Deep Stoned Full-length, 2008

My Space

SCRITIKALL (FRANCE)

Modern thrash with progressive tendencies; the approach is quite heavy and mid-paced, and the singer shouts in an agonized death metal-ish manner. The title-track is a cool closer, an encompassing progressive composition with seismic build-ups and abrasive mechanical riffs bordering on doom.

Draft Full-Length, 2017

SCROK (BRAZIL)

A 3-songer which sees a band ready to crush majorly in an old school fashion playing right as rain thrash sustained in a solid mid-pace with the casual faster deviation ("Creeping Children Tales"). The sound production is a bit rough and the vocalist is gruff with a drunken timbre trying to shout at times forcing his throat in a not very healthy manner. The guys are doing a much more melodic job with their other act, the symphonic metallers Dark Season.

Devastation EP, 2011

Official Site

SCROTUM (FRANCE)

Based on the 1st demo, this band varies things from Celtic Frost-laden ("Carnage (The Antechrist)") to shorter very brutal and fast, with a shade of grindcore ("Slatanic SS Wehrmacht"), tracks. "Black Death" is almost 8-min long, but contains a little more than straight raw bashing.

German Command Demo, 1988
Second Slaughter Demo, 1989

SCRUFFY TEARAWAYS (USA)

Fast aggressive thrash/crossover with short explosive songs; the guitars are more thrashy than the average thrash/crossover act, but the song-writing follows the pattern closely.

Demo Demo, 1988

SCRUPLE (GERMANY)

Based on the "Reich of Horror" demo, this act play quite cool classic power/speed/thrash with expressive, high-strung King Diamond-esque vocals; the guy (or girl) sings in German at times assisted by gruffer deathly male semi-recitals, and the music is straight-ahead retro stuff with formidable more progressive steam-rollers ("Das Schwarze Fleck") as well as excellent operatic atmospheric "symphonies" ("Enzyklopedie Das Bosen") those emulating the style King Diamond made his own through the years. "Das Vampyr" is a more technical shredder, and "Mosh-Hammer" is a soaring speed metal hymn with imposing dramatic stop-overs. "Den Graal" is a maddening speed/thrasher with fierce lashing rhythms, and "Paganini Rock" is a live performance in Moscow, expectedly being a classical-prone display of guitar wizardry. "Sanatorium Des Satan" is a brilliant brutal galloper, the highlight here, and "Das Schlechten" is a bad rap joke which ruins the positive impression at the end the latter not helped much by the muddy, hissing sound quality.
The debut demo is just two songs "H0rr0r Aus Dem Gruft" being a merry power/speed galloper, and "Instrumental Aus Den Gruft" being, of course, an instrumental with ripping thrashing rhythms and some admirable classical-inspired fretwork that last for 1.5-min. The sloppy production is already here as well as the over-dramatic King Diamond-esque vocals.

Demonstration of Horror Demo, 1994
Reich of Horror Demo, 2003
Horror aus der Gruft Demo, 2004

SCRUPULOUS (BRAZIL)

Based on the "Shadows of Pain" demo, these folks provide dark brooding thrash/death/doom which suffers quite a bit from the very muddy sound quality and the very guttural death metal vocals. Otherwise the guys infuse their approach with a lot of atmosphere which compensates for their obvious lack of musical skills which is eye-gouging on the inept attempts at a more speedy play among which "Faith False" is the only more sensible moment.
The "The Abyss" demo is concentrated more on death metal, and the latter is of the more technical variety, the tendency well expressed on the diverse progressiver "Reflections Inside The Mirror". "Life of Dream (Bury)" is shorter, but the technical riffs keep flying with no remorse among the raging main motifs. "Immortal Soul" is another more carefully assembled piece with ripping guitars and atmospheric build-ups ala Nocturnus; and "Whispers Are Said To My Impure Soul" is a sprawling progressive composition with keyboards entering the scene to add up to the atmosphere and the dark permeating mood which will also remind of the Greeks Nightfall.
"Ostia And Genocide": a handsome resurrection which sees the band reforming after a huge hiatus, burying their demo-based legacy with dark atmospheric retro thrash/death which can be quite ripping and intense ("Ostia and Genocide", "The Contestation Knock on Your Door") on occasion, but watch out also for the morose doom-laden march "Dark Womb", an imposing entry into the annals of doom. Occurrences of that latter type are not frequent at all, but the audience will readily welcome the more contrived operatic saga "Souls Cut to Brunoise" and the diverse progressive finale "In the Crow's Beak". Some of the band members also play with the grindcore/death hybriders Second Face.

