Copyright (c) 2007-2018 THE THRASH METAL GUIDE

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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


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


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.'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 tember 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/thrashy 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 ticularly 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 doomy sinister 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 thrashy 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


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


This act is actually only one person: Necron, who is 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


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.G.M. (USA)

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

Aggression Full-length, 1988


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


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


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


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

My Space


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/doomy 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 deathy 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


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 preferrable to the dominant semi-amateurish barrage.

First Blood Demo, 2010

Official Site


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 4 full-lengths and 4 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.S.A. (USA)

Modern post-thrash which sounds quite close to Tourniquet's "Vanishing Lessons", but far less good; this is mid-paced stuff with a certain amount of groove and one very cool short instrumental "Herbie Perogie" which nicely mixes funky elements with hard-hitting riffage. The rest is too one-dimensional and boring without any other highlights with one tender ballad as a finishing touch ("Sunshine").

Deal With It Full-Length, 1994


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


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


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


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


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 constrasts 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



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


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


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 deathy semi-shouter, and at times his antics are not very easy to decipher.

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

Official Site


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 infuences, still remaining a pretty thrashy affair sharing some of the King Diamond operatic dramatism 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/thrashy 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.

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

My Space


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, eslishing 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 are not 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 doomy 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 doomy moments, but very soon pick up respecle 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 dislay 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

My Space


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


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 pretesnions 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


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


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 more thrashy 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 dramatism ("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


Based on the demo, this outfit provides a hestitation 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 bult 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 wiith great melodic lines as well.

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

Official Site


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


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


The band's style calls to mind the Canadians Eidolon, their early, less thrashy period. Powerful, dark sound which could fit even Nevermore very well; heavy songs which 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


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 ticular 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


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-deathy section in the 2nd 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


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


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


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


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 proficiant displays of musicianship (the closing "And Angels Call" where the melodic nostalgic leads are top-notch).

Sibylla Full-Length, 2014

Official Site


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 tially on the next "Anxiety" which acquires a nice doomy 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 adox as well. The singer does a good job with his clean mid-ranged tember holding both emotion and aggression the latter helped by sce 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


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 inevily 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 anoia" 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 headbanger. This effort is not a full-on "massacre" comed 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 ts. 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: "Mercilless 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 2 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 2 cover versions: Sodom's "Agent Ornage" 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 2nd 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


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


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 folkish 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


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 lended 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 4 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


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


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 is not as hard (and definitely not "fucked up"), featuring cool melodic guitars.

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


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


Thrash/crossover of the more aggressive thrashy 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 balllessly shout. The music sometimes acquires a more laid-back Motorhead-ish edge ("Some Curiosity"), but be preed for full-blooded thrashers as well ("Brother's Inventions", "Conquer", the explosive Slayer-esque "Take a Look Around").

Sifting Through Remains Full-Length, 1988


"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 detment 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


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, comed 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 comforly, 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 ticipation 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 at from a compilation album, containing remastered versions of the debut and the "Surf Nicaragua" EP, nothing else has come up from their camp yet.

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

Official Site


This band was formed after the one-album-wonder 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 eslished 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 thrashy 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-lke opuses ("Let There Be Steel") 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


Based on the "Extreme Assault" EP, these guys offer vintage retro speed/thrash metal with cool semi-technical guitar work. The music recalls adox'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


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.

Demo Demo, 1991
Injusticia EP, 2006

My Space


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.

Spreading Death Full-length, 2011
Apocalipse Holocaust Full-length, 2017

Official Site


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


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 2 Bathory efforts in terms of both musicianship and speed. The Canadians are probably more varied than the 2 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 preed 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 openig 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 is 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


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


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


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 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


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


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


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 wihout leaving any unpleasant aftertaste. The 2nd 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


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


A female-fronted thrash metal band, and quite impressive at that, having previously been a t 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 doomy 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-thrashy 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 eslished 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


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.

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


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 is not great making the guitars too fuzzy at times. "Agonia" is a more aggressive aedbanger, 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


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 apently 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


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-ornated at times, and additionally "kill" the little sharpness the riffs have.

Sacriment Full-Length, 2009


Two guys, also taking t in many other acts from the Australian inderground, 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


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 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 detment: the ambitious progressive closer "Truth Is What Is", 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 tember 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 2 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).

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


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 are not 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


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


"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 doomy creepy sinister "Asteni" which is placed in the middle, apently 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 arangements in the spirit of Bal-Sagoth.

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

My Space


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" ia 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


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 a better production should follow soon: there's a potential lying in wait here...

Live at Dismember Metal Fest Demo, 2012

Official Site


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 is not 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


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


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".

Hellish Mercenary EP, 2013
Promo Promo, 2014
Edge of the Knife EP, 2015

Official Site


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


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


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 tember of Nasty Ronnie adding a more brutal deathy edge to it also spiced with the sparce 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


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, sparce hyper-blasts, and wicked semi-whispered vocals; oh, and the odd surreal lead ("Goatfire")...

Deathorgasm Demo, 1998
True Evil Demo, 2000

My Space


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 intoduces more full-blooded thrash for a bit, but generally this is more along the lines of the good old black metal.

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

My Space


Brutal, aggressive thrash which comes as a blend of Sadus' debut and early Kreator; some occasional interesting guitar melodies could be heard, but most of the time this is fast bashing, with not much musicianship involved.

Alcoholic Hellnoise Full-length, 2007

Official Site


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".

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

Official Site


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


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 impresion 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


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 ticularly ripping cut with crushing riffs and a few nice melodic insertions. The singer is a shouty semi-death metaller.
The 2nd 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 detment.
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


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 started in an awesome fashion with "Made in Judecca", aggressive 80's thrash metal with a more modern production similar to Slayer and Devastation, topped by death metal-styled vocals. 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 more thrashy 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.

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


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 litle 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 interestiing 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 brillliant 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 deathy proto-blasts, and "Mind Games" is a cool headbanger again with copiuos 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


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


Based on "The Ways of Faith": this Brazilian trio from heaven unleash straight retro thrash with shades of death metal. The better, more thoughtout, 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 is not 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 robotc riffage settles in, and the listener may feel a bit bored in the second half where these dispassionate shreds may merge into one big syncopatic 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


Based on the full-length, 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-ish ("Profits of War.") vibe. Direct, straight-forward, and ultimately relentless stuff.

Saint Breaker EP, 2015
Beaten into Belief Full-length, 2017

Official Site


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 excercises 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


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


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 predicle 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


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


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 inflicitng 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


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 apently 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 thrashy roots, but in a much more proficient and modern-sounding manner, with Nail Within.

Destruction Till Death Demo, 1987


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 ts ("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


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


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 officiant 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 techical/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


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


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


This "brief history of salmon" is sutstained in a modern-ish 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 upliftiing 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


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


Based on "The Underground", this act plays cool heavy doomy 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


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


This is melodic modern-ish thrash recalling the German outfits Perzonal War and Face Down Hero so expect professional execution, cool meloidc 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 tember which suits the radio-friendly musical delivery.

Fearless Full-Length, 2015

Official Site


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


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 prodiciant 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


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


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) whcih surprisingly sits well among the prevalent groovy downpour. This is squashing steam-roller music ably asssisted by angry shouty death metal vocals.

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

Official Site


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


Based on "Way of Men", these guys pull out modern hardcore-ish 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


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


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 beginnins.

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


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 are not 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


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


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 is not 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


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


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


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 briliant 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 is not 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 wrappint 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


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


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


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


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 more groovy. 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


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 ordibary 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


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 headbangers "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


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 Shepd, 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 doomy closing minutes; Loomis unleahes 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 inevile, 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 riffage 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 doomy 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


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


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 tie 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 altthough 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 wokrs 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, wiht 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 thne 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


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

My Space

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 detment, 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


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


This Italian act play inspired old school thrash which has both the speed and the melody. The guys play with force the riffs being quite sharp boosted, more or less appropriately, by the sce blast-beating section. Moshers like "Slave Bees" would hardly be forgotten soon, but the guys should follow up soon with another recording in order to shape the iron while it's still hot...

The Threat Of Aggression Demo, 2011

Official Site


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

My Space


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" is not too far behind, although the beginning is very mild, in the power metal mould. As a whole the 2nd t is much more varied, with every track containing fast ts, including the short explosive thrashers "Redentor" and "Evolucion Irremediable" at the end.

Evoluci'a2n Irremediable Full-length, 1997

My Space


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


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


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 t, which nicely contrasts with the remaining almost doom-laden ones. This is music which 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, 1989


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 tember 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


A really valuable adition to the thrash metal cohorts of recent years is this little gem. The guys hit you with wonderful dissonant Voivod-ish 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-beark. 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 too hone their "weapons" for more serious exploits .

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

Official Site


There is 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


The band's style is a fine cross between classic and modern thrash metal. There is 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 3 EP's, one could sense that there is more to come from this band in the future.
"Eterna" fulfills all the promises from previous efforts with its good sense of melody (the opening "Belive") reflected mostly in the very good lead guitar work. "Monoxide" is a stylish technical shredder in a dynamic pace which influences the following "adigm". Then comes the title-track which is a tad heavier with exemplary lead sections. Its relative simplicity is not 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


These youngsters pull out melodic speed/power/proto-thrash od 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 a bit higher at times managing to sound convincing all the way.

Inside Room 101 Full-Length, 2014

Official Site


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 is not 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" 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 tember which 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


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. 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 tendernes" after it reflected in the serene ballad "Embers" and a string of bland heavy rockers which pull this effort deplorably down that most of you would turn it off way before the end; and for a good reason since till the end we have heavy/power metal hits with barely hints at thrash which 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


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 preferrable 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.

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

Official Site


Based on the full-length, 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 being more carrying the more aggressive charge of this effort which clings more towards the speed/power metal side reminiscent of Savage Grace and Griffin, but 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" whic 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


An obscure trio who offer jolly thrash/crossover which 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 moso f the time the style is closer to thrash with several sincere hardcore, very short (1-1.5min), 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


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, more thought-out music which hits more ambitious heights on the last two compositions which are kind of marred by the not very convincing semi-shouty/semi-clean vocals.

Ali D'amianto Full-Length, 2016


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


Based on the debut, this band offers heavy crushing groovy 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


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 is not 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 otufit Everfest graced by the same two guitar players.

Fate's End Full-length, 2010

My Space


This young Canadian act plays stylish technical thrash/death metal blending fast deathy with quirky jumpy rhythms on the opening dynamic "Different Faces", but "Finesse" is already an offbeat industrial ballad, and the unpredicility 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

My Space


A 4-song EP providing one track of heavy proto-modern thrash of the aggro-type and 3 more 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 is not bad although his semi-shouty tember may annoy at times when reaching for the higher notes.

Time to Kill You EP, 2008

Official Site


The "Sinners" demo contains 4 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 doomy depressing passages, the latter being not far even from masters like Runemagick or early My Dying Bride. The last "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 doomy t, 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


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-like songs: "Serve The Death", who seem to be 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 open intense manner with the first two tracks the second one "Antireligion Pt. 1" even adhering to 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 2nd 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 now the approach being closer to modern acts like Altered Aeon and Biomechanical although the Poles, on this album in ticular, are not 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 tember ala Anneke van Giersbergen (The Gathering), and 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 turckload 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 is 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 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.

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

Official Site


"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 focuus 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-deathy 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 is not an 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 thrash 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 vocallist this time is not as melodic his mid-tanged, not very emotional, antics still providing the edgy support to the vigorous musical delivery.

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

Official Site


This is the other band of Theo Hilfiker from Infected. This 4-track EP 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 apently not considered a joke by the band.

In-Sect EP, 1993


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


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 whcih never materiallized.

Sarcastic Demo, 1992


Based on the demo, this act plays typical for the time thrash/death metal with the Floridian school an obvious influence, early Death in ticular. 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 4 songs are not 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


This is simplistic rough thrash in mid-tempo very close to early Venom and Sacrilege, "Slow Asphyxiation of Internal Strangulation" being a ticularly 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


Based on the "Haunting the Prayers" demo, this band plays power/thrash in the American tradition, elaborating things a bit, resulting in long, a bit clumsy numbers, with the final result sitting somewhere between inferior Liege Lord and the Manilla Road more up-tempo efforts. The sound quality is very bad, with the bass put too much in front, leaving very little room for the guitars to be heard. Not that there is 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


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. 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


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


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


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 doomy 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 2 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 upteenth 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 2 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 1st period of their history.

Afterwards the band's career went down the hill, first with "Hate", which wasn't 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


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 doomy 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


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


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


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


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


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" demo is an alternative form of progressive metal, soft pacifying music, a very pale copy of the strong debut.

Majestic Serenity Full-length, 1994
Linear Progression EP, 2005

Official Site


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 which may catch your ear.

Mind Wipe Full-length, 1995
S.U.N.K. EP, 1997
Soulscars Full-length, 2001

Official Site


The debut EP: modern Swedish thrash/death metal, fast and melodic, maybe more thrashy than their Swedish counterts, 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 deathy fashion alternating between fast and slower numbers occasionally blasting with passion ("Restless", which also contains great thrashy ts); 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-eslished 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 metalish 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" t of the title.

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

My Space


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 7 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 detment 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-ametres 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 dramatism seldom achieved even by acts like Therion and Bal-Sagoth. Pree 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


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

My Space


Sarke is the name (or pseudonim) of a Norwegian black metal stalwart who has also taken t 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 doomy "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 doomy 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 effetive, 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 potentiial 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, psychedellic soundscapes a waste of time.

Vorunah Full-length, 2009
Oldarhian Full-length, 2011
Aruagint Full-Length, 2013
Bogefod Full-Length, 2016
Viige Urh Full-length, 2017



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


"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 is 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 2nd 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 is not 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

My Space


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 songer contributes to the optimistic atmosphere wth his warm attached clean croon.

Sarsen Full-Length, 2015


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 thrashy 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


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 deathy vocals.

I'm the Devil Full-length, 2017



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/thrashy "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


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 afficionados, 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 acceple fields showing them dealing with several styles with ease without messing it up, still far from their power/thrashy 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


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

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This act consists of just two members one of whom is Tas Danazoglou, a famous authoriy 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 doomy 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 doomy dirges start with "Archfiend" which still contains a faster-paced break in the 2nd half. "Ecstasies of Sorcery: is another major speed/thrasher, and later on one can heard a couple of similar up-tempo cuts ornated 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 doomy ones, and some amazing melodic lead guitar work, plus the fine melodic doomy 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



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


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, doomy 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


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



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 se himself rending his throat mercilessly.

Double Denim Shotgun Massacre Full-Length, 2013

Official Site


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


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 ticularly "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 preed 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


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 doomy sinister 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/thrashy 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.

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

Official Site


Based on the "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.

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

Official Site


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 buzzy distorted guitars the leads being the undisputable highlight.

Thanatology Demo, 1999

Official Site


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 tember, and his annoying semi-shouty antics can hardly be called singing.

Demo Demo, 2005


Classic thrash metal (think Destruction, Kreator) meets the Gothenburg death metal sound; professionally done, very energetic and fast (except for the two doomy modern 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


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 attitutde 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


Frolic simplistic thrash/crossover thet 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 sce adherences to something more lyrical ("Anguish"), but this one-dimensional raw music is strictly for completists only.

Demo Demo, 1986


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-ish production quality and the buzzying guitar sound are also perfectly conformed with the era. If you manage to overcome the feeling of nostalgy, 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


3 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


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 tothe 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


A very obsure 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, tember 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


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


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 detment. The songs are mostly in the mid-paced ametres 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 mroe 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".

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

Official Site


6 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


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 deathy 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


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 tember, 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 detment, 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 ticular 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 growly deathy "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


This band play fast bashing thrash/proto-death which clings betwen 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 6 songs closng 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


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 realy 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


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


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


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 achevement, 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


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

Official Site


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


3 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 adise "End" at the end).

Sawhill Sacrifice Demo, 2010

Official Site


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


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


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


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


Modern thrash/death metal similar to many other Swedish acts, with heavy groovy ts ala Pantera and Exhorder.

The Second Incision Full-length, 2005

Official Site


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 ts which are nice "calms before the storm". At their best, the band manage to combine aggression and technicalty 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


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 is 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

My Space


Groovy jumpy post-thrash, which comes as more aggressive, and more technical Clawfinger at times; yes, the sound is quite technical on some ts ("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


Based on the "Public Nuisance" demo, this act specialize in crushing speed/thrash which crosses the more thrashy aesthetics of early Angel Dust with the more restrained speed metal histrionics of Scanner. The music packs a punch an all counts turnig to pure aggressive thrash towards the end on "Let The Existance 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. Som eof 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


This underground British trio comes up with 2 songs of jumpy doomy 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 ts 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 3 demos of the early 90's.

The Poetic Justice EP, 1990

Official Site


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

My Space


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 ts, 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


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


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 1st 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 2nd track, killing the gained inertia to a great extent, being plain thundering noise accompanied by an indifferent chanting voice. "I Owe You..." continues the curiousity 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


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


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 teh 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

Official Site


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 growly 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 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 satysfying 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 poweful, 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 deted, 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 deture, have to put them back, and much higher than the first time: this is first-rate technical thrash, which 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

Official Site


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.

Kill the King EP, 2011
Dark Reign Full-length, 2012

Official Site


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 is not 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 interpretatuion 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


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


Based on "Gaia-Medea", these folks provide modern thumping thrash/death with escalating dramatic developments bordering on the progressive, and inevile "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-deathy 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 2nd half being just doomy/balladic tunes with industrial undercurrents.

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

Official Site


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


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 doomy pieces ("Seven"), to jolly crossover ("Fuck Off") happinesses.

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

Official Site


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 apently being the "godfather" of the band.

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

Official Site


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 doomy 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/seed metal heroes Hostile Reaction.

Mental Relief Demo, 1994

Demo Download


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 dramatism 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


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 doomy 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 doomy 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


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


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


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


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 2nd 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


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...

No Guts, No Glory FullLength, 2015


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 doomy "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


This is an original band who manage to combine power, thrash and traditional heavy metal with doomy depressive 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.

Madness To Our Method Full-length, 2004
Keeper of the Knowledge Best of/Compilation, 2001

Fan Site


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 levelled mid-ranged clean timbre which works very well with the excellent highly energetic musical delivery.

Neverending Hate Demo, 1994


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


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 sce 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 to with "Mental Confusion" which won't disappoint 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 weird dry sterilizer "Mental Confusion" which dissipates the futurism with some great melodic leads. "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 detment, and second with the 2-min instrumental extravaganza "Hallucination" which is obviosuly 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 thrasher (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


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


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 constrasting 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 comforly 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


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


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


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


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 is not on with the music his semi-clean indifferent approach lacking the depth and dramatism to fit the more elaborate nature of the music.

Brain In Chains Demo, 1990

Official Site


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


This hellish trio pull out cool varied classic thrash which ranges from immediate headbangers ("Ostara", "Eucharistic Birth") to more elaborate, nearly progressive experences ("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 Desruction ("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


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 anormous 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


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 reamining 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 levelled clean ones avoiding more dramatic performance which this uneventful music simply doesn't deserve.

Viola Full-Length, 2015

Official Site


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


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 apently 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 4 songs. This is high-class heavy technical thrash which on the best moments even touches Sadus' "Elements of Anger". There are no speedy tracks to be found, like on their full-lengths; heavy, smashing riffs assault you from beginning to end (there are some timid attempts at a faster play on "Built With Bricks of Shame", but they get quickly buried under the wall of sinister technical guitars), accompanied by low-tuned death metal vocals.
"Hallucination Cramps" is a wild brutal affair featuring fast aggressive thrash/death metal the whole time and as such can easily pass for the band's most extreme effort so far. Furious blasting sections take turns with calmer Slayer-esque ones, the only mercy shown on the mid-paced smasher "Absent" and on the very cool elaborate, almost progressive-sounding, closer "Executionerves", a nice mix of dark doomy rhythms and semi-technical steam-roller guitars.
"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.

Main Frame Collapse Full-length, 1989
Sound of Coming Darkness EP, 1994
Cicatriz Black Full-length, 2007
Hallucination Cramps Full-length, 2010
Rotten Spiral Full-Length, 2016

Official Site


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 sircling 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 beign a gorgeous balladic instrumental with a dazzling lead performance.

Asylum Full-length, 2005
Liver Full-Length, 2013
Evil Incarnate Full-Length, 2017

Official Site


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


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, with slight hints at more technical execution ("Macabre Work").

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


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


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

My Space


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 ticular side of the metal spectre.

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


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


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 le 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


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


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 tember which resembers 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


Trippy modern post-thrash which is served with a nice psychedelic vibe (the scasey 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 2nd half. The vocals are semi-clean and uplifting with a slight drunken edge.

Nova Gomorrah Full-Length, 2015

Official Site


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 distanly 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-doomy 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.

Apostasy Beyond Sanity EP, 2011
Cycles Full-length, 2016
The Alienation Spread Full-length, 2017



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


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


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


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 is not 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 inevily 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


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


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 undustrialized, 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 2nd 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


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


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 ticipation 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


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


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 Tendence" 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


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-ornated 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


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 tember 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


An energetic mixture of modern and classic thrash with lashing riffs and subdued grolwing 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


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


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


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 deathy 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


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


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


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


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 tember 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


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


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


Based on the "Reich of Horror" demo, this act play quite cool classic power/speed/thrash with expressive, high-strng King Doamond-esque vocals; the guy (or girl) sings in German at times assisted by gruffer deathy 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 firce lashing rhythms, and "Paganini Rock" is a live performance in Moscow, expectedy 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 "Instrument\\'e4l Aus Den Gruft" being, of course, an instrumental with ripping thrashing rhythms and some admirablle classical-inspired fretwork that last for 1.5-min. The sloppy production is already here as well as the overdramatic King Diamond-esque vocals.

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


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.

Shadows of Pain Demo, 1994
The Abyss Demo, 1995


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


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


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 deathy shouty throat which he strains quite a bit more or less appropriately.

Ceocracy Full-Length, 2016

Official Site


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


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


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" bothalso recalling later-period Protector) and the tribute to "Arise" "asite" 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


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 doomy, officiant riffs, but the speed/thrashy 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 doomy/proto-doomy 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 deathy outbreaks. The situation improves after this one "The Bray Beast" being another more energetic piece with some super-heavy shreds, and "Nights of Terror" baing 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


A modern, brutal mix of thrash and death metal still findign 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 2nd half where at least half the tracks are mellow epicers the closing "Vortex" trying to restore former haeadbanging glories with a portion of faster, more vitriolic riffs.

Breeding Devastation Full-Length, 2016

Official Site


A modern thrash/death metal blend which covers both melodic and 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.

Toxic Minds Full-length, 2016

Official Site


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


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 detment where the singer unleashes a mean semi-clean tember with appropriate shouty insertions.

Born to Kill Demo, 2011

Official Site


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 deathy 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 cacophonic 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

My Space


A 3-track demo of excellent 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 you of Juggernaut, but the music of this band is faster and better bringing to mind Aftermath and Agent Steel in the speedy sections.

Shadow of the Torturer Demo, 1985

Fan Site


Fast intense thrash/death metal which mixes modern and classic influences the former leaning more towards the Swedish school. The music is predominantly fast with the closing "Ovat Uneni Veren Tahrimat" being a furious piece of pure old school thrash metal.
The sophomore effort is another energetic blend of thrash and death, well done, with sharp lashing riffs which cling more towards the thrash side. The speed is intercepted in clever, semi-technical way with a few haunting melodic passages involved ("Menetettyyn atiisiin") as well. Those same passages spring up more often in the 2nd half which still acquits itself with the odd speedster ("Ikuiseen Kadotukseen", and especially the ripping shredder "Silla on Monet Kasvot"). This is a cool, professionally executed effort which finds a good balance between aggression and melody.

Ne, Joista Ei Puhuta Full-length, 2010
Musta, Kylmf1'84, Syv'84 Ja Samea Full-length, 2011

Official Site


Based on the "The Dead of Winter" demo, this band, whose line-up features Peter Clemens: the vocalist and bassist who has also taken t in Invasion, Shades of Grey, Skullview, etc., plays dark morose thrash/death metal which on the faster moments is not far from early Death and Massacre, but there is a certain amount of heavy, almost doomy, sections recalling Bolt Thrower quite a bit. Still, there is a lot of dynamics on offer both of the lashing and galloping type, with "Bait and Switch" being a full-on thrashing mosher, pretty one-of-a-kind since the approach is closer to death metal for most of the time. "As I Watched from Below" is an exquisite technical piece ala Pestilence and Coroner and, of course, later-period Death mixing twisting riffs with straight headbanging ones to a fairly positive effect. The singer suits the music with his brutal low-tuned growl recalling early Chuck Schuldiner (R.I.P.).
"The Omegan Ruins" offers a similar blend of twisted proto-doomy death metal and faster thrashy sections, the former the dominant ones, although they sedom branch out into pure doom ("Lone Traveler's Journey"). "A World Without A Name" is a more intense piece thrashing hard for a bit more than 7-min, but moments of the kind are not many at all. "Tinge Of Agony" is the odd exploration of more technical fields, done in a minimalistic slow-ish fashion, which suits well the generally gloomy atmosphere on the album.