Shadows of Pain Demo, 1994
The Abyss Demo, 1995
Ostia And Genocide Full-length, 2021

SCUD (BRAZIL)

The demo is 2 songs of dynamic mid-tempo thrash with cool melodic tendencies aptly expressed on "Shout" where semi-balladic passages take turns with heavy seismic riffs to a dark morose effect recalling the guys' compatriots The Mist.

Shout Demo, 1993
Clouds Taken by the Wind Full-Length, 2006

Official Site

SCULPTOR VOID (GERMANY)

Retro thrash which comes with a somewhat dry sterile vibe that better suits the slower, brooding material ("Android Kernel Panic"). The ripping headbanger "Lactatious Queen ov the Alterverse remains an isolated outburst of aggression, though, in the second half as later on the band move things around with less standard structures leading to the diverse semi-technical death-thrashing shredder "Extraorbital Megafauna" among other more interesting variations.

The Rending Light Full-length, 2018

Official Site

SCULPTURE (HOLLAND)

Another one-album wonder from the full of pleasant surprises Dutch metal scene; this is standout thrash/death metal with progressive tendencies. The music is dark and moody, mid to up-tempo, and never becomes too aggressive. The album starts with the complex technical "A Contemplation Of David" which is the longest and most intricate composition. "Sodom" is much shorter, but the technical charge remains intact. "No Liberation" adds some death metal intensity, and the following title-track is a very cool energetic thrasher; those two lose the technicality somewhere which returns with the good jumpy thrash/death number "No Respect". "Scorning" slows down once again, introducing gothic-tinged passages, a "legacy" which is carried by the dreamy, soft "Dawn Of Eternity". At this point the listener is almost ready to accept the new, Cemetary or Paradise Lost-influenced, face of the band, but "Grinding Sacrifice" brings the sound back to thrash of the more up-tempo variety. "Death To Death" is a tribute to the doom/death metal scene which was particularly strong in Holland at that time. The closer "Twilight Traps" apologizes for the lost inertia on earlier parts being a very cool technical death/thrasher still including moody slower sections.

Spiritual Matrix Full-length, 1998

Official Site

SCUM (GERMANY)

This is an intriguing quasi-progressive recording which is built on a contrasting aggressive death metal/jumpy modern thrash template, the final result not far from Massacra's "Sick", only more ambitiously-concocted. There's some subversive technicality detected on the hectic energizer "Dwell In Reality" which also emits a really cool balladic atmospheric interlude; with "Epitaph (In Memory Of)" being another intriguing proposition with a sudden speedy death metal outburst. Don't pay too much attention to the short brutal grindy joke "N.O.I.(Schwoba Grind)" at the end, though... this one is just for the moshing fun of it.

Age of Time EP, 1995

SCUMBLACK (ARGENTINA)

The debut: this young formation serve energetic modern-ish thrash/crossover with sudden more brutal death metal insertions. The latter gimmick hasn't been applied that profusely so the album develops in a relatively peaceful pace even providing the casual more technical shred ("Real Heroes") as well as the odd flair of gallopisms ("Fly with Honor") which are also the carriers of the classic moments on the album. The singer has a deep deathly shouty throat which he strains quite a bit more or less appropriately.
The self-titled is a tad more intense than the debut, the band still occupying the mid-paced ground with steam-rollers like "Your Labels" and "Scavengers" disturbing the peace in a seismic earth-shattering manner. A couple of more dynamic cuts ("Fear", "Termohead") fly around, trying to energize the atmosphere, but it's on the closing "Odia tu Odio" that the guys come out with the all the guns blazing, moshing with little restraint for the provision of a rousing finale.

Ceocracy Full-Length, 2016
Scumblack Full-Length, 2019

Official Site

SCUMRIPPER (FINLAND)

The debut: crusty abrasive old school speed/thrash influenced by Motorhead and early Bathory; dynamic lively stuff aggrandized by the odd more melodic mid-pacer (the effective creeper "Slay.Scum.Day", "Your Local Shriner") on which the shadow of early Celtic Frost can also be detected. The rough semi-shouty vocalist stays the course trying to play a more prominent role with his intense intimidating antics.
�For a Few Fixes More� treads the same crusty abrasive path, the band moshing with overt enthusiasm on �Early Embittered Twilight� and �For a Few Fixes More�, the stomping ambitions of �The Slime� duly acknowledged, the peaceful frolic rhythms of �Exhume the Body and Disturb the Peace� shushed by the intimidating tribute to Motorhead that is �Crippling Void�, the doom-soaked approach of �I Cum Pain� obliterating the warm rock-ish aesthetics of �Weather the Swarm�.

All Veins Blazing Full-length, 2019
For a Few Fixes More Full-length, 2024

Official Site

SCUMSHOT (GERMANY)

Excellent thrash metal of the classic school, occasionally clinging towards crossover territory; the songs are speedy to up-tempo, with nice sharp riffs and semi-hardcore vocals (which might be a drawback to some).

Raise Full-length, 2006

Official Site

SCYTHE (CUBA)

This Cuban outfit indulge in aggressive thrash/death which is way more death than thrash. The band stick to the Floridian formulas which give them plenty of opportunities to blast out at will, but at the same time the controlled passages are also quite a few the mid-paced break present on almost every track to provide the needed dynamics which is constantly assisted by brutal grunting death metal vocals.

Drawned in Blood Demo, 2005

SCYTHE (USA, CA, SANTA ROSA)

This act serve pretty acceptable old school thrash which comes crossover-decorated on the uplifting jumping title-track, �Self-Earned Fate� following the same frolic path with an array of sprightly brisk riffs. �Prisoner of the Mind� is a more intense tribute to the Bay-Area, the fist-pumping �Forsaken Wonder� another intriguing entry, the hoarse but attached and convincing hardcore vocals hitting the right notes any time they�re in action. Some of the band members are also occupied with the prog-thrashers Incredulous and the death metal unit Intrinsic Maleficence.

Fog of Luxuries EP, 2019

Official Site

SCYTHE (USA, CA, LOS ANGELES)

Retro thrash metal of the raw prime variety ala early Razor and Hallows Eve; the guitar sound is very fuzzy, and takes away a considerable part from the fun. This is generally fast stuff with very screaming leads and gruff declamatory vocals.
"The Seventh Day" is more proficient with sharper more polished riffs with again Razor remaining the main influence, with a couple of more intense riffage ala Devastation and Slayer ("The Seventh Day") thrown in as well; watch out also for the fast blasting section on "Human Discretion". This is good aggressive stuff which may be a warm-up for the guys' future full-length release...
"Defying to Exist": it's fair play to the guys to provide nine brand new songs without touching those from the preceding EP. Otherwise the approach is similar retro thrash with shades of mid-period Sepultura this time including from the transitional "Chaos AD" which influences the opening duo, both being pounding mid-pacers. The mid-pace dominates despite the presence of several vigorous tracks (the death-laced "End Of Days" and "Hit" both also recalling later-period Protector) and the tribute to "Arise" "Parasite" which is a nice headbanger. Still, their presence is not enough to please the fans who will be expecting an all-out assault similar to the one on the EP, and may remain quite disappointed with this heavy, steam-rolling stuff which also sees the guys in a more modern, and less impressive, light.

Out From Below Demo, 2008
The Seventh Day EP, 2010
Defying to Exist Full-length, 2012

My Space

SCYTHE (USA, IL)

This is bombastic operatic black/death/thrash which still gives plenty of room for the guitars to cut and bite without speeding the whole time also keeping a good sense of melody also reflected in the presence of some deep clean vocals and quite a few more epic moments (check out "Beware the Scythe" for both). Things become seriously dramatic on the excellent "Tyrannical Stranglehold" and "Opus Dei of the Dead" which come with heavy doom officious riffs, but the speed/thrash boogie is just around the corner ("Tunguska Death Ray"). Both sides alternate throughout to create a nice atmosphere on this effort which would be of interest to fans of all the 3 aforementioned genres in equal dozes although to these ears the slower, more dramatic side of the album seems to work the better (also reflected in the cool minimalistic closer "Planet of the Humans" which would remind of Impaled Nazarene's brilliant "Blood is Thicker than Water" from "Suomi Finland Perkele"). Some of the musicians also play in the gothic metal project Nightshade.
"Subterranean Steel" is moodier and heavier than its predecessor the approach now clinging towards the doom/proto-doom side on at least half the tracks, and "The Grunting Dead" in the middle would be a rude awakening for those who have adjusted to this peaceful style with its brutal deathly outbreaks. The situation improves after this one "The Bray Beast" being another more energetic piece with some super-heavy shreds, and "Nights of Terror" being a cool short bombarder with dark Celtic Frost-esque overtones. The closer "Thunder Hammer" even branches out into some wild untamed black metal to ensure the album's crossover potential which should appeal to a wide gamut of metal fans.