The Dead of Winter Demo, 1995
The Omegan Ruins Full-length, 1998
Sonic Cacaphony Demo, 2000
The Pale Man Full-length, 2004
Ne, Joista Ei Puhuta Full-length, 2010

Official Site


There is nothing "psycho" or modern here, allusions made by the album-title; this is classic power/thrash of the American school, with a few technical leanings and good bass support. The songs are all mixtures of fast and slow riffs, sometimes suddenly taking turns, without any warning, making the tracks kind of clumsy and incoherent. The middle is preserved for the more romantically-inclined fans, with the melodic epic "Deadpan" and the ballad "When The Moonlight Hits My Skin". This middle kind of influences the rest, which never speeds up, and is mostly mid-paced with more melodic guitar work, with another tender moment later on: the short ballad "Only You" (not an Elvis Presley cover, folks, relax!).

Psychodomesne Full-length, 1996

My Space


Seance produced two quite good death metal albums in the early 90's, before splitting up, only to re-appear under the name Witchery 5 years later, with a style firmly rooted in classic black/thrash (except for their last effort so far, where the guys expand their "horizons" beyond the "ones" of thrash). Witchery is put on hold, and here comes a new Seance release ("Awakening of the Gods") which retains some of their old sound, by enriching it with a solid doze of thrash. As a result we have a satisfying work of classic thrash/death metal quite close to the French school (No Return's "Contamination Rises", Massacra, etc.). The music is energetic, not very fast, with the obligatory more technical sections ("They", "Invocation"). Occasionally do the guys adhere to more brutal elements ("Your Time Has Come") which are tastefully used as well as the bass wizardry displayed on the 1-min instrumental "Flight Of The Wicked". Most of the time this is all-out thrash with the more aggressive "decoration" coming in the form of the vocals. "Choose Your Enemy" is the filler here, slower and unfocused with a modern groovy flavour, but it's merciless blitzkrieg thrashers like "Prisoner 666" and "Wasted" which will keep you on the alert. This is by all means a sure-handed comeback for the band, although the future of the eventual follow-up is uncertain, with the guys planning to release a new Witchery material in the near future.

Fornever Laid To Rest Full-length, 1992
Saltrubbed Eyes Full-length, 1993
Awakening of the Gods Full-length, 2009

Official Site


Professionally done, but prototypical thrash/death metal of the Swedish school; some good, hard riffs and melodic solos, but this debut as a whole brings nothing new to the scene.

Bloodshred Full-length, 2005

Official Site


Entertaining alternative post-thrash with good clean carefree vocals; the few hard-hitting riffs are "drowned" (but not in such a bad way) in melodic, proto-grungy rhythms creating something which is really hard to define: maybe if you can imagine a blend of Skid Row's "Slave to the Grind", the Black Album, and Depressive Age's "Electric Scum", then you'll probably have a decent picture about what's going on here. The songs sound like rehearsals for longer compositions since they all end around the 2.5-min mark, not leaving a very deep trace in your mind. The closing "Silence Of Patience" is a fine semi-ballad which kind of predates the Metallica approach on "Until It Sleeps" three years later.

Season Of The Spring Full-Length, 1993


Based on the "Mein Kampf" demo: a very bad sound quality leaves little to be heard, but one could distinguish quite brutal and fast, but amateurish thrash/proto-death akin to the early efforts of the Brazilian bands Sarcofago, Vulcano, Sextrash, etc. The guys try to spice things with slower sections ala Messiah's "Extreme Cold Weather", but this is where you can hear the guitars more clearly, and this leaves you even less impressed.

Rehearsal Demo, 1987
Mein Kampf Demo, 1988
Another Messiah Demo, 1989

My Space


Based on "Speed Metal Mania", this band offer speed metal, of course, with more aggressive thrashy insertions which were not that many on their earlier albums. So speed is pretty much the order of the day the way it was on the Cranium, or Alastor (Portugal) efforts from the newer outfits, and by all means Helloween and Exciter from the veterans. The approach varies from short sing-along anthems ("Leather And Spikes", "Nuclear Overdose") to more elaborate speed/thrashers ("Doomsday Society") where melody and speed create a nice symbiosis topped by decent mid-ranged clean vocals which could have added some dramatism with more adventurous singing.

High on Metal Full-length, 2012
To the Grave Full-length, 2014
Speed Metal Mania Full-length, 2016

Official Site


The sound quality is bad, and diminishes the impact from this otherwise cool demo of moderately aggressive thrash obviously influenced by Slayer ("Hell Awaits") and Dark Angel ("We Have Arrived"), but having also other, heavier moments where the guitars and the bass try to sound more original (not very successfully, though). "Curse" is an ambitious 8-min doom-laden thrasher which is the highlight here although it betrays the predominant fast-paced style of the demo.

Demo Demo, 1988


A surprisingly brutal band for that time: thrash metal in the vein of Kreator's "Pleasure To Kill", very well done with good melodic solo work. It's beyond me how these guys never made it big as they were more vicious and better musicians than many other bands back in those days.

Prophets of Hell Demo, 1985
Metal Deadness Split, 1986

My Space


Based on the debut, this act plays heavy thrash which clings between the modern and the classic trends sometimes sounding angry like Pantera and Machine Head, sometimes moshing in a mid to up-tempo fashion ala Overkill and 90's Testament. Both sides are not too bad, actually, as the shorter thrashers ("Cancer Until Vanished", "Relatives Reduction") are more appealing than a couple of longer ("Aquis Submersus"), a bit clumsy, tracks although those latter ones try to capture the steam-roller heaviness of the Germans Warpath. The singer emits the prototypical for the time angry semi-shout, in this case a bit more growly.

Monolith Full-length, 1997
Source Trait's Full-length, 1999

My Space


Secrecy are mostly progressive/power metal band, but on both their albums there are stunning thrashy outbursts (similar to later period Eldritch) that one could only wonder what would have happened if these guys had concentrated on this, more aggressive and more attractive side of their music. The band's style is actually fairly interesting: they don't sound like anyone else, and the vocals are of the very melodic type which, when mixed with the more thrashy moments, make for a really compelling listen.
"Art in Motion" starts quite promisingly, with the up-tempo thrasher "Trisomie XXI", but then the music switches onto progressive power metal, but goes back to thrash in the second half, for the galloping "Coroner's Inquest", the following short technical instrumental "Like Burning One's Boat", and the brilliant riff-fest "Inside You" at the end.
"Raging Romance" begins in the same raging (but not romantic) manner, with an aggressive thrashy opener ("Observer From Above"), again followed by a string of softer tracks, before exploding once again with the speed metal-based "This World's Wisdom". One more thrashy delight comes near the end: the up-tempo "Ideology" which will remind you of Attacker's "Second Coming".

Art in Motion Full-length, 1990
Raging Romance Full-length, 1991


This outfit were previously known as Java where the music had a more experimental character reflected on a string of three demos. On this full-length the delivery has preserved its audacious nature covering a wide ground of thrash, death and progressive metal which is wonderfully melodic on the epic rouser "Ikari Apparition", and darker and sinister on the doomy creeper "Ghoulskin". "Quatto Influenza" nearly reaches Spiral Architect-esque heights with its labyrinthine arrangements, and the twisted riff-patterns are really worth hearing for fans of the more elaborate side of metal, the "gruff vs. clean" vocal duel adding more to the drama. "Who Is Behind Conrad Baines" embraces more mechanical, more sterile rhythmic-sections the complexity from the previous number preserved all over only seen through a more melodic perspective, and jumpier riff-formulas which ala mid-period Meshuggah and Terminal Function. "Withstanding the Gooch" is a masterpiece of amorphous, ever-shifting progressive thrash in the best tradition of Alarum and Extol, the overlapping riffs bouncing off each other with the cleaner vocals taking over, especially on the more soothing balladic second half. "The Missing Chums" is a frolic optimistic opus with an overflow of melodies and hyper-acrive riffage which never stands still, covering everything from mathcore to power metal within less than 4-min. "Orangia Sunrise" carries on in the same direction with a cavalcade of gorgeous melodies overwhelming the listener although later on the approach is a bit drier and less exuberant regardless of the energetic, leapy guitarisms. This is a fairly original which hopefully isn't just a one-time spell, and the guys will follow-up with another similar "interstellar" effort.

Interstellar Terror-Beneath the Eyes of Baines Full-length, 2011

Official Site


Based on "Ideas Falsas", these guys offer good power/thrash metal of the old school, thrashing out in the best tradition of the Bay Area heroes in the beginning, also boasting solid clean vocals. The album opens with an intense speed/thrashing duo before calming down on "Ansias De Poder". "Muerte Segura" serves more melodic speed metal ala early Blessed Death with great bass support, followed by the 1.5-min thrash/crossover delight "Agelasta". "Una Razon Mas" is softer power metal and leaves its trace on the remaining songs except for the closer "Fuera De La Realidad" which returns to the speed/thrashy patterns with a more melodic crossover shade.

Ideas Falsas Full-length, 1996
Sectas Full-length, 1998

My Space


Aggressive semi-technical thrash reminiscent of Torture's "Storm Alert" or Sepultura's "Beneath The Remains"; the vocals are of the death metal type, and the band rely on long elaborate tracks which never lose pace or sound stale. The songs move in a heavy mid-paced manner when all of a sudden comes a fast, aggressive section, and again abruptly interrupted by a more quiet, more technical, or a lead guitar-driven one. There are a lot of time changes within the songs, and maybe at times the band get carried away, changing them too soon, before they manage to develop into something more sensible (actually, just when one starts to like a certain passage, it suddenly changes into another one, leaving you disappointed). Well, not for long, since the guitar work is really impressive, and the riffs are sharp and tight, dominating over the leads in terms of both time and execution. The album leaves you asking for more because, in spite of the considerable length of the individual tracks, there are only five real songs with the last one being a bad two-min joke ("The Czech Way"; fortunately, this is not the Czech way!). This band could have really gone far.

Hospital of Death Full-length, 1993


A heavy dark take on the classic thrash metal idea which is marred by the muddy sound quality and the brutal death metal vocals that only suit the several "excursions" into doom/death and, of course, the final brutalizer "Wrath Of God" which is pure unadulterated death metal. The band members are still around with the death/grindcore "monsters" Lividity, and the death metal outfit Embrace Damnation.

Holy Deprivation Demo, 1994


The 1990's demo: excellent technical thrash metal recalling Forbidden's "Twisted into Form", but more aggressive and a bit more adventurous: smashing technical riffs, great solos, and standout bass bottom reminiscent of Steve DiGiorgio. And let's not forget the vocals which are a nice mixture between David Wayne (R.I.P.) and Russ Anderson (Forbidden), maybe a bit more dramatic. This is engaging music with tempo changes and vortex-like riffs aplenty, staying in the mid to up-tempo range; demos of such a high level of musicianship were a rarity in the metal underground (maybe the Germans Flaming Anger's first demos come close).
The debut demo is of a more furious nature the guys lashing with more vigour, but with some sophisticated elements embedded as well resultig in more fun for the classic thrash lover who will be bemused by the virtuous gallops on the quirky progressiver "My Little Brother" which could have been a highlight on Nasty Savage's "Penetration Point". "Roadkill" is a more immediate headbanger the guys seldom letting the speed go down; and "Sedition" is another more clever exercise in more technical thrash with choppier riffage and impetuous speedy crescendos.

Sedition Demo, 1989
Demo Demo, 1990


Based on the "Necessary Evil" demo, this band manage to mix speedy riffage ala Forbidden and Hirax with heavier "South of Heaven"-like ones, and they still find time to include a light-hearted rock'n roll number: "Roadkill". The follower "Hellbound" compensates with more aggression in the Dark Angel-vein.

Necessary Evil Demo, 1989
Communion of Hatred Demo, 1991


Based on "Sin Speaks", these guys offer a heavy modern mix of doom and post-thrash, so expect mostly crushing pounding riffs with the occasional feast for the headbangers: the crossover happiness "Black Sheep", the aggressive mosher "Sour Blackened Tooth". From a doom metal point-of-view the album delivers most of the time, especially on the excellent macabre cover of Black Sabbath's "Electric Funeral". "Narrow Minded" "acquits" the other side of their music being a super-heavy hectic groovy industrialized thrasher as well as the closing minutes from the closing "Disrespectful" which thrash with gusto finished with a nice sinister orchestral outro.

Sin Speaks Full-length, 1993
Trials And Tribulations Full-length, 1994


Based on the EP, this is decent modern thrash with numerous Oriental motifs which work well embedded into the officiant mid-paced landscape which is topped by attached forceful semi-death metal vocals. Some faster rhythms arrive with "Black Skies" which are later tly picked by "Prisoner to Time" the latter also boasting a nice melodic lead section. Then comes the excellent "Ambivalence" which is pure later-period Death worship (including pasages directly borrowed from the Schuldiner's (R.I.P.) catalogue) if we exclude the uncontrolled blasts inserted at some stage. Apently the guys have kept the most pleasant surprises for the end since the closing "Inherit Ignorance" is another standout thrash/deathster of the fast dynamic variety. After the tedious start the band find the way to do things right, and hopefully they would deliver more consistently next time.
"The Valley of Dying Stars" is a commendable achievement the band serving cool a classic/modern hybrid which inserts a few stylish gimmicks (the imposing keyboards on the opening "Relative Dimensions"; great soaring leads on "Dreamscape Serenity") making this effort hard to put into a niche: perhaps if you can imagine a "marriage" between Sacrifice and later-period Arch Enemy, but more melody-prone than both; seriosuly, some of those melodies will haunt you: check the ones on "Circled in Blood": pure magic! Elsewhere the guys gallop around the prairies into oblivion ("A Face on the Water") in the best spirit of the 80's; or again pay a tribute to later-period Death ("Scarred and Chained") with style. "Seven Cities" is a more ambitious progressive cut followed by the superb instrumental "Spiritual Darkness" which touches Death's "Philosopher" in the end with the virtuous bassisms included. The closing "The Valley of Dying Stars" is another seamless combination of clever progressive passages and harder thrashing which carries on for just above 7-min including sce blasting sections which are another stylish touch accompanied by another great melodic tune. This is a really cool effort seeing the band quickly rising to the upper echelons of US thrash and surely the best for/from them is yet to come.

Integral Spirits EP, 2009
The Valley of Dying Stars Full-Length, 2013

Official Site


This is classic power/thrash which develops in mid-pace with a few more energetic galloping moments ("Tonight You Must Die"; the epic "horses" on "Ragnarok") recalling the glorious 80's. More technical and more speedy stuff comes served on "Human Waste" which will remind of the first technical act from the States Ulysses Siren, and Deus Vult. More curious riffage arrives with "The Formula" which is a dramatic shredder with good virtuous leads the positive impression cemented by the closing "Ice Man Cometh" which is a soaring melodic power/speed/thrasher with great melodies. The singer is a fitting addition with his attached semi-clean tember who can sound both emotional and brutal on demand.

Hail To Fire EP, 2012


Modern intense thrash which tries to be more complex than the norm with a couple of deviations, like the atmospheric interlude on the otherwise ripping deathster "Morbid Reflections" which rivals the aggression on the shorter exploder "Xenos". "Captured Between the Gates" arrives with a captivating balladic intro, and later on it remains on the pensive, semi-balladic side, a much needed "oasis" among the brutal, fast-paced cuts around it. The vocals are harsh shouty death metal ones and sometimes betray the less ordinary nature of the music.

Morbid Reflections Full-Length, 2016

Official Site


Based on the 2-song promo, these guys play vintage classic thrash; "Undead Bloodlust" is a speedy number reminiscent of the Exumer debut and Toxic Shock, whereas "Hypnosis" is slower and heavier, more in the tradition of Infernal Majesty's "None Shall Defy" (kind of reminds me of the song with the same title).
The full-length would be indeed a "torture tour" the band thrashing with passion now shredding more aggressively without too many shades of speed metal. The up-tempo patterns still predominate some coming with a more friendly shade: the catchy crossover happiness "None for All", but watch out for unexpected "detonators", like "Detonation" and "Keep the Fire Burning" theb latter also served in a remastered way at the end, albeit without any major alterations. This is a faithful tribute to the guys' motherland the major distinction being the several infectious melodic tunes which make this album a more memorable release in the long run.

Unleashed Wrath Demo, 2004
Promo Demo, 2007
We Kill EP, 2007
Torture Tour Full-length, 2011
Prey EP, 2013

My Space


This outfit indulge in choppy groovy post-thrash which moves forward in a clumsy lazy fashion with repetitive not very hard riffage except on the more lively "The End" which, albeit being the shortest track, delivers the goods with its more eventful guitar pattern. The rest is boredom further deepened by the unemotional flat hardcore vocals.

Plant the Seeds Demo, 2010

Official Site


Based on the full-length, this act serve an aggressive blend of thrash and death metal which clings more towards the death metal sector including in the semi-shouty vocal department. Nearly every track is decorated by sparse blast-beats including the excellent dramatic stomper "Survival Of The Fittest", the major exception being the Sepultura cover of "Territory" which splits the album into two.

From Within EP, 2013
Incarnation Full-length, 2017

Official Site


Based on "Schattengott", this band plays fairly cool thrash metal with touches of melo-death which walks the fine path between the classic and the modern Swedish sound, not too far from early Children of Bodom with a more aggressive edge. The sound is never too fast or brutal, and the guitars often take a more melodic, playful, but also a darker, edge, coming close to Cemetary's "Godless Beauty", or Sentenced's "Amok", or deviates into nice pagan thrash: "Primo Inter es", ala Bifrost. There are enough all-out thrashers to satisfy the more level-headed fans ("Der Heiland", "Licht im Niemandsland") which are graced by very good guitar performance of the melodic variety. The guys haven't forgotten about the speed metal fans, and here are some delights for the Helloween, or early Running Wild lovers: "Niemals Mein", "Schattengott". Sharp and melodic riffs seldom come better mixed than here: check out the marvellous "Dein Geist Sieht Mich", or "Blumen aus Blut". The closer "Wehe dem Fleisch" is a glorious mix of speed, thrash and death metal featuring the most aggressive guitar performance on the album putting an end to this entertaining album which will find quite a wide audience among the metal fraternity.

Rufe Aus Dem Nirgendwo Full-length, 2001
Schattengott Full-length, 2006

My Space


These guys were previously known as Damien Breed under which name they released a good progressively-laced power/thrash metal album. Well, the music here (based on the debut) is not very similar to that one (and it's a pity); the band have never played fast, but here doom/gothic metal seems to have taken the upper hand, and the thrashy riffs are not that common. At first listen it might completely pull back the thrash metal fans, but if you give it another chance, you might start enjoying this laid-back stuff, which will remind you of the gothic metallers Lake of Tears ("Forever Autumn", in particular), and even Opeth in the more progressive structures. "Where Death and Life are Still Friends" is probably the only full-blooded thrasher, but it's still quite melancholic and "out there".
"If Soul Turns Into Flesh" is full-fledged doom, well done, but having nothing to do with thrash. It holds absolutely no surprises for the thrash metal fan this time, the band bidding farewell to the music scene in an imposing doom-laden fashion.

Seelenwinter Full-length, 1995
If Soul Turns Into Flesh Full-length, 1996


Based on the full-length, this band play modern thrash with groovy implements which slightly kill the inertia accumulated. Still, the headbanging will go on almost till the end with energizers like "Our Hope Remains" and "Price to Pay". The vocals are on the angry quarrelsome side, and their rending antics tear the ait in a way no worse than Gary Meskil (Pro-Pain), maybe a bit lower-pitched with a shade of death.
"Rise from Ruin" is another abrasive modern thrasherism which now annoys more due to the very noisy guitars. "Ruination" is a surprising rising death/thrasher with very cool Oriental motifs reminiscent of Melechesh; a worthy diverser more similar pleasures later, but apart from the more dynamic "Won't Take Us Alive" & "Choke", and the stomping varied epicer "Strength in Numbers" there's not much to keep the listener's interest the whole time.

A New Beginning EP, 2004
One on One EP, 2006
Through Conviction Full-length, 2012
Rise from Ruin Full-length, 2015

Official Site
", and


Noisy abrasive modern thrash which is mostly stomp and groove accumulated on top of each other casually spiced by the more dynamic passage the latter reaching proto-deathy proportions on the title-track in the middle. The situation improves from then on, and other more aggressive riffs can be savoured till the end ("Depredador", the closing "Insurreccion"). The singer shouts incessantly also supported by another, even more annoying, shouter both creating additional noise to the overdone musical melee.

Asesinos Full-Length, 2013


This Australian outfit pull out crunchy modern post-thrash which evolves around heavy stomping riffs with the casual outburst of brutality: the short last-beating break on "Killing Kingdom". Exuberant virtuoso leads can one come across on "Pale Beneath", and later on the lead guitarist saves the day with his exploits which are hardly boosted by the abrasive industrial atmosphere which appears sometime in the 2nd half. Still, "Pacenzja" doesn't seem too perturbed by that, and thrashes with might containing the most energetic rhythms on the album which is almost exclusively built on seismic pounding patterns.

Painted In Blood Full-Length, 2014


Based on the full-length debut, these guys play the expected these days modern thrash/deathcore which is "graced" by heavy stomping riffage and very shouty hardcore vocals. Still, the guys know how to put more energy into the proceedings pulling out a few aggressive cuts ("Godlike", "The Riot Starter inside Everyone"), and the lead guitarist knows his deal unleashing good short screaming leads. The two sides are blended well all over the faster one being the more attractive reaching Slayer-esque extremes on the closing "Ditadura".
"Maledictus Mundi" comes with a very sterile modern sound, and misplaced blast-beating outrages like "Merchants of Death" don't add up much to the positive impression made by a couple of more convincing like the industrialized semi-ballad "Back Home", or the sudden technical thrash explosion ala Darkane "Above the Ruins". Overall there isn't any drastic change of style witnessed, the guys carrying on with their futuristic, mechanical soundscapes.

Imprint Forever EP, 2008
Asymmetric Warfare Full-length, 2012
Maledictus Mundi Full-length, 2017

Official Site


Based on "The Fading Chapters of Humanity", these Bulgarians provide cool modern thrash which ranges from intense Dew-Scented-like ragers to mellower opuses where some clean mid-ranged vocals appear to "duel" with the main throaty semi-death metal ones. The guitars are crisp and sharp and their cutting edge makes the music sound more aggressive than it actually is. There are enough fast-paced numbers ("Liberty Or Death", "Chnaged") to satisfy the hunger for headbanging, but the real highlight here would be the excellent closer "The Final Chapter" which is a progressive melodic composition with awesome speedy passages and some of the catchiest melodic leads around.
"The End of Everything" is actually "the beginning of everything" for the band being their debut, and as such intro duces the staple melodic guitar approach which is more melodic for a start and also rubs shoulders with post-thrash. The lead guitarist is again the star of the show with exemplary pyrotechnics the latter nicely accentuated on the more interesting material, like the cool original blend of doom and hard-hitting thrash "Praying For Mercy". In the 2nd half the band step on the pedal more, and produce the nice headbangers "alyzed" and "Suffocate". The singer has an attractive raspy clean tember which he doesn't risk too much except on the closing death/thrash rager "Killing Spree" where he suddenly turns into a brutal death meal grunter (if that's the same singer) for about 3-min.

The End of Everything Full-length, 2012
The Fading Chapters of Humanity Full-length, 2013

Official Site


Thrash/crossover similar to the Rumble Militia debut, not very fast, with some modern "updates" thrown in.

Love Shim Full-length, 1993


These Poles pull out crunchy modern thrash which shares a lot of the proto-modern abrasiveness of more recent Slayer (think "Diabolus in Musica") even managing to come up with something wildly energetic (the classic headbanger "Red Spider" with Slayer again the prime influence; the sudden short blasts on the closing "Barbaric Minds") and generally this short effort doesn't lack dynamics emulating the guys' American peers quite aptly for most of the time.

Vermin Demo, 2011

My Space


Pretty rough, intense thrash/proto-death with an awful sound quality; the music makes sense at times ("A.S.B. (Anti Satanic Brigade)") touching the Bay-Area, and the leads aren't bad being melodic: check out the intro to "He's Calling You". "Irresponsable" tries something jumpier and more technical which could have developed further on the continuation of this band, Order of Chaos, under which name the guys released one more demo in 1990.

The Final Conflict Demo, 1989


First-class classic thrash, quite energetic and intense, reminiscent of Mandator's "Perfect Progeny", Vio-lence's "Eternal Nightmare", and Slayer. The bad news is that there are only 7 tracks, the first of which is short 3-min instrumental. The vocals are a bit rough, having this unique James Hetfield blend. The guitars crush admirably with heavy up-tempo riffs and nice semi-technical touches. With bands like this one around the British thrash scene will soon get out of its dormant state.

Last Stand Full-Length, 2007


Modern thrash with a double vocal attack: one clean, the other death metal-ish. The music is not very aggressive staying in the mid-tempo, with slight groovy tendencies. "My Funeral" is a cool piece containing more intense headbanging riffage partially ruined by the very melodic alternative ending.

An Opressive Day EP, 2008

My Space


This is aggressive modern thrash/death metal which develops in a heavy remorseless manner despite the good sense of melody displayed all over. Shades of Dew-Scented and more recent Kreator are more clearly felt, but expect some orchestral deviations on the more diverse "A Fire Burns"; and a few more inriguing riff-patterns on the closing headbanger "Ritual". The singer is a rending death metal shouter who seldom tries to escape from the trite formula with a few lower-pitched attempts.

Alpha Full-Length, 2014



This is energetic more relaxed thrash/crossover along the lines of Lawnmower Deth and The Accused. The band are not the most sophisticated lot in the world and bashes like the hardcore-based "Think For Youself" are not a rarity at all. "The Cries" is a cool look at the more avantgarde side of the genre with which actually begins the 2nd part of this long demo, which is obviously recorded at a later stage showing the guys in a much better light which reaches its culmination on the spacey Voivod-ish "Spock/Spacehippies" which could be the missing track from "Rrrrooooaaaarrrr".