Beware the Scythe Full-Length, 2012
Subterranean Steel Full-Length, 2013

Official Site

SCYTHE (USA, TX)

Based on the "Two Sides Facing" demo, this band play old school Bay-Areasque thrash with a few classic throw-ins, the pulverizing "AD" leading the cool stylish pack form which one should easily distinguish the curt staccato-prone shredder that is the title-track and the dynamic prog-thrasher "Voluntary Incineration", the marginally more laid-back flair of "Floating Walls" disfavouring the corrosive hoarse intensity of the otherwise good clean vocalist. Some of the musicians are currently involved with the power/speed/thrash hybriders Valkyrie.
The self-titled demo is another relatively stylish fare, the short moshing "The Family" stirring the spirits big time at the start, before "Thee of No Regret" tries something choppy and less ordinary, those aspirations not materializing that fully on the tender balladic etude "Life Sentence" and the playful frolic "Green Eggs and Ham", the undeniable highlight being the serious tech-thrasher "AD" which proudly carries the Bay-Area insignia on its lapels.

Scythe Demo, 1992
Two Sides Facing Demo, 1993

Youtube

SCYTHE BEAST (GERMANY)

The debut: a modern brutal mix of thrash and death metal still finding time for several more moderate, meditative passages. The Swedish school is a very close call except for the less restrained blast-beating passages. "Enter Oblivion" is a cool epic anthem ala Amon Amarth which strongly influences the second half where at least half the tracks are mellow epicers, the closing "Vortex" trying to restore former headbanging glories with a portion of faster, more vitriolic riffs.
"Indicted for Misconception" is a less aggressive proposition, the band still flirting with the Gothenburg models, above all, emphasizing on the melody more. Death metal steps aside quite often, leaving room for pure thrashing moshers ("Kill Machine", "Colonize"), the longer dragging material ("Soulicide") calming the ball down, opposing to the more vicious death-fixated pieces ("Signs of the Decline", "...For the Love of God") which come served towards the end to instill a rousing hyper-active finale.

Breeding Devastation Full-Length, 2016
Indicted for Misconception Full-length, 2021

Official Site

SCYTHELORD (SWEDEN)

The debut: a modern thrash/death metal blend which covers both melodic and a more aggressive ground both sides walking hand in hand for most of the time. Intense raging thrashers like "Bloodshed At Dawn" and "War At Sanity's End" are the backbone of this roller-coaster which also has its more atmospheric, epic side ("Red Shift", the encompassing 8.5-min saga "Red Shift"). The singer is a forceful death metal shouter who doesn't spare himself taking quite a bit of space.
"Earth Boiling Dystopia" is a better, more technical and more complex proposition, with long progressively-sculpted compositions, where the speedy ways of expression clearly dominate. "Rod of Asclepius" is a marvellous more technical journey, with the jarring hectic "Comedy in Blood" another less ordinary occurrence. "Just A Memory" is a short hardcore jump-around, and "The Other" is a spacey psychedelic instrumental piece. "Earth Boiling Dystopia" is a 9-min long dystopia, a varied conglomerate of moods and tempos, a lofty combination by all means concentrating on the heavy atmospheric side of the spectre.

Toxic Minds Full-length, 2016
Earth Boiling Dystopia Full-length, 2021

Official Site

SCYTHER (ITALY)

Modern power/thrash which successfully steers away from the groove for most of the time; there are the obligatory headbangers ("Trigger"), there are the pounding tributes to the 90's, there are the tender balladic respites ("Leavin' Burden")... the sincere thrashing intensity of "Before I Kill" should also be mentioned, especially when such assaults on the senses are not very common here.

Black Stone Wall Full-Length, 2020

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SCYTHES (FRANCE)

These guys offer energetic thrash/death metal of the old school (think their compatriots No Return and Massacra) with bad shouty semi-death vocals. The guitar work is good, especially the short, but proficient leads, mixing fine melodies with ultra-fast sections. Although the approach clings more towards the death metal side, some fine up-tempo thrashers can be easily found ("The Pain Inside Myself", "Reclusion", the heavy "Enemy", the closing speed/thrashfest "Absence of Pleasure"). Seldom do the guys excel in a more technical play: "First Five Years", which is slower, but is full of interesting riffs and hooks.

Deathscreamer Full-length, 2007

Official Site

SCYTHESYS (SPAIN)

Cool intense old school thrash sustained in a dominant fast-paced fashion the band thrashing on remorselessly with a tinge of crossover on the shorter cuts (the 2-min ripper "Born to Kill"). This is inspired stuff seeing an act knowing their craft, including in the vocal department where the singer unleashes a mean semi-clean timbre with appropriate shouty insertions.

Born to Kill Demo, 2011

Official Site

SCYTHIAN (UK)

A fairly good mix of early German thrash (think Exumer, Destruction, Sodom) and epic/viking metal along the lines of mid-period Bathory and Enslaved. The blend works well, "helped" by more aggressive riffs in the death/doom mould ala Bolt Thrower and Beyond Belief at times. There is also a raging cover version of Bathory's "Holocaust" from "Blood, Fire, Death" at the end.
The full-length offers just three new songs, the rest being taken from the demo. "Ares Guide My Blade" is an aggressive fast-paced thrash/deathster; "Open Steppe" is a mix of furious thrash/death/black metal and more moderate epic sections; "Kurgan Funeral Chant" is the 8.5-min closer which is the prototypical thrash/black/death/epic/viking amalgam ala Destroyer 666.
"Hubris in Excelsis" carries on with the established blend the guys thrashing wildly with a pinch of proto-death on the opening "Beyond The Dust" before the title-track loses it with a portion of uncontrolled blast-beats. The band's epic nature appears on the ode to Bathory "Apocalyptic Visions" which still finds time for a fast-paced deviation. In the 2nd half the concentration is mostly on brutal death metal explosions spiced with the odd more officiant Viking break "The Laws..." the only full-blooded tribute to Quorthon (R.I.P.) and his glorious heritage. The closing 8-min saga "Dystopia" tries to deserve its title by inserting a couple of dissonant cacophonous riffs, but generally this is another larger-than-life extreme metal offering.

Suffering to the Conquered... Demo, 2007
To Those Who Stand Against Us... Full-Length, 2009
Hubris in Excelsis Full-Length, 2015

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SCYTHIAN FATE (AUSTRALIA)

Based on the full-length, this trio play fairly cool classic power/thrash with quite inappropriate gruff semi-shouty death metal vocals. The guys largely rely on atmosphere evocation ("Church On The Hill") with some really effective creepy riffage involved on the excellent "Echoes Of The Pharisee". "Lady Macbeth" is an effective proto-doomster with alluring lead sections, a display of immaculate musicianship which receives healthy support from "Akrobats Of Evolution", another minimalistic marvel with echoes of Mercyful Fate. "Vitriol" is a more vivid composition with more aggressive guitars involved, but the closing "Muted Witness" wraps it on in a more moderate epic power metal fashion.

Drakaena Scythia EP, 2016
Matrimony in Madness Full-length, 2019

Official Site

SCYTHIAN OATH (USA)

A 3-track demo of excellent semi-technical power/thrash metal, a style not quite typical for the American metal scene at the time, with great stylish technical riffs which will remind of Juggernaut and Have Mercy, but the music of this band is faster and better bringing to mind Aftermath and Agent Steel in the speedy sections. "Break the Mold" is an impetuous speedster with choppy breakdowns briefly intercepting the melee, with screamy leads dancing around in regular circles. "Plea of Innocence" is a more officiant semi-galloper with more pronounced bass support and sudden faster-paced outbursts, the title-track stirring a puzzle of chaotic riffs and aggressive moshing sections to a dizzying effect recalling their compatriots Juggernaut and even Watchtower, with melodic pirouettes served to an even more surreal effect, not to mention the fever-ish dramatic epitaph. The vocalist doesn't quite suit the eventful musical setting, his not very emotional mid-ranged clean baritone seldom sharing the exciting drama. Some of the band members later tried their hands on some more orthodox speed metal under the name Sentinel (one demo in 1986).

Shadow of the Torturer Demo, 1985

Fan Site

SCYTHROW (FINLAND)

This is pretty decent retro power/speed/thrash which is laid-out in both a fervent energetic ("Dead All the Same") and an openly aggressive ("Braindead") manner. There are a couple of more peaceful mid-pacers ("Key of Life", "Deception"), as well as a really cool captivating heavy ballad ("Eternally Lost") in the vein of Metallica. Still, it's the more brutal headbanging material ("Wasted, Wounded and Bleeding", "The Omen of Kings") that holds more gravity here, the cool steady mid-ranged clean vocals nicely suiting the varied soundscapes.

Paragon of Pain Full-length, 2021

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