Demo Demo, 1986

Official Site


The line-up includes future members of the death metallers Vital Remains. Based on the "Scath Dilapidation" demo, death metal is the order of the day here, too although quite a few thrash remnants can be heard here and there. The music is quite aggressive featuring blast-beats scattered throughout.

Cannible Mutants Demo, 1989
Scath Dilapidation Demo, 1990


Classic thrash/proto-death modelled after the veterans Schizo from their homeland, with a female throat behind the mike although one would hardly guess that having in mind the girl's brutal shouty delivery. Music-wise this can be technically challenged with clever stylish shredders like "Compulsery Sacrifice" the creepy mid-paced stomper "Ugly on the Inside" roaming around. "Egomaniac" is a more hectic proposition with a more frequent change of tempos although nothing truly speedy occurs, and when "Rotten Revenge" comes crawling with these heavy, not very dynamic riffage, the listener may start adjusting his/her initial impression which can only be slightly corrected on the closing "Forest of Fear" where the guys (and a girl) produce the other more aggressive riff-fest.

Ugly on the Inside Full-length, 2017

Official Site


Besed on the demo, this is cool dark gothic-tinged thrash with good clean vocals which sometimes stray from the path with the casual death metal growl. The music is mid-paced, quite heavy, and it often recalls the works of some veterans from the Hungarian metal scene: Moby Dick, Akela, etc. There are balladic moments as well as moments from the 90's thrash metal scene.

Demo Demo, 2006
Ember Full-length, 2007

Official Site


Based on the "Metal Invasor" 2-song demo, these guys offer intense Germanic thrash in the vein of early Destruction and Angel Dust with fast riffs and gruff low-tuned vocals which at times try to scream quite high. The self-titled debut is a really cool roller-coaster speed/thrashing effort again in the Germanic vein moshing non-stop with excellent direct guitar work which inserts the odd melodic tune when needed. The music develops in a brisk fast-pace and will literally make you cry with memories of "Infernal Overkill" (Destruction) and "Change from Reality" (Toxic Shock). The opening speedy trio is followed by the slightly slower "Aguias Assassinas" which boasts nice leads and a good alternation of tempos. Then comes the lightning speed "Hino do Mal" and the more complex speed/thrashfest "Unitao Total" with the last couple of tracks strictly left for straight-forward old school German speed/thrash. The singer remains gruff low-tuned with the same interesting unexpected adherence to high-pitched screams which fit very well into the upbeat picture. Without bringing anything new to the scene, this band are nonetheless a valuable addition to the growing legion of retro thrash metal acts from Brazil.
"Ataque Selvagem" is a worthy addition to the band's catalogue although more regular presence on the scene wouldn't be too bad. The guys speed/thrash with might "A Maldicao" a seamless blend of rage and melody, a perfect example of the band's evocative style. "Efeito Cortante" is a smashing speedster recalling Angel Dust's debut sweeping everything in its way, "infecting" the rest of the material which offers mellower speed metal hymns ("Cavaleiro Da Morte") and more intense thrash-fixated roller-coasters ("Guerreiro Da Estrada"). "Legiao Invencedvel" is a heroic speed metal rager ala early Iron Angel and Helloween, and the closing title-track is sustained in a similar vein providing a fitting epitaph to this perennial headbanging shredfest.

Demo Demo, 2005
Metal Invasor Demo, 2005
Selvageria Full-length, 2009
Ataque Selvagem Full-length, 2017

My Space


A very obscure entry into the all-instrumental thrash metal field; the music isn't all-out thrash the whole time, but comes served with doom and power metal. The album opens with "Snuff Movie", offering a nice mix between slower doomy and much faster riffs with a proto-death edge. "El Canto Del Chivo" is a heavy doomster with a surprising very brutal death metal break near the middle. "1000 Cortez" is an intense galloper with a heavy bass-bottom, the tendency continued on "Mojolo", a very cool piece with heavy technical guitars and, again, sce doomy implements. "Ted Bundy" is a compelling mix of high-octane doom and fast blitzkrieg thrash, both sides fighting for domination to the listener's utter delight; another shocking moment would be the grinding passage near the end, but wait till you hear the exiting twisted technical riffs: a marvel. "Lf1lquote rvarium" is in a similar vein, but doom metal predominates to a very heavy squashing effect ala early Cathedral. Then comes the instrumental version of Black Sabbath's "Into the Void": an expertly done pretty faithful rendition of this great hit. The closer is "Church Of The Dead", another fine exercise in pure unadulterated doom accompanied by female chants, apently assisting during an elaborate evocation ritual. This is a very pleasant surprise crossing several styles with ease, and as such would please fans of many sides of the metal spectre in almost equal dozes.

Llvarium Full-Length, 1997


This is raw amateurish stuff, and since the musicianship is on a pretty low level, one may not get much fun with this. Otherwise this a mix of hardcore, thrash, heavy metal as well; the speed is almost intolerable for the time of release: check out the blasting "Harder Faster", but don't expect anymore than pure senseless bashing sounding way worse than the very first rehearsal of an inexperienced teenage thrash act. The singer doesn't really sing, but rambles and quarrels with a rending throaty voice, completely stifling the other instruments when in action. Even the early efforts of another extreme German metal act: Poison, sound well more polished, but the completists should definitely have it.

Demo Demo, 1984


The debut demo contais 3 songs of cool semi-technical thrash/death metal with varied tempos, not very sharp guitars, and an awkward vocal duel between clean and raspy black-ish vocals. Another 3 tracks come from the "This Cage" demo showing the guys having grown musically to pull out convincing, again semi-technical, stuff, but with more intense riffs and a better sense of melody. The sound is strictly modern and this time the vocals are better sticking to the husky death metal pattern ala Kelly Shaefer (Atheist), only lower-pitched.
The full-length continues the semi-technical modern thrash/death metal saga already inaugurated on the demos, and one would have no complaints listening to this brisk vivid music which on a few oblivious moments goes into Swedish melo-death territories (f1 Shudders On the Cross ). The tempos alternate as more preferences are given to the hard-hitting thrashers ( The Martyrdom Altar ) which number diminishes in the 2nd half the latter filled with not very impressive calm progressivers the brutal closer Final Release being a very rude awakening, a final outcry of aggression served on a more thought-out base with a cool Oriental motif.

Sworn to Silence Demo, 2003
This Cage Demo, 2010
Secrecy of Thoughts Full-Length, 2014

Official Site


Based on the debut, this band indulge in modern groovy post-thrash which serves one angry groover after another very seldom deviating from the chosen path with the odd more aggressive death metal cut ("+ de 2000"). This is unexciting one-dimensional stuff with quarrelsome aggro-vocals of the deathy semi-shouty type.
"El Tio del Saco" would be quite a surprise for those who have heard the debut as this time the band have produced a tasty thrash/deathy "fruit" the title-track even suggesting at more technical ways of executiion. "Desinformacion" is another more stylish, jumpy technicaller the guys continuing with the surprises in the face of the energetic melo-thrash/deathster "Hijo Puta", the varied progressive thrasher "Nivel Superior", etc. The band sound like an entirely new outfit, and this new face is definitely more fitting to their abilities.

Escarnio Full-length, 2006
Metal Salvaje Full-length, 2011
El Tio del Saco Full-Length, 2017

Official Site


This is raw thrash/proto-death metal with shades of hardcore; primitive guitar work topped by bad unrehearsed death metal vocals, seldom spiced with the casual more stylish leads ("Morbid Night", which is a frenetic speedy shredder).

Welcome To War Demo, 2004

My Space


Few are the bands nowadays who can bring us back to the glorious thrash/crossover sound of the 80's. Send More Paramedics is definitely one of them. Although thrash metal takes the bigger share from the band's music, there are also direct nods to bands like D.R.I. and Nuclear Assault. Some Slayer-like aggression is also present here and there ("The Unclean" from "The Awakening").
The band's debut is more hardcore-based, and the vocals are really annoying with their undeveloped screamy tember; the music has a somewhat mechanical feel although there are no industrial elements used. It is not a total waste with some tracks carrying the thrashy spirit, with energetic riffs and a slightly chaotic delivery which at times might bring to mind early Voivod.

"The Hallowed and The Heathen" takes no prisoners and is the real initiation into hard-hitting thrash for the band. Some shades of hardcore are still around ("Zombie Crew", which will also remind you of Pro-Pain), but the Slayer-esque riffs have taken over, and most of the songs are very energetic headbangers.

A Feast For The Fallen Full-length, 2002
The Hallowed and The Heathen Full-length, 2003
Tales Told By Dead Men Split album, 2005
The Awakening Full-length, 2006

Official Site


One of the lesser bands from Canada of the 80's, this band specializes in simplistic thrash ala early Destruction with the singer trying hard to sound like Schmier. The problem is that the guys lose focus too often, and start bashing really vicious hardcore, or switch onto a doom-laden Celtic Frost-like passage at the most inappropriate time. The fast riffs pack a punch at times, though: check out the 1.5-min explosive "Confusion".

Comatose Until I Croak Demo, 1986

My Space


This is merry optimistic modern thrash which mixes hard-hitting riffs with mellow decisions which would definitely evoke the memories of metalcore. Expect no surprises at all, just mellow renditions of old trite themes served in a mid-pace with shouty vocals sometimes to the point of hysteria plus the obligatory cleaner inclusions which, needless to say, do a much better job.

Sangre, Dolor Y Furia Full-Length, 2012


These are the same woulgy who are also in charge of Militant Attack. To come the two bands would be extremely difficult since on this recording here what one will hear is just plain noise, everything coming together in a horrible mess (could be a live recording) which bears some distant resemblances to early Messiah, with the ridiculously shouted raw vocals completely overshadowing the instruments most of the time.

Dayak Warrior Demo, 2007

My Space


3 songs of edgy modern thrash metal with gruff guttural death metal-styled vocals; the guys play with gusto mixing both heaviness and melody the latter covered more widely hitting the top on the excellent galloping speedster "The Absence of Presence" where a few classic leanings can also be encountered.

Demo Demo, 2010

Official Site


This obscure German combo pulls out competent retro Bay-Area thrash along the lines of mid-period Testament and Defiance. The tempo is mostly mid with adherence to heavy doomy riffage (the 8-min stomper "Revenge & Hate", "Forbidden Humor"). There is no much variety between songs with only "Who Cares?" thrashing faster at the end, closing this album in an unlikely speedy manner. The vocals are gruff, semi-death metalish, but suit the morose pounding character of the music. All the band members continued their career after this only effort, founding a couple of alternative rock acts with no relations to metal, let alone thrash.

Revenge & Hate Full-length, 1993


Based on "Monkeys Will Be Back", this band serve modern power/thrash which owes a lot to the style on The Black Album, but consequently not containing too many fast-paced surprises for the headbangers. "Seven Minutes" is a rousing speedster splitting the album into two in the middle, but such moments are a rarity the thunder stolen by the very good lead guitarist who shows his skills to the fullest on the excellent closing balladic instrumental "The Decision".

Monkeys Won't Look Back Full-length, 2007
Monkeys Will Be Back Full-length, 2016

Official Site


An awkward mixture of thrash, Motorhead, hardcore, and some funk-ish moments ala Mordred and Re-Animator; the thrash metal fan might lose his patience while waiting for riffs to headbang to.

Chainsaw Boogie EP, 1990


Aggressive fast thrash/death quite close to the approach of the Swedes Merciless on their debut; the difference is that these guys slow down more often with doomy/gothic sections bringing also another Swedish act to mind: Cemetary, and more ticularly their debut "An Evil Shade Of Grey". So as a whole we have a more death metal-fixated effort of the early Swedish school, with vocals very similar to the ones of L-G Petrov (Entombed). "Devastating Wrath" is one of the very first exercises in instrumental death metal, second only to Death's "Cosmic Sea" perhaps, although there are no similarities between the two pieces, this one being a straight-forward intense shred without any technical pretensions.

Devastating Wrath Full-length, 1992


This act presents 3 songs of intense thrash of the classic type seeing the guys thrashing with passion with fast bashing sections aplenty the melodic deviations almost non-ezistent except for the sparce lead sections which are the only mitigated sophistication. The riffs are pretty samey on all the tracks forming a fierce wall of sound which is broken by the pounding drums and the rough shouty deathy singer. The musicians are now active under the name Flamethrower where the style is more comprehensible retro speed/thrash.

In Business With Satan Demo, 2008

My Space


This is both heavy and dynamic modern speed/power/thrash metal with several classic references which bring the sound close to the Bay-Area (check out "La Venganza de tus Sue'a4os"). The guys prefer to mosh in a crushing mid-pace, but they sound pretty pissed at times, too, like on the openly aggressive speedy bombs "Lo Que Siento" and "Parte del Sistema". Still, the highlight remains the nice varied closer "Puerto Argentino", which is a first-class speedster in the early German vein. The singer is a find with his versatile delivery ranging from gruff semi-clean to pretty high emotional vocals changing the approach the whole time to a fairly positive effect.

Antologia Full-length, 1994


A pretty faithful to the 90's fashion album providing a slightly faster twist to the trite groovy formula with a few intense proto-death metal passages. Sepultura's "Chaos AD" is a close call, but the music here is drier and less imaginative with not very pleasant throaty hardcore vocals.

Sentencia Full-length, 1995

Official Site


The demo: this is power/thrash sounding painfully familiar (no need to cite the influences from their homeland here) clinging between the modern and the classic school. The tempo is mid at best, and the highlight seems to be the nice semi-balladic cut "Lo Que Vos Buscas" which impact is lessened by the hoarse hardcore vocals.
The full-length takes a more modern turn with groove more prominently featured now, and the monotonous mid-tempo doesn't generate much excitement. The latter comes mostly from the more energetic material (the uplifting speedster "Heridas Que No Cierran") which is also provided as a finale in the face of the ripping headbanger "Sobrevive".

Demo Demo, 2011
Lucha Por Ser Full-Length, 2017


This is pleasant stuff: modern technical thrash/death metal with a heavy mechanical side which doesn't stand on the way of the ultra-fast grindy ts which grace every song turning it into a wild deathy exercise with just hints at thrash the latter sounding close to Altered Aeon and Biomechanical. "Locust Cult" tones it down and results in an engaging quasi-progressive listen ruined by the bad shouted deathy vocals.

Sentinel EP, 2011

Official Site


A 2-song demo: both songs are standout speed thrashers in the tradition of Agent Steel's debut, graced by nice vocals which will remind you of John Cyriis on the higher tones.

Sentinel Demo, 1986


This obscure demo shows a band who pull out pretty potent speed/thrash with both bashing and technical tendencies crossing the more lashing aesthetics of Sentinel Beast (see the review below) and Destructor with the more sophisticated delivery of Have Mercy and Ulysses Siren. The first 5 songs are live recordings, but the sound quality is surprisingly good, the guitars nicely cutting through the speakers accompanied by weaker, but still passable, clean semi-declamatory vocals. Then those same tracks (with very few exceptions) are offered as rehearsal, all-instrumental, versions in the 2nd half, but they sound worse both in terms of sound quality and execution. "Blitzkrieg" (not featured in the live session) is a really blitzkrieg cut, fast'n furious, recalling the approach on Slayer's "Show no Mercy"; the other highlight being the more serious technical "Intellect Without Discipline" which is only included in the live performance.

Demo Demo, 1986


One of the first female fronted speed/thrash metal bands, and one of the quite a few bands where Debbie Gunn displayed her vocal skills; here her voice is harsher and more aggressive. This band offers a cross between the aforementioned styles and American power metal ("Corpse"). The guys se no speed and intensity, and tracks like "Depths of Death" ,"Evil is the Night" and most of the rest, are major headbangers. "Mourir" is a short speed/power metal number with great melodic guitars showing the band's more technical side. A very cool cover of Iron Maiden's "Phantom of the Opera" is also included. Gunn's deture to join Znowhite led to the untimely demise of this cool band.

Depths of Death Full-length, 1986

Vibrations of Doom


Three tracks (there's one boring unnecessary intro which doesn't count) of melodic power/thrash metal with only one faster track: "Necronomicon", but "La Fanteria" is interesting long progressive power/thrash, and "Inferno" is a very cool Scorpions-like ballad.
The full-length arrives after a gigantic hiatus, but the guys must have been visited by a gust of inspiration as this new offering is a decent achievement as the opening "Necronomicon" states so well with its raging spastic riffs. Later on things become more serious with the progressive pounder "La Fanteria" which still has a few surprises hidden for the moshers. The more complex delivery stays around for "Leonida", a semi-balladic cut, and for "Parabellum" which is an imposing doomster with interesting melodic embellishments. Towards the end the approach gets more lyrical and not as edgy with power metal taking over including on the two demo tracks added as a bonus which come with a more abrasive sound.

SenzaVita Demo, 2009
Senza Vita I Full-length, 2017

Official Site


The debut demo is a mixture of thrash and power metal, but very badly produced, with a very thin guitar sound. Otherwise the guys march on with speedy, energetic riffs which had definitely deserved a better sound back in those days. The band mix a slow and fast material, inserting the odd balladic break ("No lo Dejes Morir") and it's good that on those moments the shouty hardcore vocals are sed to the listener. There is also an attempt at a more serious, more epic-flavoured, song-writing (the closer "Exhumacion"), again hampered by the hissing guitars.

Personajes del Terror Demo, 1990
Salidos de la tumba Demo, 1994


Death/thrash metal of the Floridian school with a few stomping Benediction-like passages; the sound quality is not very clear, and the vocals are too brutal and shouty. Still, the guys put their effort into the proceedings, and consequently come up with several cool intense sections: the death speedster "Cazador de Almas", and the deadly early Death-influenced smasher "Sepelio", etc. A few years later those musicians appeared again, but under a different name: Era de Miseria, but the style has nothing to do with their old one, being pure hard'n heavy.

Cazador de Almas Demo, 1998


Pretty acceptable retor thrash with clever semi-technical arrangements, mostly in the beginning, which stretch into wholesome progressive opuses ("Ash"); still, the shorter and more stylish cuts (the deathy hecticer "Nuclear Peace") deliver the better. "Fucking Life" is a cool galloping speedster, but towards the end the guys stick to a more laid-back delivery spiced with frequent balladic/semi-balladic elements.

When We Are Upset Full-Length, 1993


The single: 2 tracks of intense bashing retro thrash with a hardcore tinge topped by brutal death metal vocals; this is direct barebone stuff with Slayer and Morbid Saint prime influences except in the sparce slower sections where some very cool melodic leads sneak in very unexpectedly.
The EP is another intense affair with all the required "tools of the trade" necessary for the fan's entertainment present including a very clear sound quality. The band thrash on without any useless tricks echoing early Sadus and Gammacide on the more aggressive, death-tinged cuts ("Prophet Of Death"). "Sea Of Thoughts" would be a surprise, but by all means a pleasant one: a slower much more techhnical composition with meandering riffs and a sudden blasting "explosion" at the end. The sweeping tempos won't leave you time to recharge, but fortunately these 5 ripping tracks close on just over 15-min so you won't be utterly exhausted.
"Consumed" is another "all consuming" affair the guys thrashing with power again pouring fast brutal riffs from all sides effortlessly touching death metal ("Servants Of Suffering") at will. The maddening speed on some of the numbers may make the less prepared faint: check out "Sarcophagal Chamber". "Dreams" is more relaxed and more speed metal-oriented, and this is where some addictive melodic hooks appear. Several more stylish arrangements show up on the slower and more controlled "In Torment They Burn" as well on the chaotic shredder "Sea Of Thoughts" which is a prime twisted technicaller in the best tradition of the wizards Vicious Circle. After this one everything will sound pedestrian, and the remaining songs are just violent bashers the closing "Between Two Worlds" being a very cool atmopsheric semi-progressive thrash/deathster ala early-90's Messiah. The guys have done a fairly good job againnd may rightfully look at the top of the thrash metal movement in the UK.

Seprevation Promo Single, 2012
Ritual Abuse EP, 2012
Consumed Full-Length, 2014

Official Site


This is a side-project for the guys from the progressive power metal formation Lanfear who notch it up towards speed/thrashy dimensions without breaking any new ground; this is classic stuff with an overabundance of melodies cpoming from all departments including the vocal one. Hard thrashing is out of the question excluding the few more dynamic speedsters ("Unwanted Company") which should have been more.

Deadhead Syndicate Full-Length, 2016

Official Site


Based on the demo, these Swedes play classic thrash of the speedy, proto-deathy variety. The approach is simple and direct bordering on hardcore ("Hoards Of Memnon") at times as opposed to the intense death metal vocals which take a mean, almost hysterical pitch on the final death metal madness "Galbatorix".

Demo Demo, 2009
Not Quite What I Had in Mind EP, 2009
The Seth Avalanche EP, 2012

Official Site


A new act from Australia providing classic speed/thrash in a straight no-gimmicks fashion the only deviation from the righteous path being the vocal "duel" which is strictly in the death metal camp. The speedy melee from the begining gradually comes under control, first with the steam-roller "Undefeale", then with the doomy delivery on "For Flesh and Future". In the 2nd half things get back to normal with the perennial mosher "Solstafir" which suddenly turns to a genuine hectic techncaller in the middle. Elaborations on this number's flamboyant style are, alas, not offered anywhere later, but "Nothing of Value" is a more intricate thrasher with several pace shifts during its 6.5-min. "Therion" is another less ordinary headbanger which raises the technicality a bit only for the latter to disappear again on the closing "What's Left to Die for" which is a heavy smasher in mid-tempo, the least adventurous song on the album despite its catchy hypnotic guitars. Some of the band members are also involved with power/thrashers Knightmare.

Tacit Full-Length, 2013

Official Site


Based on the debut, these "septic" Germans provide cool energetic retro thrash where speed is pretty much the order of the day bringing the winds of hardcore at times also due to the shouty quarrelsome vocals. "Permitted by God" is the change into mid-paced mosh which never gets tempted to speed up. After that the guys continue "thrashin' with style" with the song of the same title wrapping things up with the intense closer "No Respect" following suit fathfully. This is a dignified rendition of the good old style which never claims any pretensions at originality, and as such is a good headbanging fun all the way.

Infected Existence Full-length, 2009
Guilty As We Were Born Full-length, 2012

Official Site


2 songs of brisk energetic speed/thrash of the old school with ripping guitars and high-strung semi-clean vocals. The guys rely on direct stripped-down riffage paying tribute to both the Bay-Area ("Power Of The Warrior") and the German school (Toxic Politics") and a very clear sound quality.

Reanimation EP, 2012


An obscurity which is just a bit more than senseless bashing which can be likened to early thrash/proto-death with gruff growling death metal vocals and a few more intriguing melodic decisions (the strange pounder "Friday The 13th") which never amount to anything more than the very odd digression. The closing "Zhdi" is a clumsy doomster which is plain boredom adding more to the negative impressions this effort leaves in abundance.
The "The Show" demo is awful modern grovy alternative metal, quite contrasting to the brutal noise heard on the first one, but again a total waste of time even for the purists...

Pathology Demo, 1992
The Show Demo, 1995


Based on "Negative", this band pulls out cool "classic meets modern" thrash of the heavier variety. The songs move from mid-paced, groovy, Machine Head-styled ("Cursed", "Gravitation") ones to energetic thrashers ("The Final Step", "Az utols= lTpTs") in the Sepultura, or late 80's Slayer mould.
"Transit" is a big disappointment now full-fledged groovy post-thrash, an ultimately boring toothless affair without a trace of the classic leanings which could be heard on the previous release except for the more energetic "Vox" and the up-tempo roller-coaster "Sacrifice".
"Origo" is a heavy affair, offering industrialized modern thrash with dry sterile guitars and even more listless robotic vocals. Otherwise the music is decent having plenty of crushing moments, as well as a few aggressive speedy outbursts. There are also mellow post-thrash passages, supported by tender balladic ("Tango") interludes.

Dogma Full-length, 2000
Origo Full-length, 2004
Central EP, 2005
Negative Full-length, 2007
Transit Full-length, 2009

Official Site


This is brooding atmospheric, mostly instrumental, modern thrash which has strong shades of black and doom metal. The music is jumpy in mid-pace for most of the time, but the dominant tone is stomping with quiet passages dispersed throughout. "Shred Phelps" eleveates this effort to surprisingly high technical dimensions with its hectic shredding patterns and not very predicle time-signatures, and shortly after the guys' prowess bears one more attractive "fruit": the short technical death metal extravaganza "Vomitsunami". Despite the few scattered skles of genius, this offering leaves a serious aftertaste with its casual musicianship and a fuzzy sound production.

Scrotal Annihilation EP, 2012


Based on the "Death Row" demo, this is modern thrash metal similar to Carnal Forge and The Forsaken; "My End" borrows riffs from Destruction's "Curse The Gods".

Born In Sin Demo, 2002
Sonett To Death Demo, 2003
Arise Demo, 2004
Rest In Pieces Demo, 2005
Death Row Demo, 2006
Walk To The Purgatory Demo, 2007

Official Site


Intense, relentless thrash/death which isn't far from the exploits of the guys' compatriots, the legends Mortuary. The music is performed at high speed and is proficiently executed, the only annoyance being the overshouty death metal vocals. "Ugly & Hate" at the end is pure death metal madness, the highlight on this worthy, but very sloppily produced recording. Later the band changed their name to Noxious Creed for the release of another demo of classic death metal fury.

Total Genocide Demo, 1991


Three songs of intense thrash/death which try to be both very fast and technical at various stages of this small effort eventuallly giving the later ingredient up and concentrating on the bash which suits them the better. The band play competently, but are ultimately hampered by the awful buzzy sound quality which makes the guitars sound like chainsaws creating an odd "duel" with the forceful vicious death metal vocals ala Killjoy (Necrophagia).

Demo Demo, 2011


Based on the "Fuck Your God Worship Satan" demo, this act plays an aggressive blend of thrash, black and death metal mixing fast and slow passages the whole time managing to sound not far from early Destroyer 666. The sound quality is not very clear, though, and the brutal death metal singer is put too much up front deafening the guitars on quite a few times. Some of the musicians are also seen in the heavy metal "heroes" Rodney Infernal, and the grindcore "monstrosity" Auschwitz.

Rehearsal Demo, 1997
Enemy of the Cross EP, 2005
Fuck Your God Worship Satan Demo, 2008

Official Site


This is the early attempt of members of Usurper and Thanatos to play thrash metal, and the final result is not bad at all, despite the rough production. This is actually quite aggressive for the time thrash/proto-death metal, sounding pretty confidently death metal-based on "Schizophrenic Doom" and especially on the really brutal "Praising Death". It's undeniable that this effort is one of the very early exercises on pure death, sounding not miles away from the Protector debut. To talk about technical thrash, like in the Usurper case, here is out of the question, except for a few more clever guitar hooks on "Mutual Repugnance", but shades of this demo can clearly be traced on the later Thanatos works.

Praising Death Demo, 1986


One of the first metal bands in Peru, Sepulcro play heavy power/thrash metal with a wide range of moods: from doomy songs to quite aggressive ones (based on the compilation). Some tracks have quite an epic feel, like the 10-min instrumental "Los Gritos Del Silencio". Some numbers from the middle (songs 5-9) are with a better and heavier sound having almost no traces of power metal left, concentrating on a full-out thrash metal assault. Based on this t only it looked as though Sepulcro were a very worthy competition to their more renowned, but often less deserving, Brazilian counterts.

Sepulcro Demo, 1989
Power's Trace Demo, 1990
Sepulchral Voices Best of/Compilation, 2006

My Space


Quite good speed/thrash of the more complex variety, paying tribute to the spawning stages of European speed metal (Helloween, Warrant) on the fast compositions, which are by all means the better side. The slower ones are more riffy, and smell "thrash" more, but the guitar work is less flashy, and some moments are a bit dragging. Nothing wrong with "Tiempo Consumado": cool heavy thrash in mid-pace, with a catchy chorus, tially ruined by the very brutal death metal vocals, which are hardly the best choice for this kind of music. The other highlight is the intense speed/thrasher "Sepulcro Vacio", which also boasts very good lead guitar work. Cool stuff as a whole with no major flaws except, of course, the vocals, which may arouse your interest in starting to track down acts from this Latin American country.

Seres Inmortales Full-length, 2007

Official Site


One of the most celebrated bands in thrash metal history, Sepultura began in a fairly raw, brutal manner, and although from musical aspect these beginnings are very little to write about, their influence on the future more extreme genres is undeniable, with their early efforts (the "Bestial Devastation" EP and "Morbid Visions") considered one of the early forerunners of the black/death metal movement. "Schizophrenia" sounded like pure thrash, still missing something in both the production and the music detment, but the band soon shook the world with the landmark "Beneath The Remains": aggressive merciless thrash/proto-death at its most shining best. "Arise" (one of the best-selling thrash albums of all times) catapulted the guys straight to the top, sounding more restrained, but equaly as compelling as its predecessor. Sepultura adopted a more modern style on the not so bad "Chaos AD" as an answer to the 90's demands, and is their last work related to thrash. With Max Cavalera leaving to form Nailbomb, the band radically changed their style into groove/hardcore/tribal and everything in between.
"Kairos" sees the veterans back on their feet to an extent pulling the strings harder to produce this cool modern industrialized post-thrash effort which will remind you more of mid-period Ministry, early-90's Prong, Swamp Terrorists, among others. The sound is potently dark and heavy with echoes of "Chaos AD", too, with dry dispassionate guitars which create the necessary cold atmosphere. The good faithful cover of Ministry's "Just One Fix" could have been expected, and fits well into the overall picture, albeit done in a more restrained, less speedy, manner comed to the original. "Dialog" is the closest to the guys' more recent nu-metal "explorations", but delivers, mainly due to the expert melodic leads. "Mask" would be quite a surprise being a brutal death metallish number although it can hardly be viewed as a return to the band's roots, but is more along the lines of the Swedish school. More pleasantries later: the pure nod to the old school with the ultimate thrasher "No One Will Stand", which completely cancels the confusing noisy undustial closer "Structure Violence (Azzes)". Everyone involved has done a good job with Green acquitting himself with a forceful sterile delivery without a shade of emotion aptly avoiding the angry, shouty pitfalls so characteristic of the style.
"The Mediator Between Head and Hands Must Be the Heart" may win prizes for the longest title of the year, but music-wise it delivers almost as well. The opening "Trauma Of War" is a major headbanger its fist-pumping qualities sternly confirmed by the following "The Vatican" which is a shattering thrash/proto-deathster with cool semi-technical overtones. At this stage the listener can't help, but be pleasantly surprised seeing the band moshing out like in the good old days... but here comes a reminder of the guys' more recent escapades: "Impending Doom", a groovy bulldozer which suddenly turns to violent post-thrashy melee on a string of songs before "Griefg" brings in some doomy misery to a pretty morose effect. The aggressive beginning finds its match in the raging dramatizer "Obsessed" at the end which wraps it up with aplomb which is kind of not very deserving having in mind the not very striking middle part. Still, "Beneath the Remains 2" is hardly the band's more urgent objective, and this album fits into their catalogue without any reasons to make it feel like a flop or a "betrayal".
"Machine Messiah" begins in a more surprising manner with Green unleashing these very good clean vocals on the opening title-track which is a full-fledged ballad for most of the time. The shock from this mellow introduction will be erased later as the band mosh harder on "I Am The Enemy" although this doesn't become the dominant tendency as the staple for the more recent efforts groovy chuggy approach settles in slowly, but surely and occupies more than half the time disrupted by the several stylish "excursions" in more melodic territories ("Iceberg Dances"). "Resistant Parasites" "flirts" with the more aggressive and the more technical, but it's only "Vandals Nest" that matches it later in terms of intensity as the rest doesn't break any unfamiliar ground.

Morbid Visions Full-length, 1986
Schizophrenia Full-length, 1987
Beneath the Remains Full-length, 1989
Arise Full-length, 1991
Third World Posse EP, 1992
Refuse/Resist EP, 1993
Chaos A.D. Full-length, 1993
Kairos Full-length, 2011
The Mediator Between Head and Hands Must Be the Heart Full-Length, 2013
Machine Messiah Full-Length, 2017

Official Site


Based on the "Dystopian Reality" EP, this act provide crunchy complex modern post-thrash which ranges from ultra-long numbers to short more immediate ones covering a wide gamut of influences including the one of their compatriots Sylosis who are honoured with a good energetic cover of "Empyreal" from their sophomore album "Edge of the Earth". The singer has a dry mechanical semi-shouty voice with more brutal deathy tendencies.

The Downfall EP, 2012
Dystopian Reality EP, 2013

Official Site


The line-up includes two Vietnamese brothers who assist their colleagues in the production of this heavy modern slab of 90's post-thrash which is consistently heavy with a doomy vibe and cool comrehensive James Hetfield-like vocals. The Black Album is an obvious influence except on the cool energetic closer "The Innocent of Darkness" which is a faster affair with a nice "duel" formed between the heavy guitars and the suddenly sprung-up violin.

Awakened EP, 1995


Aggressive old school black/thrash metal, a very faithful rendition of the early 80's Brazilian scene; in other words we have amateurish, but inspired relentless assault, occasionally spiced with more laid-back slower elements, where the guitars take a cool melodic edge. Often does the music adhere to the typical for the genre blast-beats, where the guitar sound becomes too dull and unlistenable. The guys get carried away on a few tracks, which go over the 7-min limit without offering anything more than merciless raw bashing. The singer is far from an asset with his gruff hoarse voice which he tortures by letting it try some higher tones from time to time.

Guardipo das Sombras Demo, 2004


This great band firmly belong to the progressive metal genre. Their debut is excellent progressive power/thrash reminiscent of Control Denied, later-period Eidolon, and Helstar's "Nosferatu". The tempo jumps from dream-like atmospheric moments to really aggressive thrashy outbursts, suggesting at more extreme things to come. The guitar work is outstanding featuring awesome Chuck Schuldiner (R.I.P.)-like riffs, and a couple of very stylish leads. The last track is a fine instrumental piece which, despite the lack of many hard-hitting riffs, is rich in atmosphere and haunting melodies.
"Cyberly" is a full-fledged technical/progressive death metal opus rubbing shoulders with the best of the genre: Atheist, Death, Martyr, etc., finished with a very cool cover of Death's "Scavenger" from "The Sound of Perseverance".
"The Alchemy Of Harmony" is an exquisite work of super-technical death metal, a surreal multi-faced journey which doesn't offer much to the thrash metal fan, but is a truly captivating listen on the more serious thoughtful side of the music field.

Aritmia Full-Length, 2001
Cyberly Full-length, 2004
The Alchemy Of Harmony Full-length, 2009

My Space


An excellent EP ("Kingdom of the Blind") which will bring you back to the days when Sepultura were unreachable (think "Arise"). Quite a few riffs actually have an interesting technical edge also recalling Kreator's late 80's period ("Extreme Aggression", "Coma of Souls"). The music is both fast and technical, great stuff, making their eventual full-length one of the more eagerly awaited releases at the moment.
"A Future Expired" is two tracks of more aggressive faster-paced thrash metal with the technical leanings slightly left behind on the first number ("Band of Brothers"). "Replicators" is about 9-min long, and this is where the technical flair is brought back mixed with very heavy punishing riffs and an ultra-fast ending section.
"The Movement": the full-length finally arrives after a long string of EP's and the band carry on unabated thrashing the neighbourhood confidently the technical skles not very widely covered: "Hallowed Are The Ori" is a less ordinary Voivod-ish spacer with a memorable main riff-section, and "Policed Brutality" after it serves a portion of stylish more absract headbanging rhythms the latter disappearing for the closing "The Infestation Fixation" which is another more intriguing number with "oblivious" dissonant guitars at the end. The overall delivery has a certain mechanical feel which wasn't so strongly felt on the EP's and could be a sign of a bigger metamorphosis to come on future recordings.

Kingdom of the Blind EP, 2007
A Future Expired EP, 2008
Disposable Suffering EP, 2009
The Movement Full-length, 2013

My Space


This act play a more classic blend of thrash and death metal which is quite close style-wise to the one allready heard on their other project The Harrowed and the other act with which some of the musicans were involved in the not so distant past: Fury. The guys mix the tempos easily switching between super-fast grinding sections and dramatic stomping ones often within one song the former leading the pack making this effort a fairly intense listen also graced by some dazzling melodic lead guitar work which clearly overshadows the rest.

Where Chaos Reigns Full-Length, 2012

Official Site


Modern thrash metal, but not of the groovy variety, quite energetic with sharp expressive guitars; the opener "Killing Machine (The Apocalypse)" strangely reminds me of the Voodoocult's self-titled album with its cold mechanical riffs. The mechanical and sterile sound remains through the rest of the album, but isn't awkward at all; on the contrary, it gives these guys' music quite an original touch. The leads are ticularly good, and very often some technicality ala Megadeth sneaks through, and fans of this band's more melodic 90's period will find a lot to like here. But all of a sudden this well-eslished "serenity dies", and "Murder" splashes with aggressive guitars ala more recent Kreator. That's the only "distraction" here, though, with the rest returning to the modern, semi-technical style of the first half. The album closer: "The Deceiver", is probably the only, but mitigated failure, which strays from the path into more gothic-tinged territories in the vein of Lake of Tears and Sentenced. This is a really pleasant surprise; it's good to know that even in the most remote and exotic corners of our planet there are people who care for thrash metal.
The "Hacksawcracy" EP is a more ordinary take on the modern side of thrash metal with the staple more melodic elements which only get more exciting on the final "Dystopian Law" which is a clever semi-technical piece with good sterile riffage. The rest is pretty pedestrian without any highlights, although some may be moved by the cool melodic leanings on "Hacksawcracy".

Murder Full-length, 2006
Hacksawcracy EP, 2010

Official Site


Noisy fuzzy thrash of the old school "courting" Slayer, above all, but the wall of fuzz is really big at times for one to be able to catch a riff or two from it, that same wall accompanied by a throaty brutal semi-death metal singer who shouts with passion without any subtlety all the way through. Some of the band members are also busy with the classic heavy metal formation Espada Negra.
"Give Him Your Soul": the noise from the debut partially continues with death metal now sneaking more prominently. Still, the delivery makes more sense and te Slayerisms, albeit still around, have made room for more carefully-plotted compositions ("Kill Believers") with a touch of pure speed metal. "Inverted Crosses" is a heavy power metal anthem, but there's no mercy shown in the 2nd half where "Die... My Symphony (Destruction)" reaches wild blasting proportions. The closer "A Step (For Destruction)" is a clever semi-progressiver with cool more restrained passages showing the guys' more proficient side which should be given more freedom later.

Begin of Destruction Demo, 2010
Give Him Your Soul Full-Length, 2015

My Space


An interesting mix of aggressive death metal vocals and clean folk-ish ones; the sound quality is very bad, but one can recognize modern thrash riffs and melodic death metal ones. There are a couple of almost pagan/black metal-sounding tracks as well: "13th Warrior". If it only had a better sound...

Serial Killer Demo, 2005

My Space


Based on "Necrosis", this band offer computerized all-instrumental modern thrash which is accompanied by constant buzzying noise that may be quite an annoyance to some. Otherwise the guy(s) changes the pace more or less regularly also including a cool ballad ("Forgiven") and a few more ambitious progresive attempts (the closing doomster "Hillside Valentine") where there's too much tenderness and monotony for those to really strike the listener.

Psychosis Full-length, 2017
Necrosis Full-length, 2017

Official Site


Modern melodic thrash/death metal of the slower mid-paced type; the guys rely more on melody and atmospheric softer ts which give the demo a gothic touch ala mid-period Sentenced ("Amok").

Into the Burning Deep Demo, 2008

Official Site


This outfit indulge in retro power/thrash which suffers from the bad sound quality and the not very serious attitude on the side of the musicians who branch out into less controlled thrashcore at times. This uneven recording has its charm, though, thanks to the semi-technical natureof the guitars and the very stylish lead guitar work which is melodic with a nice Oriental flavour. The music is predominantly mid-paced with heavy thundering riffage assisted by shouty, a bit annoying, highly-strung vocals. The closing "Children Of The Night" is a great cut blending fast with slow sections to a pretty positive effect focusing on the music more.

Serpent Crown Full-Length, 2013
Incantations of Vengeance Full-Length, 2016



This is a curious brand of gothic progressive thrash/death metal with an ominous dark atmosphere, mid-paced tempo, quiet balladic sections, which definitely has its moments. The guitar work is really good, and the riffs are sharp, but there is no speed involved, although the time-changes, some of which come out of nowhere, are quite interesting as well as the duel between the low-tuned death metal growls and the excellent clean operatic vocals. "Never" is a cool intense thrasher, graced by a nice melodic guitar line, but the rest is more complex with a dream-like quality, similar to the more recent works of the Greeks Septic Flesh.

Curse Of Time Full-length, 1998

Official Site


Based on the self-titled debut album, these guys pull out an aggressive, old school mixture of thrash and death metal. The music is very fast, with frequent blast-beats, and has a lot in common with the early bands from the French wave from the late 80's-early 90's: Agressor, Loudblast, Massacra, the Germans Ravage as well. The tempo slows down for the fine thrasher "Pestilent Seed": a nod to the German masters Destruction and Kreator. This song is like an intermission, placed in the middle, after which the aggression continues unabated till the end, becoming quite violent: the ultra fast and brutal "Act of Aggression".
"Chaos Reign Supreme" sees the band pouring the same brutal stuff, this time even faster and more aggressive, with more frequent adherence to blast-beats, staying closer to death metal most of the time. Whereas the debut was more varied, with some occasional deviations from the all-out speedy tempo, here all songs flow in exactly the same way: merciless bashing, for which one doesn't need a very high level of musicianship, and this is not the case here.

Serpent Obscene Full-length, 2000
Devastation Full-length, 2003
Chaos Reign Supreme Full-length, 2006

My Space


A 2-song demo of quite good mid-paced retro power/thrash in the vein of Meliah Rage and Heretic, with very good dramatic, semi-clean vocals, which cover all ranges with dexterity. The shorter track "The Madman's Dream" speeds up in the second t, turning into a nice speed/thrasher.
The full-length is a good effort, showing no mercy at the very beginning with the sinister Helstar-ish opener "Pain", classic speed/thrash at its finest. "Out To The Light" is cool mid-tempo thrash setting the scene for the coming of the crushing "Metal Magic". The "Instrumental" is, of course, an instrumental, which nicely returns to the speedy moments from the beginning. More heaviness on "The Angel With Regrets" which is fine dark power/thrash recalling Nevermore and Communic. "The Game" is intense thrash mixing slower with faster sections after which comes the already heard on the demo "The Madman's Dream", and the speed goes even up on the excellent "The World As We Know It" in the first part; the second one calms down offering a cool balladic exit. "Insanity" finishes the album in an awesome smashing fashion, never speeding too much with sharp riffs and an imposing doomy ending. The vocalist this time makes a few attempts at a higher singing and his gruff emotional tember delivers the whole time.

Demo Demo, 2007
Out To The Light Full-length, 2008

My Space


One of the hopes for Argentinian thrash metal along with Osamenta and Malicia, Serpentor are influenced by Testament and the Bay Area scene as a whole, but on the more aggressive moments the Slayer-influence could also be felt (on the band's 2nd album there is a very good cover of Slayer's "Reign In Blood" sung in Spanish).
Their self-titled debut is a very promising beginning, mixing faster tracks ("Justicia") with more laid-back ones ("Vomitando Odio"). Seldom does the sound get quite aggressive and fast ("Condenado Al Infierno"), but there's no death metal here. "Final Sangriento" is in the same vein, bearing no surprises being another good work of classic 80's thrash, maybe more melodic. The vocals are close to Max Cavalera, changing into gruff, semi-death metal ones, whenever necessary.
The EP follows the same path, ticularly recalling early Testament, both in the music and vocal department, although the singer Guillermo Romero has still a long way to go before he reaches the unique semi-melodic falcetto of Chuck Billy. The music is not that fast, and there are plenty of pounding rhythms to be heard: "Controlando La Nacion". "Final Sangriento" is the most melodic, but also the best track here: a fine laid-back speed/thrasher with catchy hooks, a slightly modified version of the title track from the preceding full-length. The last song "Angeles De Las Tinieblas" is a cover version of the Argentinian rock veterans V8.
"Privaciatima De La Libertad" is built around the songs from the preceding EP, and as such doesn't stray from the Bay-Area path- early Testament, in particular. The album is a mixture of faster and slower mid-tempo tracks as the former predominate some of which are cool headbangers with a fine melodic edge: "Estado de Resistencia", the excellent speedster "Torturador" with a taste of Paradox as well.
"Legiones" is a tasty "fruit" the guys not betraying their staple approach pleasing the listener with merry speed/thrashers which are seldom crossed by not as impressive mid-pacers ("Sangre De Mi Sangre"). The compositions are lengthy (5-7min), but the riff-patterns are largely orthodox with slight galloping tendencies (the prime headbanger "Sentenciado A La Calle"). "Madre" is a really undeserving way to finish this effort being a calm tender ballad not leaving any lasting impact on the fan who would be left disappointed by this unexpected downbeat epitaph.

Serpentor Full-length, 2001
Poseido Full-length, 2004
Final Sangriento Full-length, 2007
Ley Siniestra EP, 2008
Privaciatima De La Libertad Full-length, 2009
Legiones Full-Length, 2015

Official Site


Based on the first EP, this act indulge in heavy dramatic retro doom/power/proto-thrash which spends most of the time in heavy seismic rhythms the settled mid-tempo seldom broken save for the cool cover of Sepultura's "Refuse Resist" at the end where the moshing mid-break couldn't simply be omitted, the situation slightly enhanced by the not bad intense semi-clean vocals.
"Infernal Seasons" is an obvious improvement over the sleepy debut as the opening title-track shows with the excellent progressive accumulations and the more vivid bouncy riffage. "Divulge" is a ripping headacher with its furious aggressive guitars which still leave plenty of room for more original developments including a couple of beautiful atmospheric passages. "Into Ruin" carries on in a similar direction modernizing the settings a bit recalling Grip Inc. with nice more stylish fretwork which also stays around for the following "Deliverance Has Come" that even reaches heights worthy of Anacrusis and Toxik with a frequent tempo alternation and several great surreal shreds, not to mention the copious amounts of infectious melodies. "No Vindication" is a macabre semi-balladic doomster, a probable leftover from the preceding demo, but watch out for the short speedy escapade in the second half which inaugurates the excelent cover of Slayer's "Spirit in Black" made faster and more vigorous turned into a highly entertaining moshing roller-coaster as a finale.

...With Pestilence EP, 2016
Infernal Seasons EP, 2017


Based on the self-titled demo, these folks offer abrasive classic power/thrash which doesn't have too much energy, but the friendly mid-tempo guitars serve their purpose except on the sleepy balladic closer "Servant Fear". The vocals are thin clean ones, and their childish edge make them sound too impotent and also out of tune at times.
The "Stains Of Iniquity" demo is another total waste of time offering mild unexciting power/thrash with a very bad buzzy sound quality which abandons the power/post-thrashy canons to venture into stoner/doom at times. and, "Fuck You" at the end is a cool galloper, the only more interesting moment on this utterly forgettable effort.

Servent Fear Demo, 1995
Stains Of Iniquity Demo, 1997
Demo, 1997



Groovy post-thrash with vicious evil vocals, lacking dynamics and variety, sitting somewhere between Biohazard and mid-period Machine Head.

Means to an End EP, 2009

My Space


A lengthy 7-song (kidding: the tracks are very short, within the 1-2min range) EP of pure retro thrash/crossover; the guitars are edgy and thrashy, the tempo is fast and energetic, and although this definitely sounds like a rehearsal for something bigger to come soon one can not help but mosh around and have fun like in the good old days.

Drink By Day, Swerve By Night EP, 2009


This is jolly unpretentious power/thrash which still delivers the goods in the more intense department with the soaring speedster La Cuenta Atras and the proto-galloper Silent Tears . The singer has a gruff semi-clean voice and herquote s often helped by his brothers in arms for the creation of several shouty choruses, and of the good acoustic ballad Nightmares where female voices can also be heard.

T.V. Life Demo, 1995


Heavy modern power/thrash with a female singer; the music is quite heavy and crushing and it would take a little for the band to reach the volcanic greatness of the one-album-wonder Over Us Eden. The cuttung riffs are well supported by short melodic lead sections which work well with the mid-ranged composed vocals of the girl Maksymina "Maxi" Kuzianik. "The Flash Of Creation" is a cool more intense piece with a few more intriguing twists adding more to the positive impression made by this short promising effort. The band were previously known as just Seth with one demo released in 2009.

The Flash of Creation EP, 2014

Official Site


Classic power/speed/thrash which mixes soaring "eagle fly free" moments in the vein of the 90's power/speed metal scene with some impetuous hard-hitting thrashers ("Spread the Fear"). The title-track is a nice epic power/thrasher, but it can't possibly shine in the presence of major headbanging delights, like "Faces in the Sand", "Fight to Live", and especially the Oriental motif-infused shredder "Righteous Blood". The mid-paced happiness is left for the end where 2 cuts march forward in an imposing pounding fashion, the closing "Pharaoh's Nightmare" finishing this cool album with another great Oriental theme wiith a doomy flavour. The vocals are quite good as well, emotional, high-strung and clean with a more intense tone on the more dramatic moments.

King of Dust Full-length, 2014

Official Site


Based on the full-length, this act plays thrash/death of the more classic kind recalling their compatriots Thanatos on the more inspired momments (the more technical cut "To the Worms"). The guys mix things up with slower sections which never grow into a whole song, but provide the necessary deviation. The singer growls in a husky semi-deathy/semi-blacky manner and suits the intense musical approach which lacks originality and variation, but is sincere and enthusiastic enough.

Seven Ends EP, 2011
To the Worms Full-length, 2012

Official Site


This band play modern groovy, all-instrumental, post-thrash which can also be quite energetic (the opener "Blood And Sand"), but for most of the time the riffs are heavy and mid-tempo dispersed by the tasteful melodic leads which are by all means the highlight. "Bastard" is a short headbanger, and the closing "Curse" isn't too far behind with its blissful, energetic and again very cool lead sections.

Blood and Sand Full-Length, 2016

Official Site


Based on the self-titled sophomore album, this act plays good classic power metal with hints at thrash touching both the 80's American and the 90's power/speed metal scenes in almost equal dozes. The songs are fine mixtures of slower and faster passages as on the latter the band "courts" the Canadian one-album-wonder Messiah Force whose singer is also a woman/girl; did I mention that the vocalist here is female? And a pretty good one at that well fitting the vigorous energetic music. The "gods of speed metal" Helloween are "courted" on the excellent "Into the Darkness", and the following "Eyes to the North" is an excellent Oriental-tinged power/thrasher with forceful aggressive riffage. The title-track comes at the end providing 9-min of brisk classic speed metal boldly bordering on thrash on the more intense sections which come in the middle also introducing more brutal male semi-death metal vocals; a commendable way to finish this satisfying listen which will please a wide gamut of metal fans by keeping them almost equally as happy.
The debut is a more aggressive, and arguably a better, affair, and in the vocal detment we have quite a difference: the girl is missing, and the male singer is deep clean doom/gothic-like, but not very emotional, and is helped by frequent brutal death metal growls which are absolutely no match to the much more melodic musical delivery. The album opens with the mild power metal hymn "Blackwater Rush", but "Dragonflight" steps in, and the more intense speed/thrashing starts on full-throttle despite the melodic leads and the catchy chorus. Time for some carefree speed/power metal happiness, and "Eyes Of Summer" will fully satisfy this need with the soaring guitars and the sing-along choruses. No more happy times with "Stormborn", another intense speed/thrasher with the obligatory melodic "reliefs" which aren't annoying at all and actually provide a cool contrast to the furious sections some of which border on proto-death. The alternation between the two approaches continue with "The Bloody Meadow", a melodic epic power metal piece, immediately followed by the speed metal rage "The Long Night". Surprisingly, the next track is another major headbanger: "We Do Not Sow (The Legacy of Black Harren, t I)", fast aggressive thrash with a fine balladic break in the middle. The "massacre" carries on with full force on the heroic speed metal winner "Watchers On The Wall" which boasts a great memorable chorus. More moderate speed metal of the galloping thrashy type is served on "Towers of Hubris (The Legacy of Black Harren, t II)" again accompanied by a nice quiet interlude. The final damage is done by the closer "Winter Comes" which doesn't betray the speedy spirit of the previous material lashing fast steel riffs and melodic leads for just above 7-min. This is a promising beginning of the band's career, and some may definitely mourn the loss of aggression on the sophomore effort despite the obvious improvements made in the vocal department.

Brothers Of The Night Full-length, 2007
Seven Kingdoms Full-length, 2010

Official Site


Groovy modern post-thrash which is dynamic and doesn't sound stale; it can even make you headbang quite a bit at times ("The Need To Bleed", "Turn to Stone").

In God We Rust EP, 2008

My Space


A 3-song demo of heavy mid-paced thrash/death with slightly hysterical shouted vocals; the music slows down at times on the verge of doom metal recalling Asphyx.

Seven Severed Heads Demo, 2005

My Space


These Dutch fellows indulge in crunchy modern/classic thrash with very good melodic leads which stand proud against the shredding riffs which cover all tempos including several balladic/semi-balladic moments in the middle (the cool "Die Before Darkness"). Intense gallopers like "Last Days" will lift the mood high, but the 2nd half is not as impressive with retouched mid-pacers that don't have the requisite bite and edge clinging more towards the epic power/thrash metal side their epic appeal not quite matched by the gruff semi-clean vocalist.

From Ashes Full-Length, 2014


Modern thrash metal with classic borrowings, and touches of stoner/doom in the guitar detment ("The World Is For Sale"); the tempo is mostly in the mid-range, but it still holds surprises for the listener, like the excellent intense "Confront The Fear Of Being Different" which, without leaving the mid-tempo, introduces cool death metal riffs. "Down The Earth" is an aggressive death/thrasher after which come 3 tracks from their 1st demo "Follow the Destiny", which are run-of-the-mill groovy post-thrash pieces.
"When The Hunter Becomes The Hunted" is a more aggressive affair with clear shades of death metal, both in the music and vocal detment, and as such is a more satisfying listen adding the odd more technical hook ("From the Sky", which is a nice atmospheric number with great melodic tunes). The slower doomy elements haven't disappeared completely, but are more dynamic ("The in Between") intercepted by clever intriguing riffs. The music very seldom reaches blasting extremes, and almost every song features heavier pounding sections, including a nice balladic passage on the closing "Until You Get Dry". Some of the musicians play similar stuff with Spoiled Fiction.

The Face Alone Does Not Reveal The Man EP, 2006
When The Hunter Becomes The Hunted Full-length, 2010

My Space


Based on the full-length, these guys offer a dynamic mix of modern fast and groovy thrash which delivers, especially with intense moshers like "Into the Arms of Avarice" around. There are a couple of mild acoustic short instrumentals thrown in, and they create a nice contrast to the heavy pounding riffs and the very brutal death metal vocals.

When Fear Takes Form EP, 2007
Not Without Incident Full-length, 2009

Official Site


Modern power/thrash with epic inclinations coming as a mix between early Children of Bodom and a more aggressive Falconer. The vocal duel between the gruff blacky rasper and the deep clean baritone is a bit awkward, but the more energetic ventures into 90's power/speed metal are not too inappropriate ("Pravilnui Kurs").

Seventh Angel Demo, 2002


One of the unique thrash metal bands from the UK, Seventh Angel play heavy, one-of-a-kind, somewhat progressive thrash which will require attention to be fully grasped. At least half of the songs are long (8-9min), without too many tempo changes with slow, almost doomy moments which create a kind of a dark, depressing atmosphere. Of course, cool energetic thrashers are still present, but it's in the more complex, longer material where the guys truly shine; these tracks aren't deprived of up-tempo sections, but there are also quiet moments, and heavy, almost doomy at times riffs. "The Torment" contains the faster and the lighter material, and one could find himself jumping around on tracks like "Tormented Forever", or "Expletive Deleted", but the album closer "Katie" will startle you with its sprawling structure and meaty, heavy riffs.
On "Lament for the Weary" the music has lost its edge, and quite a lot of speed has been sacrificed for the sake of slower, heavier and more technical riffs, and more frequently inserted peaceful acoustic passages, although "Full of Blackness" breaks the "idyll" with a splash in the middle with its furious intense guitars. This is not music for an everyday listen, but it will be a rewarding experience for those who like the more serious, thought-provoking side of thrash metal (including lyric-wise as the band, in this aspect, belong to the Christian movement).
A very unexpected, unheralded comeback from these underground heroes, "The Dust of Years" sees them paying more atention to doom metal this time, with the singer Ian Arkley singing in a more downtuned death-like manner, the same one he perfected so well on his doom/death metal project My Silent Wake. The problem is that he finds it hard to bid farewell to the slow side of metal, and the music presented here has more in common with the acts Arkley got involved (some of them his own "children") after the Seventh Angel split-up: the aforementioned My Silent Wake, Ashen Mortality, Century Sleeper, etc. with which he explored the fields of doom far and wide, to quite a positive effect, by the way. There are also sparce furious death metal breaks thrown in, so is there any thrash metal at all? Well, just a bit, and it's of the heavy doomy variety with only "In Ruins" jumping on the more dynamic up-tempo wagon. As a whole this effort is not a direct continuation of their old output, and it would also be of bigger interest to fans of doom: think Dark Millennium, Morgion, My Dying Bride, at from the already mentioned bands.

The Torment Full-length, 1990
Lament for the Weary Full-length, 1992
The Dust of Years Full-Length, 2009

My Space


A decent slab of technically-minded classic thrash metal mixing faster with heavier slower songs all supported by strong bass and short screaming leads. The slower material predominates and near the end things take a slightly doomy direction with the speed decreased quite a bit which is clearly a drawback since the riffage gets too repetitive. The singer has a gruff semi-clean voice reminiscent of Phil Rind (Sacred Reich).

Metal for the Masses Full-length, 1996


This US trio pull out a mix of modern and classic thrash which creeps forward in a brooding mid-tempo manner surprisingly getting more vivid on the longer material ("The Nameless"; the crunchy progressiver "The Power of Change"). The guys' serious attitude takes more sleepy proportions later (the semi-balladic/semi-doomy groover "Catharsis") and the situation only worsens from here the songs becoming boring clumsy exercises in groovy post-thrash the closing "Welcome to the Wasteland" tially breaking the monotony with a few spasmodic deathy blasts. The vocalist rends his throat in a semi-shouty/semi-deathy manner and remains intelligible throughout.

The Path Unknown Full-Length, 2012

Official Site


3 songs of intense retro thrash/proto-death showing a band fonder of speed and the German school, Destruction, above all. The guys shred with passion helped by the good production if we exclude the slight buzzy noise in the drum detment. The vocals are of the subdued semi-whispered type, but their scary qualities are a nice addition to the uncompromising delivery. Some of the band members have also taken t in the black/thrash metal formation Diablerie.

Disciples of Aggression Demo, 2011

My Space


The band is mostly a power/speed metal outfit with shades of thrash, mostly on the 1989 demos; the music is not bad at all, but they never made it to the full-length stage.

Death to false Metal Demo, 1987
Severe Warning/Mutant Soldier Split Split, 1989
A Good Day...But for Who?! Demo, 1989

Official Site


Very well executed dark gothic thrash metal; the vocals belong to the death metal field, and there are also fast death-ish attacks (the short, aggressive "Die For Innocence"), but the music is generally mid-paced with heavy crushing riffs, really nice melodic touches ("Why Life Lies Cold") and dark brooding atmosphere. This band have managed to forge something really original here although it would hardly appeal to gothic fans (except, maybe, for the closing "Severed Existence" which comes with heavy doomy guitars ala Cemetary, and good semi-clean vocals): the sharp guitar work and the intense delivery strictly belong to the thrash metal genre.

The Limbs of Humanity Full-length, 2002

Official Site


Modern post-thrash borrowing from the Black Album as well as from the groovy heritage of the 90's; the mixture is bearable if we exclude the awkward "gruff-clean" vocal "duel" and the very long (7-min) tender ballad "Forgotten Heroes". The headbanger "The Blackening" comes after it to apologize, but those moments aren't very frequent with maybe the mid-paced crusher "End Of Days" coming closer.
"Liberate" flows in a similar vein, but the guitar tone is more aggressive, and the headbanging sections are not that sce. The riffs are heavy and sharp, and the vocals this time are more convincing also introducing a more forceful semi-clean tember which goes well with the hammering music.

Nightmares By Design Full-Length, 2010
Liberate Full-Length, 2012


Intense dynamic old school thrash along the lines of early Holy Moses; this is fast-paced stuff with apocalyptic shouty vocals which are not far from the ones of Rob Urinari (Sacrifice), maybe a tad more hysterical. Music of the kind may not exactly cause you "severe brain damage", but will make you mosh around with passion pouring sharp razor-like guitars galore on exploders like "The Machinator" and "F.O.Y.D." as well as on almost every other number.

Severe Brain Damage Full-Length, 2014

Official Site


These guys deliver frolic speed/thrash of the old school which ranges from short blitzkrieg speedsters ("The Outcast") to stomping doomy numbers ("Cruelty"). The band know their craft spicing things up with more complex arrangements (the dramatic epic anthem "Without Ceremony") and short "acoustic vs. leads" ballads ("Seed"). The singer is a guttural death metal throat who comes interrupted by better soaring clean vocals ala Burton Bell (Fear Factory). Some of the band members were previously seen in the death metal purveyors Defiled.

Seed Full-Length, 2012

Official Site


The EP: two songs of cool retro thrash with Sodom the main point of reference (think "Agent Orange", above all) including in the assured vocal department. The guys thrash with conviction in up-tempo with harsh, abrasive guitars which create a nice old school atmosphere with numerous headbanging moments.
The full-length comes with a more aggressive, deathy sound and noisier, industrialized guitars the overall delivery now closer to Dismember, Unleashed, and early Entombed. The blast-beats decoraTe almost every song making this effort hardly the first pick for the thrash metal fan.

Severe Trauma Demo, 2012
Severing the Mortal Cord EP, 2015
Immortalized in Suffering Full-length, 2016


The name could hardly be connected with thrash metal, but on their first two albums, this band would literally catch you with your pants down with nice speed/thrashers topped by great guitar work and melodic high-strung dramatic vocals. "Sex Machinegun" is a really good debut opening with the smashing speed/thrasher "Burn" which will literally "burn" you with its furious, sharp, but at the same time melodic guitars. The album is quite varied, offering some pure speed metal delights in the vein of the 90's power/speed metal scene ("Devil Wing", "Hanabi-La") featuring some of the most infectious choruses one might encounter. "High Speed Samurai" doesn't deserve its pompous title being not as fast as some other tracks. "Japan" is a sheer classic heavy metal number which might annoy you, since there's been awhile since the last thrashy riff has been heard. But you don't have to wait much longer: soon comes the intense thrasher "Sex Machinegun", followed by a couple of more speed metal-based ones, but the closer "Family Rest Bomba" thrashes again with aggression and style, adding cool technical licks as well.
"Made in Japan" (these guys love their country!) starts quite promisingly with "Progressive Ojiichan": an interesting hectic power/thrasher, partially ruined by the awful industrial vocals. Later one would find out that those industrial vocals were just a solitary experimentation (thank god!). As a whole this album is more satisfying than the debut with really great tracks: the excellent speed metal masterpiece "Illusion City", the aggressive thrashing "Estheticien", the nice combination of power, speed and thrash "Serial Killer", the mighty speed/thrash opus "Iron Cross" which comes with the most aggressive riffs on the album. There are no light heavy metal tracks to ruin the impression; the speed and intensity are all over the place, even going a bit over the top, with the intense little thrasher "Onigunsow". The closer "Yellow Card" manages to sound even technical, with nice choppy, hectic riffs, nicely contrasting to the fast-paced ones.
Later their style adopted a more traditional power/heavy metal sound, but some headbanging thrashers are always present to keep things interesting.
"SMG" is a merry speedy roller-coaster mixng modern proto-groove with the free'n easy style of Motorhead and Tank. The guitars have an edge at times, even proto-thrashing here and there, but overall the mild approach of their more recent works has been preserved, without any unnecessary risks taken.
"Metal Monster": the "metal monster" unleashed here would hardly scare away the more hard-boiled thrashers, but speed metal is at least very well covered on half the numbers, and not only that, but tracks like "Black Maguro" are pure raging thrashterpieces aptly supported by only marginally more laid-back numbers ("Midnight Radio"). Fans of the band will by all means rejoice once again as the guys have done a good job sticking to their guns without any adventurous mishaps.

Live Fire EP, 1997
Sex Machinegun Full-length, 1998
Made in Japan Full-length, 1999
Barbe-Q Michael Full-length, 2001
Tariyou EP, 2001
Ignition Full-length, 2002
To The Future Tracks Full-length, 2003
Heavy Metal Thunder Full-length, 2005
Made in USA Full-length, 2006
Cameron Full-Length, 2008
45'f8 Full-length, 2009
SMG Full-length, 2011
Metal Monster Full-Length, 2016

Official Site


This EP contains only 2 songs, both of the intense black/thrash variety, well more brutal and vicious than the music offered by their compatriots Abigail, Sabbat and Barbatos. Think a less intense and a more retro-sounding version of Impaled Nazarene, with the obligatory mid-paced break in the vein of Celtic Frost on "The Curse".

Wish You Were Dead EP, 2009

My Space


This is another band formed by the Metallica (and ex-Flotsam & Jetsam) bassist Jason Newsted. Here, instead of Devin Townsend, he has invited Andreas Kisser from Sepultura to help him with the recordings (Tom Hunting (Exodus, Angel Witch)- the drummer, takes t in both projects). Based on the split with his other band IR 8, this is definitely the lesser band with an almost hardcore-ish sound bringing to mind Nailbomb, with a more light-hearted attitude despite the ambitious, 7-min long "Zone of Death". The band name is formed from the names of the three acts where the members come from (Sepultura, Exodus, Metallica).

SpermogoDemo Demo, 1995
IR8 vs Sexoturica Split, 2003

Official Site


Aggressive Slayer-esque thrash with touches of death metal; fast intense music with gruff death-ish vocals and cool melodic slower numbers thrown in ("The Cold War").

Fade Out Full-length, 1992


Based on "Scarma", this band play quite cool modern progressive thrash, a tendency already suggested by the band name. The musicians try to live up to the expectations with melodic hooks aplenty and more intricate stylings reminiscent of Opeth. The influence of the aforementioned Swedish masters is more evident on the slower material ("Bone Exposed"), and shades of later-period Sieges Even and the Andromeda sneaks in on the more serious material like "Sparks in the Water". The diversity spreads quite wide after "Fleeting Lights" provides a Death-esque twist the guys acquitting themselves in a way no worse Chuck Schuldiner (R.I.P.) himself. "Wrath of Manking" is a formidable thrasher again with echoes of Death, and "Dead Flowers in Your Memory" is a more atmospheric piece with a balladic passage served among the impetuous, hectic thrashing. "Insomnia" is a more linear headbanger, and the final "Walking the Serpent Path" is a more pensive, less rigorous epitaph to this fairly entertaining versatile effort which sees a rising star on the progressive metal horizon possessing all the requisite arsenal to become one of its leaders not far from now.

Trendkill Full-length,2011
Scarma Full-length,2016

Official Site


With their brutal proto-death sound Sextrash fit very nicely along other representatives of the more aggressive side of Brazilian thrash metal like Sepultura, Sarcofago and Vulcano; "Sexual Carnage" is by far the band's finest achievement with its raw vicious thrash/proto-death approach and frequent blast-beats.

XXX EP, 1989
Sexual Carnage Full-length, 1990
Funeral Serenade Full-length, 1992
Rape from Hell Full-length, 2006

Official Site


These epic heavy metallers have given a nice thrashy twist to their music to the point that some may not be able to recognize the band at first listen. The sound now has moved towards the progressive power/thrash metal realm where acts like the Swedes Pathos and the Canadians Eidolon belong. The French's guitars are more crunchy and they are a bit more dynamic the latter expressed in a great way on the opening "The Old Man's Tree", a seamless blend of heavy smashing riffs and quiet balladic breaks. "Pretium Doloris" is a hectic jumper with a furious speedy section and a slight keyboard background, and "Suicide Obsession" is even heavier with doomy overtones and an even better keyboard support. "A Blank Chamber" is an exemplary dark thrasher recalling Sanctuary's "Into the Mirror Black" with a fine female vocal participation near the end followed by a supreme up-tempo thrashy break and a nice lead-driven chorus; too many things to watch out for here, eh! "Nail And Spear" continues the damage in an aggressive heavy manner with a great balladic "relief" in the middle introducing another melodic chorus. "Pendulum Motion" is a very good ballad with the singer shining all over with his dramatic clean delivery and the casual, but effective, adherence to the higher registers. "Ecstasy In Sin" is a more ordinary modern semi-groovy thrasher overshadowed by the speedy closer "Apocryphal Anthem" which serves another slab of hard-hitting dark thrash with the obligatory nice melodic chorus. This change of direction is more than welcome, although their hard-core fans may be quite startled at first since the epic "decorations" are almost completely gone, and the guitars have a decidedly more aggressive darker edge taking considerably away from the band's more carefree optimistic sound of old.

Ov Asylum Full-length, 2009

My Space


Modern power/post-thrash which develops in a merry radio-friendly fashion not engaging the listener a lot who should be mildly entertained on the edgier "Exultation of Beasts" which emits a portion of hard-hitting riffs toped by mid-ranged semi-clean vocals which suddenly exhibit a much better cleaner side the latter causing sax-driven interludes and sudden virtuoso lead sections. You don't get the diverse picture...

Careless And Ruthless EP, 2013


Members of the death metallers Krabathor and Master have gotten together to play some thrash for a change. Based on "Sinn Fein" the guys give preferences to the modern 90's scene despite the brisk retro thrashing opener "Politics". Later on the music takes a modern orientation, not too far from Cyclone Temple and Flotsam & Jetsam's "Quatro". Sparkles of the classic sound can still be heard ("On The Edge") as well as pointless very tender instrumentals ("The Change (For Marcelle)"; this change might work for Marcelle, but not for us...) which ruins the angry sound, and the remaining three tracks are softer, crossover-tinged with the bonus track being another very melodic non-metal deviation.

Sinn Fein Full-length, 1995
Propaganda Full-length, 1997
Suicidal Society Full-length, 2000
Again With Hatred Full-length, 2006

Official Site


Based on the "Coup de Grace" demo, this band offer a mix of slower atmospheric tracks with a certain pagan/epic element ala later period Destroyer 666 ("Converted to Evil"), and really cool headbangers in the vein of Sodom's "Persecution Mania" and Exumer's "Possessed by Fire" ("Child Saint").
The debut demo is raw, but energetic Germanic speed/thrash, this time also adding Destruction to the other already mentioned influences. "Iron Crosses" tries to break some death metal ground, and is a cool aggressive number with a nice, contrasting to the simplistic riffs, lead guitar work. "Trophies Of War", on the other hand, settles for more laid-back speed metal ala Iron Angel's "Winds of War".
"Traitor's Gate" is a different "animal" epitomizing a style not far from the early works of their more renowned compatriots Destroyer 666 fiercely mixing black, speed, thrash and death metal, safely walking on well-trodden paths. Some epic touches are also added to the already overdone mixture including one full-fledged epic monster (the closer "Orgy of Corpses"), to ensure the album's wide appeal. The songs aren't very short, but the musicianship is so simplistic that this is hardly necessary. The guys' sense of melody has to be acknowledged, though, and speed/thrash metal hymns like "Exorcised Remains" and "Malignant Expulsion" may end up big hits in someone's player. "Exhumed From a Watery Grave" is a marvellous short acoustic instrumental, another plus in the band's discography.

Orgy of Corpses-Rehearsal slaughter Demo, 2005
Coup de Grace Demo, 2006
Inquisitor's Curse Single, 2007
Traitor's Gate Full-Length, 2009

Official Site


Atmospheric progressive thrash metal with quite a few gothic elements and gruff death metal vocals, supported by other clean, but not that convincing, ones. This is mid to up-tempo stuff with cool heavy guitars, not very technical, and good more immediate thrashers ("Meanders of Imagination (VII)"), albeit infused with keyboards, which are all over the album, but not in a very annoying way. The thrash metal fan will not enjoy pure gothic pieces ("Stoneflowers"), but crushing doomy thrashers, like "... Light (t One)" and the nice progressive thrash closer "Birds" will surely make his day; but he needs to close his ears for those keyboards, which at least on this last song are a bit overused.

Sounds of Memory (Chapter...Echo) Full-length, 1997

My Space


This Brazilian outfit play an awkward mix of classic thrash the oncoming 90's trends resulting in an uneven effort which has its raw charm (the intense shredder "Timesteps", "Gardens Of Despair"), but another big detriment is the awful noisy sound quality which deafens the several atmospheric keyboard passages which at least can be better heard on the closing emotional ballad "Twilight Wind" where the otherwise rough semi-clean singer manages to pull out inspired attached performance.

The Enlightment Demo, 1991


Pretty cool all-instrumental music crossing the staple progressive structures with a healthy doze of thrash and death metal. The approach is modern with a dry, mechanical guitar sound and the tempo is almost mid. The leads are not very long as the focus is clearly on the riffage which is pretty heavy and doesn't contain any overt technicality although the hectic patterns on "Break the Distance" may make your head spin a bit. There is an unobtrusive keyboard backgroung as well which takes more space on the excellent atmospheric heavy ballad "Ghosts Of Haunting Memories". The final "The Grand Despair" is really "grand" being a 10.5-min opera of swirling riffs, hard-hitting sections, orchestral arrangements (an opera, indeed: check the closing passages), and quiet balladic breaks. Few will complain after hearing this engaging, thought-out music, despite the abundant supply of all-instrumental efforts of recent years.

Shades EP, 2011


The band's style ranges from more simplistic, early Slayer-like thrash on earlier works, to somewhat more technical one on the last demo. Both styles have their cool sides, like the jumpy, hectic, but quite intense "House Of Fools", or the aggressive direct thrasher "Legions of Corruption" from the debut demo. "Under the Skeptic's Eye", on the other hand, serves more sophisticated intensity with more clever riffs which still don't stand too much on the way of neck-sprainers like the indomitable "So Who's Your God". The style on the last effort crosses the pounding aggression of Sacred Reich with the more technical side of the Bay-Area the more ambitious delivery toned down by the presence of two live performances of tracks from their older demos.

1st Demo Demo, 1988
2nd Demo Demo, 1989
3rd Demo Demo, 1989
Under the Skeptic's Eye Demo, 1991


This is a modern hybrid between post-thrash and a bit more hard-hitting thrash, generally pleasant feelgood music in mid-pace with good melodic leads. "Mora Xo" is an admirable volcanic shredder with super-heavy guitars and brutal death metal vocals which are a bit mellower on the other numbers. This is a bit monotonous effort with a consistent seismic sound which may wear thin at some point, and may win some fans from the doom metal spectre.

Xongram Full-Length, 2010

Official Site


If the Agent Steel sound after the reformation is to your taste, then you have to track this band down: power/thrash with interesting choruses and a more ambitious song-writing. The lead guitar work is good, and the riffs have this genuine dark brooding edge. The music is mid to up-tempo with interesting orchestral choruses carrying slightly the happy spirit of the speed/power metal movement of the 90's. The songs are long (the opener "A Dream of Dreams" alone is 9-min long), but there is no technical performance here, just heavy pounding riffs aplenty. "Brave Murder Day" has no relation to Katatonia although it starts as a gothic-tinged ballad, before it speeds up. "Sea of Oblivion" will scare you with its brutal opening riffs, but later it slows down, still remaining quite energetic with great haunting guitars thrown in.

Grimoire of Ruin Full-length, 2006

Official Site


This act established themselves as a leading one on the Russian scene with a string of consistently high quality albums which were more on the speed/power metal side with echoes of early Blind Guardian and Persuader. With "Bringer of Revenge" the guys made a jump at the thrash wagon, and now their new face is more along the lines of Paradox and Manticora. The guys' penchant for memorable, catchy choruses makes every song distinguishable from the others, and the speedy riffage creates multiple headbanging opportunities with hard-hitting songs like "Demon Hunter" and "Back To The Shadowland" which are balanced by the other, more serious progressive aspect: "Secret Left Untold", the heavy semi-ballad "Beware Your Dreams", the eventful speed/thrashing closer "Facing The Truth". The singer is truly a find with his versatile dramatic performance coming as a more melodic version of Hansi Kursch (Blind Guardian).
"Apocalyptic Symphony" is not a sloucher continuing in the same relentless speed/thrashy vein from the get-go with the awesome flying opener "Lunacy Divine". "Treason" is pure sharp thrash ala the last Helstar album ("Glory of Chaos"), and later on the guys get obsessed by thrash for a while abandoning the more intricate formulas moshing out pretty hard for a string of songs until the arrival of the more laid-back speedster "Divide and Rule". Don't expect two in a row, though, and "Reborn in Hate" is another merciless piece with echoes of Slayer and Vio-Lence. Som efans may not be enchanted with the metamorphosis witnessed here since since the album for most of the time is pure direct thrash also recalling adox's "Riot Squad" "Seeds of Sorrow" near the end being the only genuinely mid-paced cut the closer "Seeds of Sorrow" offering the last portion of fast rapidfire riffage to a squashing effect. In the end this effort is not bad at all; on the contrary, it would appeal to the hard-core thrash metal base much more the guys at this stage giving freedom to their more aggressive, brutal nature. The vocals remain on the same high level, not changing their approach to suit the more intense musical delivery.

Bringer of Revenge Full-length, 2011
Demon Hunter EP, 2013
Apocalyptic Symphony Full-Length, 2013

Official Site


A heavy blend of death metal and modern groovy thrash; not bad, with nods to the first two Six Feet Under albums including a very close similarity in the vocal department. The more up-tempo death metal-laced songs work better ("De-Evolve"), whereas the rest kind of lacks energy, even smelling doom at times ("Dog God").

Premature Burial Full-length, 2006

Official Site


The EP: this is quite cool classic power/thrash with dramatic progressive accumulations as shown on the volcanic opener "Let There Be Blood!". "Beneath The Lies" speeds up and creates numerous headbanging opportunities without losing the more complex aura thannks to a couple of intriguing arrangements both in the riff and lead department. "Free At Last" brings back the heavy dramatism with virtuous crescendos and beautiful melodies; and the final "Into The Abyss" is another fast-paced shredder the high-strung singer reaching shrieky Rob Halford-esque heights to assist in this virtuoso saga which is close to the Shrapnel acts' explotis. A truly promising entry for the band whose members are also active with the death/black metal outfit Oath of Damnation.
The full-length fulfills all the promises also with the help of the very dramatic, high-strung vocals and the interesting operatic opening headbanger "Satanic Twin". "Dead Space" prefers the heavier, pounding ways of execution with leads and keyboards forming a cool symbiosis the latter finely captured on the classical-inspired tribute ot Helstar's "Nosferatu" which is "Scream of Darkness". The symhopnic darkness enwrapping the 9.5-min opus "The Awakening" is vintage later-period Hexenhaus and Memento Mori with doom prevailing over the brisker guitars, the virtuoso leads making a few fine showings in the second half. "Moloch's Domain" is a speedy raging proposition, but the closing "Shadows from Within" returns to the more pensive, more dramatic formulas which let several more aggressive strokes through later, the lead guitarist the star of the show again with his exemplary pyrotechnics.

Into the Shadow Realm EP, 2015
War Of The Archons Full-Length, 2017

Official Site


Based on "The Sins of Mohenjo-Daro", this band play acceptable modern thrash which surrounds the groovy formulas with clever dynamic arrangements easily reaching a headbanging fever pitch ("Mohenjo-Daro-Vitrification", "Tip Of The Spear"). Elsewhere the guys relax with more carefree crossover cuts ("Folsom Prison Blues", "Subliminal"), or impress with a more serious, also nicely melodic performance ("The Need To Feed"). The singer is a cool semi-clean throat who emits both passion and aggression in equal dozes.

Watch 'em Fall Full-length, 2012
The Vril Society EP, 2013
The Sins of Mohenjo-Daro Full-length, 2016

Official Site


Based on the demo, this band don't stray too far from the established Swedish thrash/death formula playing an energetic brand of this blend staying closer to thrash. The last track is graced by some fine Oriental tunes to suit the title: "Dubai By Night", although this is the most melodic, and the slowest one here.
"As Black Turns Red" is something more of the same, again "courting" thrash metal more, and the whole album is sustained in a brisk headbanging atmosphere, in mid to up-tempo with the characteristic Oriental motives again preserved for the end which comes in the form of the nice short instrumental "38'000".

Lost in Contemplation Demo, 2003
Eleven Sins Full-length, 2007
As Black Turns Red Full-length, 2009

Official Site


A very obscure act who pull out thrash/death metal of the classic variety which sometimes comes "ornated" with more stylish elements: "They Dig My Grave" is a furious blasting piece which suddenly switches onto atmospheric progressive metal ala Opeth, but not for very long; after all, the guys have to bash like mad, there's no time to waste. Well, but this same bashing is gone for "Blood Street", which is a cool mid-paced crusher in the tradition of Obituary; the singer also reminds of John Tardy at his most agonizing performance. "Tomorrow's Desolation" is an atmospheric, keyboard-laced doom/death song which is long on both atmosphere and execution, but now the listener is completely confused as to what to expect later on. "Finis Glori Mundi" is a great short "leads versus acoustic" instrumental after which the thrashing returns finally with the excellent galloping "Death Penalty" which offers more: a stylish technical section in the middle, more aggressive riffage ala Slayer, and even furious blast-beats near the end. "Death Lament" starts as doom metal again, but later the guys speed up nicely and produce another portion of cool thrashy riffage. "War Feelings" closes this interesting release with style being an energetic progressive thrasher with great melodies and numerous tempo changes.

Shadows FX Full-length, 2001


Decent retro thrash in the spirit of the Brits Xentrix so expect mostly mid-paced Bay-Area tinged stuff with mid-ranged semi-clean vocals. The guitar work is sharp, but pretty samey and except for the slightly faster "Dead Point" there's not much happening in the headbanging detment.

Out of Sight EP, 2009

My Space


Although the band name might pree you to hear some power/speed metal of the new generation, you'll be perhaps a little surprised; not much, because the music is just run-of-the-mill modern Swedish thrash/death. Their sophomore effort is the better one with sharper, more thrash-oriented guitar work and good melodic solos.
"Inferno" is another sure-handed slab of the good old Swedish thrash/death coprising energetic, but also pretty melodic, music which this time features fine female vocals as opposed to the gruff deathy main ones. All out speed, however, is seldom attempted despite the lashing quality of the guitars. "Suicide Reign Of Salvation" is a cool headbanger, but the rest is "plagued" by catchy choruses and infectious melodic hooks which deliver in a different, less aggressive, way also helped by the short acoustic instrumental "The Hurtlocker" and the imposing operatic epitaph of the closing "Alone At The End Of The World" where the female singer completely takes over to a fairly positive effect.

Darklands Full-length, 2003
Hellbound Heart Full-length, 2006
Inferno Full-length, 2012

Official Site


A complex version of the good old thrash served in relatively long compositions (6-8min) where more intense thrashing co-exists with more elaborate decisions the blend assisted by capable high-strung clean vocals which are on the verge of becoming too high-pitchy at times. "Peace in Hell" is more on the stomping heavy side recalling later-period Xentrix (think "Kim") which are the closest reference point. The production is quite good balancing the guitars between being sharp and melodic. It all could have been a tad faster, but there would be a next time for this up-and-coming youngsters...

Peace In Hell EP, 2013


Based on the EP, this act play a more ambitious version of the modern Gothenburg thrash/death reflected in longer numbers and more sprawling arrangements some of which are pure lead-driven ballads. There is some headbanging ground covered, but those moments get lost in the dominating progressive passages which reach out for Opeth too often to make these guys stick out of the crowd.

Of Death and Ruin Full-length, 2009
Heliacal Rising EP, 2011



Based on the full-length, this act serve friendly retro speed/power/thrash metal which begins in a more immediate direct fashion with the first 2 numbers the introduction of progressive which "invades" the album also bringing the winds of epic with it. It stays around for a string of compositions "killing" the energy since the approach is strictly mid-paced and officiant wrapping it up with the overlong (9.5-min) closing saga "Before the End of Life". The singer suits the mellow nature of the music with his warm clean emotional tember, and he can pass for the finest performer here his high-pitched antics quite impressive (check out the closer again).

In the Company of Evil EP, 2010
Shadowseer Full-length, 2014

Official Site


Melodic speed/thrash metal with more progressive leanings at times, similar to the Italians Brutaliator and more recent adox on the more intense moments. "Dropping The Veil" is speed/thrash at its smashing best, ably supported by the more melodic, but still pretty edgy, "Silent Voices", but the guys vary things adding good heavy ballads ("Elusive Emotions") which show the good emotional mid-ranged vocalist in a bright light.

Promo CD 2006 (Remastered) Demo, 2006

Official Site


This not very known Japanese outfit indulge in modern thrash/post-thrash which suffers mostly from the bad quarrelsome, overshouty vocals. The music is only marginally better, though, with punk, crossover, hardcore and groove thrown in to ensure this compilation's wider appeal. More dynamic thrash ("Ultimate Evolution", then maddening shrredder "Zombie Spiral") can certainly be heard, but this is entertainment for a wider gamut of metal fans despite the presence of the word "thrash" inseveral of the song-titles.

Sound Gradation Cmpilation, 2016

Official Site


One of the first (and best) Russian thrash metal bands, Shah played straight-forward thrash metal on their first two albums somewhat similar to Anthrax (the debut), but slighly more technical. "Escape from Mind" is a really heavy affair with sharp guitars and fast tempos, albeit with a muddy sound quality which takes away some ofo the guitars' sharpness at times. The songs are quite long for a first effort, but they are far from mere mindless bashing and some of them come with cool semi-technical hooks which culminate on the fine technical diverse thrasher "Reason X", one of the band's finest achievements.
"Beware" is sustained in the same seismic vein with a slightly more technical edge (the fine heavy thrash piece "Threshold Of Pain") and decidedly better production. The sound is perhaps not as heavy, and some tracks come as mixtures of speed and thrash not too far from their compatriots Master's works from around the same time, and also early Metallica and Megadeth ("Bloodbrothers" with its galloping rhythm will definitely remind you of Metallica's "The Four Horsemen"), among other Bay-Area practitiioners. Overall it's a really commendable slab of interestiing old school thrash with lighter but memorable, also moderately complex on occasion, compositions.
The "Terror Collection" compilation contains old and unreleased tracks, but it's by all means worth hearing as it comprises some of the band's finest moments, like the remorseless blitzkriegers "Killing Machine" and "Overload", the dark atmospheric power/thrashing stomper "Age Of Darkness", the merry thrash/crossover delight "Thrashing Metal Race", the excellent dramatic ballad "Ashes To Ashes" with the great melodic leads, the epic doomy sing-alonger "Metal Fight", etc. The sound quality isn't bad all, giving the fans an even better chance to enjoy this obscure material from the guys' discography.
"P.S.I.H.O." showed a slightly more modern and a marginally more technical approach with the speed reduced quite a bit, and a sound close to mid-period Megadeth ("Countdown to Extinction", maybe even "Rust in Peace" on the best moments), and was a bit of a surprise, but a quality work like this one one can easily learn to appreciate; some less convincing groovy tracks (the Nirvana-sque opening title-track) could have been left out, but the better moments are definitely more.

Madness Demo, 1988 (?)
Escape from Mind Full-length, 1988
Beware Full-length, 1989
Terror Collection Best of/Compilation, 1991
P.S.I.H.O. Full-length, 1993

Official Site


This band play modern power/speed/thrash which at its more inspired touches more recent Paradox with the exception of the gruff proto-death metal vocals. Still, the overall approach seldom takes off the band shredding one-dimensionally in a prevalent mid-pace for most of the time with only the leads being on a higher level. There are a couple of cool tunes thrown in, but withoout the necessary amount of dynamics the band would hardly make their style more appealing on an eventual full-length.
The full-length debut evolves around the songs from the EP so don't expect anything too ground-breaking on the rest: this is a bit less ordinarily served modern power/speed/thrash which starts in a more promising manner with the complex speed/thrasher "Shallow Ground", already heard on the EP, and the short direct bombarder "Death & Destruction". "The End of Everything" is a cool up-pace shredder full of optimistic soaring melodies. The album captures a complicated progressive Manticora-sque ground with the interesting opus "Before The Dawn", an approach which is later admirably repeated on the excellent epic stomper "Cleansing of the Hollow". The guys relax at the end on the short crossover joy "I.D.G.A.F" (aka "I Don't Give a Fuck") adding to the diversity which delivers the goods thanks to the new material, and the band could have pulled themselves together for another 5 songs rather than offering the same ones from the EP.
"Embrace the Fury" starts shredding with power from the get-go with "Once Again", but stomping steam-rollers ("Brace for Impact") kill the inertia which is hard to capture completely afterwards. This eventually happens in the 2nd half with "F.I.U." and "Class Warfare", but a more serious song-writing takes over on the final quasi-progressive "Slayer of the Gods" which still thrashes hard even taking more brutal death metal-ish flavour at times.

Shallow Ground EP, 2010
The End of Everything Full-Length, 2013
Embrace the Fury Full-Length, 2015

Official Site


Modern thrash of the energetic variety, but nothing unusual, albeit with a good sense of melody (the very cool "Persist And Persevere"), and some fine intense headbangers ("In The Aftermath") with a shade of Slayer.

Suspension of Disbelief Full-length, 2006

Official Site


These Poles serve rough hardcore-ish modern post-thrash which is noisy and loud, but contains a few melodic "reliefs". The approach is mostly mid-paced with sudden faster sections and wears thin after a few songs down the line. The singer is quite brutal for this kind of music with his rending death metal tember. Imposing classic galloping riffage one can her on "Slave of Masturbation" near the end which is a prelude to the longer, but also less exciting, closer "Hell" showing an act steadily following long since eslished patterns.

Wonderfuck Full-Length, 2012

Official Site


An excellent 3-song demo of classic 80's thrash; the music is energetic, but not very fast, with meaty heavy riffs ala Slayer's late 80's period, mixed with nice technical guitar work ("Legions" is a great track, a fine example of the latter). Hopefully an official release is in the makings...

Collateral Damage Demo, 2004

Official Site


The EP shows an act playing modern groovy post-thrash with several more intriguing moments the latter sounding like a more aggressive Tool, but the music is pretty repetitive to strike a cord, and more melodic hooks are scattered throughout to show the guys' interest to conquer other territories outside the thrash metal spectre in the future. On drums we have the talented Hannes Grossmann: the man who also plays in Blotted Science, Obscura, Necrophagist, and other super-technical acts from the scene.
The debut demo is by far the band's finest achievement, complex progressive power/thrash with numerous twists which never develops beyond the mid-tempo, boosted by very heavy guitars and cool clean attached vocals recalling the Dan Swano singing attempts through the years (remeber Nightingale, Godsend, etc.). "Perfect Life?" provides the necessary headbanging variation, and is a solid technical galloper ala Helstar's "Nosferatu". "Next Stop: Garden Eden" is a multi-layered composition with puzzling riffs and a morose doomy atmosphere. "Mind Curtain" is a more ordinary progressive metal cut, but "Principles" is a prime 3-min shredder with razor-sharp riffs on a pounding base. The final "Reproach" speeds up for a while again, also serving the oblgatory more elaborate passage ala Psychotic Waltz and the Germans Complex 7. This is a really promising beginning, and one may wish to track the full-length down in order to see if those promises have been realized more fully...

Confusedated Demo, 2004
Fragments Full-length, 2007
The Freal-EP EP, 2009

Official Site


This talented trio play (based on the full-length) excellent technical classic/modern thrash with echoes of E-Force and Skeleton Crew plus an added doze of death metal which becomes immediately evident from the impetuous opener "Fractured Frequencies". Hectic performance replaces it on the next "Astral Agony" which is more on the dramatic side, and "Aphoticism" is an exemplary up-tempo shredder with a less controlled deathy break in the middle. The obsession with speed is even bigger on "Shards Of Humanity" which thrashes on in a calculated stylish fashion. More choppy hectic technicality served with "Internal Rot" which relaxes from the fast-paced side before "Species Ensnared" carries on with the "carnage", this time in a more immediate manner. The closing "Suspension" is 7-min of dramatic mid-paced smash which is kind of underwhelming compared to the much more dynamic material offered earlier, but is nonetheless an engaging original epitaph to this sure-handed debut.

Shards of Humanity EP, 2012
Fractured Frequencies Full-length, 2014

Official Site


This is entertaining very energetic thrash/crossover which can be both aggressive and mellow on demand as the shorter material is decidedly the more intense one. Both sides deliver as the guys don't take themselves very seriously which is not a problem for them to provide vivid inspired stuff which reaches the highest pitch on the nice speedy closer "Return Of The Living Dead" whcih is further boosted by an excellent bass bottom on top of the good semi-declamatory punk-ish vocals.

Demo Demo, 1989


Energetic thrashcore which offers both fast and slow numbers both mixed well throughout although near the end the album loses steam a bit sticking too much to more repetitive groovy patterns wrapping it up with a weird ambient semi-electronic instrumental ("Apple Town").

Power in Us Full-length, 2005 Black Comedy Full-Length, 2009

Official Site


Based on "Miscreated Reflection", these guys come up with a cool fusion of thrash and death metal, more on the classic side, with good guitar work which emphasizes on biting, but melodic riffs. The pace is up-tempo, never too aggressive, resulting in cool headbanging tracks, supported by not very suitable brutal death metal vocals which sometimes sound synthesized ("Kill the Church") to produce an even more confusing effect.

Inward Discord Full-length, 2001
Thousand Scars Full-length, 2005
Miscreated Reflection EP, 2006

Official Site


Modern groovy post-thrash with a more overt shade of hardcore; the dual vocal attack is quite curious, one being semi-shouty death metal-ish, the other screechy hysterical, both sides alternating on every track, creating a lot of drama in the process although the haevy mid-paced domination established on the opening "Dog's Water" seldom changes. Still, there are pleasant surprises like the stylish melodic leads on "Rip the Stitch", and the hectic dynamic rhythms on "Discard" which will remind of early Pro-Pain, among other similarly-styled acts.

The Shatter Brain Demo, 2018

Official Site


This band was founded by Curran Murphy: a famous figure in the metal world having done service in bands like Nevermore, Annihilator and Faustus. From the bands listed only Nevermore could be cited as an obvious influence. Although the dominating style is dark power/thrash metal with progressive overtones, also recalling the Germans Psychotron and the Canadians Eidolon, the band reach hands towards more distant ones: both albums include a few fast parts, and some of the heaviest moments would fit even on death or black metal releases. When the guys keep it short, they thrash like there's no tomorrow ("God Burns Like Flesh" (guess from which of the two albums!), to give one example) and the music picks up considerable intensity. In other words, the overall result is definitely on the positive side and with a more focused, less scattered sound for the future, things could reach further.
"Hail the New Cross": the guys paused to take a breath which took the shape of a 6-year hiatus. Not much has changed since the early days, though, the band serving a modern-ish "cocktail" of power and thrash with dark sombre overtones the crushing heaviness of Nevermore felt ("How Deep the Scar") strongly at times; at others more impetuous speedy cuts appearing out of nowhere ("Loyal Betrayer", "Gods of Divinity") to bang the head for a while. "Mercenary Machine" near the end provides a curious portion of more technical riffage, and the final "This Addiction" drags the album down with its uninspired blend of doom and the semi-ballad. This is not really a bad effort, but is hardly a step forward from an act who are supposed to fulfill a lot of expectations and have failed to do so with whole 3 releases so far.
"Orphans of Chaos" is a more appetizing mix alternating fast with slower numbers, and short exploders like "Shallow" and "Slave" will make the head bang in no time. "Nothing Friend" is the staple for the band melodic progressiver, but it hardly elevates this album to the higher echelons. It's proto-gallopers like "The Mad Man Lies" which make this effort deliver, and partly the deviations from the norm like the doom metal opus "Doom" which is a great morose anthem in the spirit of Candlemass. However, the highlight here seems to be "Disruption", a marvellous technical shredder with the dramatic pounder "Thoughtless Timeless" a close second. The closer "Free" is just an epic ballad, and is not really the rousing epitaph this work deserved having in mind the vigorous nature of the preceding materialwhich makes this album the band's magnum opus so far.

Never to Play the Servant Full-length, 2006
God Burns Like Flesh Full-length, 2007
Hail the New Cross Full-Length, 2013
Orphans of Chaos Full-Length, 2016

Official Site


Derivative modern thrash/death metal with a few more technical deviations, quite melodic as well; there's a lot of energy put into the proceedings, and the headbangers will generally not be disappointed as the guys play on full speed for most of the time. The several more stylish jumpy moments ("Our Future Will Not Rot Forever") could have been extended since they carry the desirable digression so it remains to be seen how things will turn out on future releases...

Opening of the End Full-length, 2010

Official Site


These guys specialize in modern power/thrash with more complex tendencies. The music meanders through the spectre being at times intense ("Deceitful Heart"), at times more laid-back ("Oblivion") with strong orchestral overtones. Generally the pace is mid with quite a few jumpy decisions and pretty heavy riffage which needs more dynamics. The singer is not bad with his attached clean delivery sticking to consistent mid-ranged notes with a pinch of the higher registers.

Fragments EP, 2012

Official Site

This act started as Rude Awakening when they released two demos in the early-90's of decent classic thrash. The album here is a blind imitation of The Black Album down to the hoarse James Hetfield-like vocals. The music is mid-paced and not very imaginative and not many would be those who would be willing to stay with it till the end. "Revolution (The Solution)" in the second half is a surprising ripper, and later on we have "Climbing The Walls" which is a galloping wonder followed by the clumsy doom/ballad "Why". The end is the highlight with two energetic headbangers correcting the impression from the uneventful start raising the moshing bar high leaving the Black Album influences far behind.

Forget to Remember Full-Length, 1994

Official Site


Based on "Consequences", this band plays pretty decent modern thrash close to their renowned compatriots (or rather, compatriot) Annihilator of the mid-90's ("King Of The Kill" in ticular, which is good since this is one of the few good Annihilator albums). The problem is the singer who alternates from low-pitched metalcore to semi-clean vocals (kind of the ones used by Machine Head on their later releases), to low death growls. This calls for a big talent, but as a matter of fact he doesn't leave a very good impression. "Crushing Down" is a very good headbanger (if we exclude the not very convincing, groovy ending), the best track on the album. Reportedly, the band have expanded their horizons outside the mere Annihilator-worship on the follow-up, and have done a better job.
"Dead Precedence" indeed has very little to do with Annihilator, but without a model to look up to, the guys have messed it up playing ordinary, occasionally groovy, modern post-thrash livened up by more up-tempo thrashing numbers ("Torn At", "Gone", "Dead Precedence") from time to time.

Consequences Full-length, 2004
Dead Precedence Full-length, 2006

Official Site


This is the name of a versatile musician from Israel who produces not very original modern thrash also rich in atmosphere mostly sticking to dark pounding riffage with some progressive pretensions which are not clearly defined and at times grow into too sprawling operatic sections ("Humanity's Dusk") to no purpose. The short numbers are to mellow to hold water, and the end is clearly underwhelming being a quiet tender ballad ("Just Wanted To Say..."). This sounds as a rehearsal the guy makes before embarking on a more serious career, and as such may be viewed as a not bad first effort.

...And the World Shall Burn Full-length, 2011

Official Site


Based on the "Armageddon, Anyone?" demo, this band pull out an intriguing, sometimes chaotic, mix of thrash of the mechanical modern type and death metal with a certain technical edge which works very well on "Swallow My Tongue". "Joy To The World (The Coming Of Kali)" is more straight, but the heavy crushing riffs are hard to be ignored. "Armageddon, Anyone" picks up more aggression and is quite an intense technical death/thrasher with a dry Meshuggah-styled beginning and ending.

"Time Like Vines" includes all the songs from the reviewed demo, slightly remastered, plus another solid selection of varied ones, starting with "Time Like Vines": a nice combination of dry mechanical riffs and aggressive death metal sections. "Der Untergener" is a cool technical death/thrasher, spiced with more quiet progressive passages ala Opeth. "Beyond the Borders of Our Minds" is direct death metal madness, after which another excercise in more complex metal comes: "Shapeshifter", again mixing brutal riffage with the obligatory sprawling progressive t. "Becoming the Morningstar" preserves the more melodic sections, but the riffs are slower, albeit still technical and crushing, with a shade of the Swedish scene.
"This City Speaks in Tongues" is more brutal, and leaves a little room for thrash metal amidst the raging black/death. The good thing is that the technicality hasn't disappeared, but on the contrary, is more frequently adhered to, resulting in really good technical numbers: the excellent Coroner-influenced mid-paced vortex "An Age of Leeches", the awesome twisting Cynic and Atheist worshipper "Tea and Toast at the Very End of Time". But this is not all since the guys push the pedal later on to produce faster and more aggressive, but equally as technical, songs: the nod to Morbid Angel "No Zen", the smashing technical headbanger "Consider This a Warning". The closer "Servitude" is a completely different "animal" opting for a slow doomy mechanical sound with a nice final mid-break.

Demo Demo, 2003
Video clips Autumn Demo, 2003
Armageddon, Anyone? Demo, 2004
Human all too human Demo, 2004
Time Like Vines Full-length, 2006
This City Speaks in Tongues Full-length, 2008

Official Site


Modern thrash/death metal with numerous metalcore decorations; wild chaotic stuff with screechy black-ish vocals, finished with a brilliant orchestral violin/piano-driven piece which is by far the highlight. The guys named themselves after a Cannibal Corpse song.

The Downfall of Mankind Full-length, 2008
Thanks Maria For Suffering EP, 2010

My Space


Angry, groovy 90's post-thrash with more energetic hardcore additives; the vocals are on the shouty deathy side, but assist the varied musical background without too many setbacks. "I Am Mad" is a cheery faster-paced roller-coaster with more intriguing spacey quirks, and "Kill The Old" is a short ball of fury the guys bending it no worse than Wehrmacht on this one. The band changed their name to just Shedding later, and produced two full-lengths of brutal death metal/grindcore.

Time for Inner Confession Demo, 1998

My Space


Direct bashing death/thrashcore of the heavy, crusty type on a noisy, chainsaw-like, background; brutal death metal vocals and simplistic, dissonant at times, guitars shake hands here, plus the addition of cooler atmospheric, blacky moments ("Blood Sludge").

Conditioning EP, 2011


A very obscure entry from the Spanish metal underground; the band have talent in abundance, though, aptly displayed by the impetuous galloping opener "Entre Tinieblas", and the furious speedster after it "Escapa". The gallops become choppier and more technical on the 9.5-min progressiver "No Tienes Nada", before the "eagle fly free" hymn "Uno Mas" unaigurates the whole 90's power/speed metal scene with its soaring, optimistic rhythms. "Atrapado" is another ambitious 8-min shredder with more overt thrashy tendencies; and "El Mas Alla" is another epic "horse rider" summing the prevalent mood here. The singer isn't even half as good as his colleagues his indifferent, weak vocals pulling this admirable effort down.

Sheilan Full-Length, 1989


Only one person, the name is M. Reichelt, is responsible for this weird eerie mixture of industrial, thrash, doom/gothic, and black metal with a rich keyboard background and deep declamatory vocals. The music is very atmospheric focusing on the industrial and gothic side more, but still manages to produce the excellent dark technical thrasher "Frozen Senses" at the end which is a compelling mix of macabre keyboards and sharp complex riffage topped by dramatic sinister choirs.

Frozen Senses Demo, 1998

Official Site


A true obscurity which possibly embraces the band's entire discography comprising whole 14 compositions. The style is very dark, almost doomy the mid-paced delivery seldom interrupted. The atmosphere grows bigger with each passing song also accentuated by sparse keyboards The vocals are gruff, low-tuned with a death metal shade and often get lost among the semi-amateurish musical cavalcades.

Maquetas Compilation, 1990-1997


Like most of the Japanese thrash metal bands, Shellshock also refuse to follow the conventional paths of the genre. The EP and the first two albums are cool retro thrash with not very overt hardcore tendencies. "Mortal Days" is the band's finest hour: a cool and varied effort with heavy riffs and rough angry vocals. Even the slower more melodic tracks ("Balance Of Society") are well done with a slight hardcore edge. The only annoyance is the soft punk-ish title-track which very undeservedly carries the album title that would better suit the speedy thrash/crossover delight "Killed By Myself", or the nice pounding closer in the Vio-Lence vein "The Cage". On later releases there's a lot of experimentation with the modern 90's sound including quite a few moments outside the thrash metal grasp.
"Protest And Resistance" is another commendable effort although the guitars come with an angrier, more abrasive edge at times. Still, the retro thrash/crossover parade carries on on full-throttle with a few stylish stops along the way like “The Answer of Technology”, a nice more technical piece with hectic riffage and very good bass support; and especially “The Last Battalion”, a consummate work of surreal progressive thrash which even touches the guys' compatriots Doom and Mekong Delta on the more quirky moments. “Virtual Image” is another trippier excursion into the realms of less ordinary thrashing, but there are several short hardcore explosions that don't stand too well against the more elaborate material.
"Fiel Larm" is a full surrender to the groovy post-thrash idea the guys making more of a noise than trying to play carefully constructed music. There a few more original ideas aka mid-90's Voivod roaming around, but their presence simply isn't enough to ensure this effort another listen from the more serious side of the fanbase.
"Shi" is the comeback album for the band, but in this case the guys have turned to modern semi-technical post-thrash and have managed to come up with an original, offbeat work. This is an eclectic affair which shouldn't be a surprise coming out of Japan, and at times this album even touches the twisted histrionics of their compatriots Doom: the hallucinogenic hectic "Ikomiki Ichi Hai", the minimalistic creeper "Ikomiki Ni An", the more aggressive puzzler "Ikomiki San Ro", the chaotic noisy experiments on the closing "Ikomiki Shi Sin". It sounds like an entirely new beginning for the band which at this stage sees them joining the less conventional echelons of the metal scene with which their homeland has always been proud.
The "Beyond Resurrection" EP contains re-recorded tracks from the guys' early efforts, hopefully the first step towards returning to the roots although the direction taken on "shi" is also worth pursuing.

Self Defence EP, 1987
Mortal Days Full-length, 1989
Protest And Resistance Full-length, 1990
Fiel Larm Full-length, 1992
Graythem...Of Chaos EP, 1994
shi Full-Length, 2013
Beyond Resurrection EP, 2017

Official Site


Brutal thrash/death metal with a very bad sound quality and even more brutal death metal vocals which come synthesized, and awfully try to scream higher to an even more frustrating effect. Otherwise the music makes sense at times being fast, intense and hectic, even managing something more technical on the closing "The Way Of Virtue" which is a very cool mazey complex track with twisted spiral-like guitars (could have been written by another band?).

The Way to Death Demo, 1992


Acceptable old school thrash with a Bay-Area flavour; the tempos shift throughout the songs which are lengthy with a few technical pretensions (the bouncy lively shredder "Subject Matters"). The vocalist does a very good job with a melodic clean mid-ranged timbre which he doesn't really change for the cover of Black Sabbath's "The Wizard" at the end that is nicely performed wth a more dynamic rhythm-section. Later the guys lost the thrash metal idea and continued in a more streamlined industrial rock/metal direction.

Devolve EP, 1991

Official Site


The guys from the progressive metallers Mystic Force have hardened the course a bit on this modern alternative power/post-thrash metal offering which mixes groove with more intense thrashy ("Sins", "Gone Wrong") sections, but hardly leaves a more positive impression than the musicians' main act: it's a pretty pedestrian affair with just a few more stylish moments: the mechanical technical thrasher at the end "Without A Soul"; the abstract creepy 1-min instrumental "Choir Of The Damned". The rest is just non-engaging mid-paced to slow-ish riffs with an abrasive industrial shade.

Creating A Monster Full-length, 2006

Official Site


These Italians offer modern melodic thrash which adheres to metalcore breaks, clean vocals (mixing with the main brutal death metal ones), and other equally as unimpressive tools. The overall approach is faithful to the Gothenburg school although one would hardly come across any up-tempo passages, the guitars producing a lot of lyrical/balladic sections some of them coming with a more acceple melancholic/gothic flavour.

Origin of Your Beauty EP, 2010



These "shit wizards" play rough crusty thrashcore with very brutal low-tuned death metal vocals. This is one-dimensional bashing music, but isn't exactly "shit metal": the guitars can be distinguished, and the riff patterns, albeit very simple, are comprehensive and accessible.

Shit Metal EP, 2012


Based on the "I.N.R.I - F.O.A.D." EP, this "shitty" (also "fucky") act brings the cataclysmic grindy approach of early Cryptic Slaughter mixed with abrasive moments ala Hellhammer; a very contrasting blend as a whole, and if it wasn't for the awful sound quality one may have enjoyed this stuff more, especially the atmospheric doomy closer "Cloned Sheep for Butchery" which comes pleasantly industrialized in a way not too dissimilar to Godflesh. Some of the musicians attempt something more thrashy and punky with Reaper.

Human Disorder EP, 2006
I.N.R.I - F.O.A.D. EP, 2008

My Space


The silly name hides a decently executed take on the old school thrash which borrows from Slayer's heavier period (1988/90) including the impersonation of Tom Araya done by the singer who is a dead ringer for his renowned compatriot, and a fairly good one at that. The sound becomes more modern in the 2nd half where some proto-groove sneaks in the songs getting heavier again reflecting Slayer's more recent "modern" period. The steam-rolling nature of some of those tracks is admirable ("Human Spirit") even coming with a few more dynamic headbanging riffs with a deathy tinge, but generally the focus is on squashing volcanic riff-patterns without too much variation.

ShitKIll Full-Length, 2011


The "shitty" name may have been an obstacle for the band to find wider audience, despite the presence of Matthias Hechler: the guitarst who is a full-time member of the German gothic masters Crematory. Based on "Vortex Cordis", these guys pull out competent modern technical thrash, quite close to the French one-album-wonder Aleister. On the more inspired moments the sound also recalls their compatriots Depressive Age: the awesome progressive thrasher "Bloodmoney". The band sometimes leaves the technicality behind to concentrate on more smashing riffage: "Playing God" which, despite the hammering guitars, can still be defined as semi-technical. Other tracks are considerably slower, still quite technical, bordering on doom: "Global Assessment Score". The vocal variety is quite big: we have main hardcore-ish shouts as well as occasional clean ones in the vein of Jan Lubitzki (Depressive Age), semi-clean ones, and brutal death metal growls. The middle is occupied by a couple of shorter, less elaborate numbers which keep the intense thrashing going without too many technical deviations. The acoustic version of the best song "Bloodmoney" ruins the pace almost beyond repair, a situation saved by the technical pounder "Septic Selves" and the aggressive exploder "Recoil", an arrival from the debut EP. The closer "Me, Myself And I" is another disaster: dreamy, balladic and boring spoiling the final impression to a considerable extent leaving the listener bewildered as to what mark to give this effort.

The "My Silence" EP comes after a long 10-year break, but is hardly necessary seeing the guys having lost their technical skills, or at least having forgotten them in the 90's, and they offer us bland unimpressive modern post-thrash which would have sounded outdated even ten years ago. After hearing this, one would probably advise the band to take it easy if they plan on releasing a full-length any time soon.
The debut is another commendable achievement, at least for the most part, consisting of just six numbers, but they're lengthy and thought-out crossing the modern and classic school expertly creating numerous complex moments along the way. The opening "Book Of Condolence" is a heavy later-period Metallica-sque cut with a few twists and turns, but "Playing God" is a fast technical shredder with echoes of Coroner and Deathrow. "Act of Grace" is more laid-back with very good bass support and is more on the avantgarde side with the eclectic decisions and the choppy main rhythm. "Subsonic Friction" is also more on the slower half of the spectre the heavy riffage from the beginning brought to the fore again with a few funky variations dispersed. "Recoil" is dramatic progressive thrash with sparkles of speed and a fairly intense ending. The final "Me, Myself and I" is the awkward jumpy ballad later also heard on the sophomore opus, and pulls this effort towards the "golden middle" of the German progressive/technical thrash metal wave of which this album is an indelible part. The follow-up is a superior, more coherent, achievement whereas here the band let their experimental spirit fly higher to mixed impressions.

Lukewarm EP, 1993
Vortex Cordis Full-length, 1997
My Silence EP, 2007
Broken Vow Full-length, 2010
Flesh and Fear EP, 2016

Official Site


Based on the demo, this act pull out not bad classic thrash with brutal underground death metal vocals. The guys try hard, and the music isn't completely without merits with varied tempos offered throughout, plus a few catchy melodic leads. The sound quality is quite good, and the band wisely and aptly avoid the groovy traps along the way playing with inspiration and energy.

Psycho Friend Demo, 1994
CD 2000 Full-Length, 2000

Official Site


A classic mix of power, thrash and speed metal with a couple of modern throwings; the tempo varies the whole time, the dominant one being mid, but interesting with different riffage on the tracks and cool attempts at less conventional melodic insertions. The bass is quite good, and the singer is not bad, either, with his levelled clean tone with a cool gruff shade reminiscent of his compatriot Mikhail Seryshev (Master).

Mir Obezlichen Full-Length, 2010


Cool melodic speed/thrash metal recalling Tank and mid-period Exciter ("Long Live the Loud", "Unveiling the Wicked"); although some of the song-titles are too promising: "Sonic Assault", "Full Speed Ahead", there is nothing aggressive, or too fast here. "Slashing to Live" even has a strong heavy metal (Judas Priest) flavour.

Demo Demo, 1986


Based on the demo, this act provides mellow post-thrash with playful heavy/power metal overtones: think Skid Row and early Laaz Rockit. Don't get pulled back: this is dynamic music graced by cool attached clean semi-clean vocals ala David Wayne (R.I.P.) also bringing some punk-ish aesthetics due to the simplistic, carefree execution.

Damned Demo, 1993
Droppin The Bomb Full-length, 1995

Official Site


Based on the 2006 promo, this is well-executed fast-paced thrash/crossover, clearly old school, recalling quite a few veterans from the 80's scene: Slayer, Nuclear Assault, D.R.I., Razor.
"Blades and Rods": a nice shredding Oriental-tinged intro welcomes you into this entertaining thrash/crossover affair which this time comes served with a bigger doze of melody without stifling the hard riffage. The music is predominantly fast with Slayer touched on the more aggressive ts with ease ("Vice", "Road Thrash"). Jolly speedy crossover numbers will one find aplenty here assisted by gruff semi-hardcore, but comprehensive, vocals akin to Bob Reid (Razor).

Bad Reality Demo, 2004
Promo Demo, 2006
Shock Troopers Full-length, 2007
Blades and Rods Full-length, 2010

My Space


This obscure Dutch band play thrash metal of the old school mixed with occasional modern "updates". The guitar work is good, and some of the melodic lines are simply great (check out the opener "Tears"), as well as the leads. "Why?" carries a fine technical edge which can also be heard on the intense thrasher "Lost in Life". "M.I.A." follows with even more aggressive riffage, and "Different Colours" spices things up with modern groove and rappy vocals, amidst the raging thrashy riffs. "Someone" is a ballad which "apologizes" for the lost energy with fine up-tempo moments in the second half. "Chucky" is an odd number which wastes 2-min with just lyrical guitar play, before it introduces bad groovy sounds which the intense thrashing that comes later can hardly save from sinking. "Reprise" is even more confusing being a short 2-min techno/electronic piece. The ending is not too impressive, either: "P.P.", which is melodic thrash/crossover, with very little to remind of the aggressive thrashing of the earlier material. A fairly uneven work as a whole, this album tries to mix as many styles as possible on a solid thrash metal base which, at least in the 1st half, delivers the goods no worse than the latest offerings of Slayer and Sepultura from the same time.

Lost In Life Full-length, 1994


Sleepy morose modern post-thrash which creeps forward with steady mid-paced rhythms which often border on the balladic/semi-balladic the calm, peaceful rifforamna led by equally as dispassionate clean singer who may pass for the best performer here since his colleagues go through the motions indifferently the only excitemet generated on the more dynamic closer "Corridor of Mirrors".

Over the Threshold EP, 1999


This is good complex classic progressive thrash sustained in heavy mid-pace which clings towards the semi-ballad on the doomy thrasher "The Denial", but more intense, also more technical riffs are served in the second half which later flow into the dynamic shredder "Reality Check". The vocalist is a high-strung clean timbre who leaves a positive impression with his attached antics.

Demo Demo, 1993


This is industrial post-thrash with suggestive atmospheres and a few creepy semi-technical decisions trying to combine the hard discordant aesthetics of mid-90's Voivod with a more stripped modern thrashcore approach the combination working mostly on the longer "From The Eyes Of The Martyr" whereas on the other two songs ("Scars On Land" is a brooding quasi-doomy instrumental) the patterns are a bit too dragging and repetitive to strike a cord including the vocals which are harsh of the semi-shouty type, but suit the bleak landscape which needs a little to stand beside mechanical works of hopelessness like Godflesh's "Streetcleaner", for example.

Recharged Demo, 2012


Vintage 80's thrash/crossover, well done; the hard-hitting riffs will make you headbanging like crazy, the way 80's acts like Nuclear Assault, Sonick Plague and Blessed Death have made you to. The band's style is characterized by jolly, punk-ish atmosphere, also bringing them close to Municipal Waste at times, but the Brits' music is more aggressive and more classic-sounding.
"The Dividing Line" is another solid slab of retro thrash/crossover, but here the attitude is less serious, and the concentration is clearly on the crossover side. Still there's a lot of intense headbanging thrash to be heard: there are whole 20 tracks here, with just 3 of them passing over the 2-min line and the tempo seldom descends to mid so there's no moshing lost on this one. The middle t is occupied by a few more laid-back crossovers ala Suicidal Tendencies for the guys to take a break and continue the damage. Oh, and let's not forget the closing "Unrest In The Northwest", which beats all records in terms of length, providing slightly more than 4-min of pure unadulterated thrash to wrap it up nicely.
"Problems to the Answer" is another roller-coaster of more temperate thrash/crossover, with crossover/hardcore prevalent seldom branching out in more brutal grinding ("White Bread") parts. The approach this time is fairly close to S.O.D. (their legendary debut, above all), its appeal further increased by merry-go-round power/speedsters like "Tales out of School". The last two songs are longer: "Dismantle the Dream", which is a light-hearted power/speed/crossover hybrid; and the instrumental "Strangenotes" which is a nearly 8-min extravaganza sacrificing the more dynamic thrashy beginning for a peaceful piano-driven ambient exit.
"Limp.Gasp.Collapse": the thrash/crossover "freaks" are back in action, and there'll be no end again to the streak of lashing sharp guitars which at times reach a near death metal intensity ("Burn All Fields", the blasting madness "Pig Owned"), at others is pure sincere hardcore ("The Sleeper Awakes") at its most threadbare. The diversity is quite big, and the fans will by all means appreciate rippers like the Slayer-esque "Stress of Excess" or the contrasting, almost semi-technical, "Beige". The biggest surprise would still be the 10-min saga at the end "Crushed by Drudgery" which is a not very eventful mid-paced dirge.

SSS EP, 2006
Short Sharp Shock Full-length, 2006
The Dividing Line Full-length, 2008
Problems to the Answer Full-length, 2011
Manipulated Living EP, 2013
Limp.Gasp.Collapse Full-length, 2014

Official Site


Based on the debut, this act provide rough edgy thrashcore/post-thrash which abandons the heavy delivery for the sake of several cool melodic cuts ("Alcohol", but of course!) which bring desirable diversity to the otherwise pretty sterile proceedings. Needless to add, groove comes in copious amounts more or less appropriately, contrary to the singer who tries hard to providea a more melodic delivery, most of the time not deserving, naturally.

Fused Shut Full-length, 1999
Loud Is Good Full-length, 2002


Outstanding progressive/technical thrash which befuddles the listener with the very first composition, "Dilemas De Un Pasado Incompleto", a meandering twister with a great bass bottom and several really intense headbanging passages. "Renacer de las Cenizas" is a puzzler worthy of Deathrow's "Deception Ignored" and Coroner's "Mental Vortex", a complex shredder of the highest order which serpentine nature is partly abandoned on the next "Oscuro Final", a moody creepy piece without too many virtuoso guitar pyrotechnics. The latter return for "Hemisferios" which thrashes hard with vision with echoes of Manticora and Hellfire, not to mention the stunning bassisms "lurking" in the background. Comes the title-track as a finishing touch to bemuse the fans even further with its super-complex turns and shifts, a masterpiece of visionary progressive thrash with a nice atmospheric break in the middle. The singer can't possibly play a very big role here, and the guy doesn't really shine with his mid-levelled, not very adventurous clean baritone. These guys are clearly one of the biggest stars on the South American metal circuit at present, and one can hardly wait to hear their next installment...

Equilibrio Full-Length, 2015

Official Site


This young trio specializes in brisk, edgy retro thrash which "courts" the Bay-Area movement with both heavy and speedy riffs supported by hoarse semi-clean vocals which hesitate between the semi-declamatory and the mean-ish singing type. "Sustainment" opens the EP in a dynamic crunchy manner with piercing, screaming leads before "Exercise This" comes thrashing down in a fast less compromising fashion, a nice reminder of Testament's heydays, with memorable hooks and cool choruses the latter slightly ruined by the singer's thin delivery. "Unswayed" takes a more serious, almost progressive, turn, still remaining dynamic and intense for the bigger part with a certain modern guitar edge at times which screams "Exodus of the new millennium". "Shotgun Cure" is a prime galloper with sharp riffs and another portion of modern, proto-groovy throw-ins in the midlle, which could have been spared this time since they simply are no match to the vigorous headbanging "surroundings" which are nice nods to early Metallica. The closing "Iron Shadow" gallops along with the mustangs from the prairies pretty much in the vein of the preceding track raising the flag of the old school high in a way no worse than "The Four Horsemen" itself; nothing off-context here this time if we exclude a very short acoustic insertion, just classic speed/thrashing shred with energetic riffage and fine melodic insertions. The guys are already well rehearsed to enter the studio for the recording of their eventual full-length: let's see how big a competition they will manage to produce to their American counterparts...
"Swarm": here comes another EP which sees the guys in a good shape once more soundig both angrier and more technical the compositions now are a tad longer with shades of the more modern movement ("Our Altered Remains") and with less speed involved this time which can be viewed as criticism despite the more clever guitarisms involved this time. The band seem well content to stick with the shorter format, and as such their work may just sound even more appetizing based on the subtle changes incorporated with each subsequent effort.
The full-length offers prototypical modern thrash/post-thrash without any particular highlights. The rhythm-section is sterile and mechanized and produces quite a bit of noise along the way. The band's desire to thrash hard has disappeared completely the music now being passionless and pretty bland even with some laughable rock-ish tendencies displayed.

Depravity Unleashed EP, 2011
Swarm EP, 2014
Amorphous Full-Length, 2016

My Space


Don't expect aggressive thrash ala Slayer, hopes raised by the band name: this is thrash/crossover with a certain modern edge, and elements of groove; quite fast and intense at times ("Cities of the Red Night"), at times slower with shades of stoner/doom ("Death is My Religion").

Death Is My Religion EP, 2007

My Space


Modern thrash/death metal which hesitates between the groovy heritage of the 90's ("Fatality") and the more intense Swedish delivery ("Innocent Cries"). There are also a couple of mid-paced smashers with good sharp riffs which seem to be the best t. The singer is a typical angry semi-shouter who doesn't impress, but is not a detriment, either.
"Apnea" is a much better-sounding record although clinging more towards the groovy heritage this inclination bearing several nice "fruit" in the beginning, like the catchy playful hit "Forgotten", or the chaotic jumpy technicaller ("Born Dead" which is technical groove at its absolute best). The 2nd half is way more stylish the band summoning their more intriguing skills to make more heads turn, first with the excellent unpredicle headbanger "Through Flames", then with the captivating progressive spaceyness of "Self Denial" and the closing "Infected" the latter a very cool melodic complexer with a few addictive melodic tunes including a final speedy portion in the spirit of later-period Death. This is a really cool effort seing the guys breaking out of the formularized "chains" taking a path of their own which would surely bring other niceties later.

Unleash Full-Length, 2011
Apnea Full-Length, 2013


The debut is a decent slab of technically-minded Bay-Area thrash not too far from the late-80's Metallica efforts. The guitar work is heavy, galloping and energetic on the opener "Bad Friends", and pounding and mid-paced on the next "Abandoned". The mid-tempo tone remains for a couple of numbers in the middle acquiring slight proto-modern tendencies, and it's near the end when "Mirror Man" livens up with crispy dynamic riffage. Still, the end is kind of underwhelming bringing back the stomp even adhering to blues/ballad on the sleepy closer "Blues Form".

"Humiliator" mixes both trends again, but is the better and the more classically-oriented listen. It begins in a sure-handed energetic manner with the mid-paced instrumental "Wizard`s Circle", but moves onto more hard-hitting and faster semi-technical thrash on "Deep in Lies". "Kingdom of Darkness" slows down being a slightly clumsy semi-ballad, and "Cruelty For Fairiness" does little to bring back the sharpness thrashing in a jolly crossover fashion. Things look brighter once again with the brisker, albeit still more mid-tempo, "Familiar Strangers", and it's "Humiliator" which finally reminds of the Metallica-influenced numbers from the debut with its heavy technical riffage and faster rhythms. "Wounded Wolves" can safely be put in the same camp although it offers a more optimistic sound not far from 80's Anthrax and will remind you of the "Spreading the Disease" opener "A.I.R.". "Midnight Date" closes the album in a more sleepy melodic way, but the sound fits better the mid-levelled semi-clean vocals which cling between Mike Muir and Daniel ''Dan'' Clements (Excel).

Brain Piracy Full-length, 1990
Humiliator Full-length, 1992

Fan Site


A 4-track demo of classic speed/thrash along the lines of the Whiplash debut with a shade of American power metal: the closing moments from "Rotham's Fire" which is an otherwise a blistering speedy number with a good sense of melody shown by the guitar players in the form of a couple of really nice melodic hooks and leads. The guitar sound is a bit muddy, and the singer is not a very big asset with his low-tuned semi-whispered delivery which adds a sinister note to the proceedings, but could hardly be called singing.

Bogan Thrash Attack Demo, 2008

My Space


Members of the black metallers Dybbuk have decided to give a more speed/thrashy twist to their raw primal black metal sound, and this album offers exactly this: an intense classic mix of black and thrash metal crossing early Bathory with the more speedy aesthetics of acts like Toxic Holocaust and Alastor (Portugal): check out the perennial speedster "Trample The Altar". This is entertaining fast music ably supported by vicious black-ish vocals and good short leads of the screaming type. The final "The Power Is Mine" is 8-min of more atmospheric semi-epic black/thrash ala early Enslaved.

Hellbound Full-length, 2010

My Space


A modern laid-back blend of power and thrash metal with gothic overtones the latter recalling mid-period Lake of Tears. The tempo is mid for most of the time, and the guitar work is a bit repetitive, pretty melodic contrasting to the gruff semi-death metal vocals, which are comprehensible again reminding of the ones of Daniel Brennare (Lake of Tears) which he used on the early albums.

Intellectual Pursuit Full-length, 2004

My Space


The debut EP: fast-paced headbanging retro thrash is offered here with Slayer the prime target for worship; well done, a non-stop moshfest with direct lashing riffs and slightly unsuitable hardcore-ish vocals. The guys are not strangers to more melodic hooks ("No Saviours"), but most of the time you'll be worried about your neck (and even tooth fillings), especially on the brutal mosher "Surgeon" at the end.
"The Virus Conspires" is a full-on attack from the get-go the band thrashing like demented all the way through, the modern production boosting the guitars to the point of literally cutting the listener. The speedy crescendos come from all sides at times more aggressive ("Braindead") on the edge of proto-deathiness, at others served in a more elaborate fashion (the title-track). "Red Terror" is a sock-blower, a rapidfire shooter which will recall "Reign in Blood" in many nostalgic ways, and will also bring other vitriolic cuts after it, like "The Watchers". The vocals are not as hardcore-tinged, and will remind you of Tom Araya, all his periods.
"Raised on Decay" is another admirable moshing affair the guys nothing the aggression towards proto-death metal dimensions. Fast uncompromising "bullets" like "Complete Resection" and "Hollow Earth" nicely contrast with several mellower, not as frenetic cuts ("Jester", "Pariah") where the guitar work boldly ventures into more technical territories. "Carved From Above" translates the more itnricate arrangements to the speedy template, and the latter stays around till the end gracing the explosive shredder "1.0.1." and the razor-sharp galloping title-track. The end comes in the form of an excellent cover of Slayer's "Antichrist" modelled after the more proficient execution here.

No Saviours EP, 2009
The Devastation to Come EP, 2010
The Virus Conspires Full-length, 2014
Raised on Decay Full-length, 2017

My Space


Catchy groovy post-thrash which is comforly jumpy and heavy with several nice virtuoso lead sections and not bad attached semi-cean vocals. Things get a bit more serious at times (the thrashing dramatizer "I Don't Give", the galloping speed/thrashing bomb "Pure Hell" with echoes of Scorpions' "He's a Woman, She's a Man") and they elevate this effort on a higher level. The sound quality is also quite clear and it's a wonder why this act never went above the underground level provided that they played a very fashionable, and fairly comptetent, at the time brand of music.

Shrapnell Demo, 1994

Demo Download


The 1st demo: 4 songs of speed/power/thrash metal akin to Destructor and Sentinel Beast; the tempo is energetic and up with the exception of "Vegele Soup" which is strictly for "vegeles only" being a boring heavy stomper.
The 2nd demo: the band continue the classic "carnage" unperturbed by the modern vogues, but the musicianship is not on a very high level brutalizing the environment beyond repair with the proto-grind "atrocity" "Demolished Illusions". The speed/thrashy aesthetics is still here, but it's clear that the band are unsure as to which direction to follow during those "dark" uncertain times.

Demo Demo, 1989
Demo Demo, 1993


The workaholic Carlos Garcia (also Makina, Acrostic, Gothic, among other acts) tries his hands on more classic-sounding thrash which may remind you of Kreator of the new millennium with a boosting modern production. The guys se no speed, and the guitar work is crisp and sharp topped by more aggressive death metal vocals of the higher type. When the sound gets slower ("Chaos Monger Madness"), the guitars take a more technical turn, although to these ears the straight-ahead thrashers ("You Make Me Sick", "Worlderness") deliver better. "Profit Anarchy" is a really good hectic technical thrasher in a good tempo, but this is the only moment when the "shredding" can really lead to some "consequences", and partially on the somewhat chaotic closer "Revenge", which disappoints in the 2nd half, pulling out a slow groovy/industrialized passage where the vocals become too rending and hysterical. For the good guitar work thanks should also be given to the female guitarist Rene, who ably helps Garcia.

Against The Corporate World!!! Full-length, 2008

Official Site


One man is responsible for the music here, the name Dave Reffett, assisted by a pleiad of guest stars among whom are Glen Drover (Eidolon), the omnipresent Chris Poland, George Lynch (Dokken, Lynch Mob), the guitar virtuoso Joe Stump (also Holy Hell). So what have these guys mixed here: cool classic power/thrash which starts mildly with the feelgood anthem "Caravan of Cannibals", before "Standstill and Scream" starts thrashing with ultra-heaviness and a very fast proto-death laced intro and outro. Later on both trends are mixed, as the headbangers will be delighted to hear 8-min of pure unadulterated blitzkrieg thrash in a constant fast pace on the closing "Shredding the Envelope". The more romantically-inclined will find their favourite in "I Just Don't Want To Say Goodbye", a bluesy ballad with good heavy guitars. The rest is of the heavy mid-tempo variety with "Ruby Avalanche, Red Flood" worth mentioning with its lively speedy breaks.

The Call of the Flames Full-length, 2009

My Space


This act serve heavy sludgy post-thrash which doesn't hide its fascination with the doom metal cohorts as well as the more crunchy side of the 80's American metal scene: check out the catchy power/thrasher "Behind the Mask". Those dynamics are seldom encountered later on: "Block Out the Sun" is a short hardcore-ish "exploder" leading a short string of similar numbers, but generally the guys are deeper engrossed in the sludge/doom metal idea the deep gruff semi-shouty synthesized singer suiting every shade the music has without showing too many singing skills.

Behind the Mask Full-Length, 2013

Official Site


There's no shredding here; this is a bit more dynamic version of the aggro-thrash advertised by Pantera, Machine Head and the likes. The guys know their thrash, mind you, and "The Misery Is Gone" is a cool more orthodox thrasher which later finds a few followers, like the proto-deathy brutalizer "Crusade" and the galloping delight "Truth Expired", not to mention the frolic speedster "Beyond Your Reach" near the end. The vocalist is vintage Phil Anselmo, maybe with a more aggressive deathy baritone.

Patch Over Full-length, 2016

Official Site


Modern thrash of the aggro-type meets thrashcore supported by throaty death metal vocals. The music is varied, moving from all-out headbangers ("Knife In A Gun Fight") to more moderate, more serious, numbers ("Rise", which is not a Pantera cover). This is all adequately done, but the workmanlike approach and the numerous cliches used throughout will hardly make this effort the fans' favourite.
"Death Is Righteous": "death" indeed may seem "righteous" after listening to this bold statement of intent the band sounding way more convincing now death/thrashing from the get-go easily reaching blast-beating extremes on the opening "Devils Race". The guys calm down after that also touching the stoner/doom field with "The Lie" which is vintage Crowbar. No complaints whatsoever, especially after "Last Words Are Lost" smashes your head with fast ripping guitars. This number inspires the rest which is mostly cool up-tempo pieces "Hallucinations" again crossing the border towards death metal creating a lot of brutality around. There aren't pointless groovisms to be heard anywhere; this is well played modern thrash/proto-death finished with the strange atmospheric doom metal cut "I Am" which continually surprises with an unexpected fast-paced twist.

Human Nature Full-length, 2011
Death Is Righteous Full-length, 2015



These Swedish newcomers pull out modern semi-technical thrash/post-thrash which at times "shreds" with power ("Sacred iah"), at others indulges in pure epic doom ("Concrete Garden"). Still, the adherence is to thrash for most of the time, and "I Am Anarchist" is a prime headbanger ala Dew-Scented with a ncie semi-balladic outro. Unfortunately, there is a number of groovy fillers as well as other attempts at doom metal (the overlong title-track) which are a bit too many as a finishing touch.

The Suicide Tribe Full-Length, 2014



Fairly good classic thrash metal with a dark atmosphere recalling Deathwish (but more technical), or the French Witches; the album starts with the chaotic, aggressive "Luminous Green" which sounds as though at any moment the sound will turn to death metal. But no: "The Masonry" bashes aggressively as well, but the stylish bass implements and the clever technical sections strictly belong to the thrash metal camp: check out the marvellous melodic hook at the end. "In The Machine" slows down to almost doomy dimensions showing that this work would be quite a diverse story. Another less ordinary fast-paced thrasher follows suit, "Here M. G. R.", enriched with breath-taking balladic passages. Then the sound gets more complex and slower once again, for the intriguing technical all-instrumental piece "La Dance Des Morts", easily the highlight on the album. "Universe Lung" is a quiet operatic interlude followed by the closing opus "Ophelia Dreamed" which isn't too far behind being a longer, progressive exercise in thrash, an encyclopaedia of superb, swirling riffage and sudden time and tempo-shifts, also adding a fairly cool memorable chorus to the proceedings, not to mention the dazzling virtuoso lead sections and the great Oriental epitaph. A fairly good album which remains the highest achievement of the Portuguese thrash metal scene after all these years.
The unreleased album shows a shift in direction towards a tad more simplistic approach the songs infused with nice Oriental touches ("Alright", "Come"). Some tracks in the middle become elongated and contain more clever arrangements ("Highest Sun", the closing instrumental atmospherer "The Forever Statue" which contains some of the most addictive hooks around) with beautiful lead sections. The sound production is a bit abrasive, and the singer now is a clear death metal semi-whisperer who doesn't interfere too much.

Perspective Full-length, 1994
Servants of the Glow Unreleased, 1996

My Space


Death/thrash metal which will remind you of early Protector, or Agressor; based on "De Profundis", this is cool music with a nice dark atmosphere rubbing shoulders with Infernal Majesty's "None Shall Defy" in this aspect, but the approach is more aggressive, frequently alternating very fast with slow passages on the longer tracks ("Light Of Knowledge"). On the shorter ones the band bash without mercy ("World Of Terror"), but the music makes sense. "Blind Fold" is quite an awkward piece, thrown in the middle, being a melodic crossover nonsense. "Emotion Machine" is also out of context being more laid-back, but at least it thrashes faster, and at the end it justifies its place here offering furious closing riffs.

More Than Death - Volume I Split, 1990
De Profundis Demo, 1990
Beyond the Real Demo, 1991
Promo 1992 Demo, 1992


Playful mild groovy post-thrash which at its most dynamic captures the carefree spirit of The Almighty and early Life of Agony, including on several more hardcore-prone tracks ("Murder & Mayhem"). "Conquest of Mind" is the highlight, an intense shredder with an imposing doomy beginning and ending which also serve as an inspiration for the doom-laden "Law of Life" at the end. The vocalist has a decent gruff semi-clean tember which serves its purpose without occupying too much space.

Pray for War Full-Length, 1995

My Space


Excellent aggressive technical death/thrash metal akin to Hellwitch; here the tempo is a bit more varied including heavier slower passages and breaks ala Atheist and Cynic; apart from the vicious snarls which go with this style, one can hear a more brutal death metal growl "accompanying" them. Hopefully apart from Salem, Melechesh and Orphaned Land we might soon have one more big name on the metal map from the Middle East.

14-Minute Dive EP, 2000

My Space


This is your average post-thrash for the new generation. The music is jumpy and crunchy with the casual more clever twist, as well as the more aggressive adherence to purer thrash ("Taisnibas"). The abrasive edge of the guitars may recall some acts from the industrial scene (Swamp Terrorists, later-period Skrew, etc.); the latter disappears for the cool balladic closer "Vel Tur Ir Cels", which boasts the most proficient execution on the album.

Monokars Full-Length, 2011


This is classic power/proto-thrash which comes with very buzzy guitars and good clean vocals. The band try to play it more complex, which comes for the sake of the fast sections, which are not many at all, replaced by thundering, 10-ton riffs (check out "Under Dark Skies") with a doomy flavour. It can't be termed "progressive", but the song-structures are clever despite their somewhat monotonous nature.

Under Dark Skies EP, 2011


Based on the debut, these Czech purveyors pull out competent old school thrash/death metal which come sserved with an elusive semi-technical edge (the fast stylish shredder "Necrosadus") recalling mid-period Pestilence whereas on the longer material the shadow of Sepultura (think "Arise" and "Beneath the Remains", above all) is quite strong. The band mix the tempos so there's no boredom to be witnessed despite the not very eventful delivery which only drags for a bit on the overlong "Fist Of Pestilence". The vocalist is a semi-shouty death metaller with a comprehensive and forceful approach.

Inquisition Full-length, 1993
Progeria EP, 1995
Land Of Stones Full-length, 1998

Mp3 Downloads


2 songs of noisy crusty thrashcore in a constant up-tempo with buzzy guitars and monotonous shouty vocals.

Demo Demo, 2010


The debut: direct in-your-face thrash/crossover brought to you straight from Siberia (kidding, of course!). The guys are proficient musicians and they manage to come up with a few more diverse cuts, like the death metal-laced "Still in the Game" and the surprisingly serious progressiver "Fire from the Grave" which oppose to the monolithic wall of merry sharp riffage which comprises most of this effort. The vocals are shouty and punkish assisted by the others on the numerous choruses.
"Metal Bear Stomp" carries on in the same direction with ripping uplifting tunes coming in spades from invigorating cuts like the title-track and "Can't Stop Won't Stop". "Enter Bearface" is a short melodic stomper, and "Style" reveals more stripped-down hardcore-ish aesthetics ala Pro-Pain which dominate the second half in an unpretentious, nonchalant manner.

Siberian Meat Grinder Full-Length, 2015
Metal Bear Stomp Full-length, 2017

Official Site


Based on "Re Evil Lotion", these lads, who previously known as A-Rise and were playing more orthodox retro death metal, pull out choppy abrasive post-thrash with frequent more quiet breaks. The approach is linear despite the several quirks in the riff-department. "Unforgiving" is a wild mechanical shredder with echoes of Meshuggah, and "Myoldway" is a less bridled thrashcore insanity; the rest very seldom leaves the confines of the good old pedestrian post-thrash...

Bear the Consequences Full-length, 2013
Re Evil Lotion Full-length, 2016

Official Site


This is energetic modern thrash with an elusive semi-technical/progressive edge which should be accentuated more in the future; the vocalist shouts in an aggressive deathy fashion, but doesn't have the power to carry this short effort which goes down to balladic dimensions on the final "Requisition".

Requisition EP, 2015

Official Site


Modern melodic thrash metal which mixes peaceful balladic passages with a few hard-hitting rhythms ("The Pain"), but generally this is calm mid-paced to slow stuff with shades of gothic and doom ("Kataklizma").

Sick Distortion Demo, 2007

My Space


Based on the full-length, this act play some "sick", but also "faithful" modern-ish thrash which rips the air with razor-sharp guitars, swirling fast tempos, and forceful shouty vocals. There's room for melodic deviations, of course, and the overall approach recalls more recent Kreator quite a bit: check out the progresive speed/thrashing "symphony" "Tyrannical Government Model", or the dramatic proto-galloper "Ashes Of Illusions". Direct fierce thrashers like "Forgotten Humanity" and "Killing Scorn" deliver the goods no worse, and will cause numerous neck sprains worldwide. This is a cool effort with a major headbanging potential which sees a young act rising from the Andes ready to rival the more established names on the scene.
"A Comedy Called Religion" has a more classic sound, and the guys rip all the same thrashing admirably with sharp cutting riffs. The tempo varies from one song to another also including a few jumpier, more technical sections ("Unholy Crusade"). "Clay Idols" is a heads-down headbanger to the bone, and "No Trace Of Divinity" is a cool Paradox-esque speed/thrasher lending a trick or two to the dynamic closer "False Messiah".

Agents of War EP, 2012
Blinded Nation Full-length, 2013
A Comedy Called Religion Full-Length, 2015

Official Site


This is aggressive thrash/proto-death which is more than just senseless bash the guys managing to produce something not very far from the Sadus debut with a bigger emphasis on death metal perhaps (yes, no kidding!). The ultra-fast downpour gets under control on the dark stomper "Nightmares Of Death" which rhythm-section will remind you of Death's "Scream, Bloody, Gore". Three short rages follow to put these obscures in the annals of the first death metal acts and into the list of those who were destined to remain unheard. The band members also played in two other acts arounnd the same time: the only slightly less intense death/thrashers Necromansy with whom they amazed the underground with 4(!) demos released in one year (1986); and another death/thrash formation Sounds from Hell.

Demo Demo, 1987


Classic speed/thrash metal quite close to early Whiplash and the Portuguese Alastor; so this is direct speedy stuff with vicious black-ish vocals which come unpleasantly screamy at times trying to hinder the better musical delivery. That same delivery is constantly fast, and despite the complete lack of variety, it will be a cool listen for those who enjoy retro "no-gimmicks" speed/thrash metal all the way through.

Metal Bitch Full-length, 2010


This band manage to mix modern and classic thrash quite well on their two demos. The music stays more often in the classic camp, recalling the Brits Xentrix and Metallica. At times there's an inclusion of nice clean vocals (the semi-ballad "asite").

180 Demo, 2005
So Far, So Good, So Sickleave Demo, 2005

Official Site


A 4-song demo which introduces raw, badly produced, mid-paced thrash wtih classic touches. The sound is really messy, and doesn't do justice the several cool calm balladic breaks. Otherwise the pace is mid with clumsy riff patterns, which also stay around at the end on the very amateurish cover of Accept's "Metal Heart", ruined in every conceivable detment, especially in the listless semi-declamatory vocal performance.

Demo Rehearsal Demo, 2005


Four guys from Vegas concentrate on modern progressive thrash which opens with the impressive orchestral intro "Premonitions". The following compositions are diverse offerings blending shrap, edgy riffs with sprawling balladic/semi-balladic passages. There is not much speed to be encountered, the closest to the headbanging parametres being the atmospheric galloping opus "Hourglass", which boasts fine Oriental motifs. On the more ambitious songs ("Corridors Within") the band show an obvious fascination with their Swedish peers Opeth, as well as a penchant for more pompous gothic arrangements (the symphonic closer "Revelations End (act 3)"). A vocal "duel" can be heard throughout, the better side being the clean side, the other being a much less expressive low-tuned guttural death metal one.

Sicocis Full-length, 2012

Official Site


This is decent power/speed/thrash metal which relies on speedy, intense cuts, both in the form of short explosive ("Escupiendo Al Cemento") and longer, more thought-out ones ("Ser Chiloe"). "Sico-Sis" is a more pure thrasher, almost instrumental-only, followed by the excellent speed metal killer "Sicomotor"; the guys relaxing on the closing "Ya No Estan", which is more moderate power metal. The singer is in the semi-clean registers, having a cool mid-ranged pitch with a gruff, drunken shade.

Majando La Isla Full-Length, 2011


Thrash, death metal and grindcore come together on this album mixed in almost equal dozes. This is actually an entertaining listen with short 1.5-2min songs where fast blast-beats alternate with thrashy riffs of the classic school. The vocals are strictly in the brutal death metal camp. Although the ultra-fast aggressive sections take a considerable place here, they are not annoying, and nicely go along with the energetic thrashy ones.

Traitors Execution Full-length, 2002

My Space


An excellent obscure entry into the progressive thrash metal genre; this is also quite energetic speedy music which suits well the long (8-9min) compositions which never drag because of that. To come the guys' (and a girl) approach wouldn't be very easy since there are elements of the 90's power/speed metal wave present as well plus a cool, albeit overdone at times, presence of keyboards. The music shares some of the progressive semi-epic qualities of the Swedish scene of around the same time (the last Hexenhaus album, Pathos, Abstrakt Algebra, Memento Mori, etc.) when it slows down, but thrash metal is much wider covered, even on the slowest compositions: the mid-tempo shredder "Room of Dreams". The 10-min opus "Metamorphoses of Emptiness" is a pensive doomy track with balladic elements, and kind of doesn't fit into the much more dynamic picture very well; could have been well viewed as a leftover from an Abstrakt Algebra, or a late 90's Candlemass album. "Realised Insanity" restores the faith big time right after that offering heavy thrashy riffs on a dramatic keyboard background. Another monumental 10-min effort follows suit: "Edge of Absurd", which is way more satisfying than the previous one providing complex twisted riffs on a heavy steam-rolling base; please, ignore the exiting quirky funky rhythms near the end. "Dying World" is a standout technical speed/thrasher, a fast intense number, before the closing "Faith" smashes you with another 10-min portion of thought-out progressive thrash, quite speedy at times as well, the latter tendencies creating a very nice contrast to the dreamy semi-balladic passages. The singer isn't bad at all singing in a calm mid-paced tone, seldom changing the pitch, but sounding well attached and emotional recalling the last Hexenhaus vocalist Thomas Lyon.

Labyrinth Full-Length, 1997


A fast and aggressive blend of thrash and death metal staying closer to death metal most of the time; there are quite a few cool thrashy riffs, but they get mixed with even more blast-beats (maybe to justify the band name?), and this might pull back the regular thrash fan. Some clever, technical play ala Morbid Angel could be heard here and there, but the guys' desire to play as fast as possible leave the technical attempts somewhat unfinished although some of them deliver the goods: "Flight of a Moth". The bonus track is an interesting semi-technical death metal cover version of Sepultura's "Arise".

Flight of a Moth Full-length, 2007

Official Site


Based on the single, this is cool technical thrash/death metal of the modern type. At their best the guys reach Morbid Angel and even Suffocation, but their willingness to insert as many super-fast blast-beating sections as possible ruins the impression a bit. Still tracks like the jumpy twisting "Thrown Back" and the excellent longer technical death/thrasher at the end "The Unexpected" are nice takes on quality aggressive technical metal.

Obsessed By Darkness Demo, 2002
The Devourment Single, 2005

Official Site


Based on the "Restless" demo: these guys pull out first-class technical power/thrash/death metal along the lines of late period Death and Chuck Schuldiner's (R.I.P.) side-project Control Denied. The vocals are strictly in the death metal camp (with rare inclusions of semi-clean, doomy ones), but the music is closer to thrash, and even power/speed at times. The guitar melodies are quite nice and slightly overshadow the technical riffage, but this is hardly a complaint. There isn't much aggression involved, but the tempo is energetic interrupted by slower more atmospheric passages graced by great lead guitar work. "Restless Time" will remind you of Death's "Destiny" from "Individual Thought Patterns". "My Way" is a cool, more quiet instrumental with power/epic sections after which the demo loses its both aggressive and technical edge ending with the cool melodic, progressive power/thrash metal opus "Edge of Pain".

"Emptiness" is a brilliant debut in the best tradition of later-period Death. The sound quality is muddier than the one on "Restless" (surprisingly!; that same demo was later re-released as the full-length "Eternal" in 2005)), but this isn't a big detraction for one to hear some great technical riffs and nice melodic hooks. The guys try to keep an energetic tempo throughout, and admirably succeed. The singer does a good job with his gruff delivery, similar to the early Schuldiner (R.I.P.) vocals. The lead work is also good, but is a bit uneven, on some songs hitting the top ("Thoughts Of Wisemen", "Revelation"), on others shorter and not that striking. Watch out for the technical masterpiece title-track which apart from the smashing technical riffs is graced by a marvellous balladic interlude. The closing "Revelation" is a more ambitious turn to progressive song-writing, and here one can hear superb more melodic hooks, as well as Gothenburg-styled guitar "duels" ala Dark Tranquillity.
"Lost Life In Evidence" is vintage Death again, but sounds surprisingly aggressive and closer to the Americans' earlier period citing "Human" in terms of both music and lyrical content. The opening "It Became an Evernight Sensation" is an aggressive slab of abrasive technicality also coming from the slightly thin guitar sound followed by the short lead instrumental "...In Evidence". The leads are in top form for the next "Lost Life" which is a fine speedster of a more straight-forward nature. "Mortal Illusions" is a return to a more technical ground by preserving the speed, but the technical prowess reaches the top on the hallucinogenic "Drowning in Madness" which is a sweeping labyrinthine piece with a nice doomy ending. "A Matter of Principle" is not too far behind relying more on stylish semi-Oriental melodic hooks, speedy passages and escalating dramatic sections in a way not far from "Low Life" from "Spiritual Healing". The end is another delight for the Death fans: a very cool cover of "Leprosy" with an added technical boost.
The band members are keeping themselves busier with their other project: the gothic/doom metal act Forgive-Me-Not with whom they already have six full-lengths released.

Emptiness Full-length, 1995
Restless Demo, 1998
Lost Life In Evidence Full-length, 2000
Eternal... Full-length, 2005


This Sieges Even album would be of only interest to thrash metal fans. "Life Cycle" up to this point remains one of the best works of classic progressive/technical thrash metal, a masterpiece that should be in everyone's collection. There's a lot to hear here, the riffs swirl and turn in the most unexpected directions bordering on absurdity on the most twisted sections, interrupted by great atmospheric, quiet passages. The guys don't forget to throw more straight-forward moments for the headbangers, and here comes the blistering "Apocalyptic Disposition" which is still accompanied by more complex riffage, and great melodic leads. "The Roads to Iliad" is one of the greatest instrumentals in metal history, a feast of technical guitar wizardry seldom equalled even by the best Shrapnel performers. With this one actually ends the lighter part of the album as the next two songs are longer and more elaborate, with more loose, almost jazz-like structures, especially the multi-layered 13-min long magnum opus "Straggler From Atlantis" which is a small album in itself with the many time-changes and numerous melodies and riffs included. The clean, high vocals are an acquired taste although they never go for the very high tones, and sound as a mix between Alan Tecchio (Watchtower) and John Arch (Fates Warning). This phenomenal album, along with same year's Deathrow's "Deception Ignored", put technical/progressive thrash on a very high level, and has been a big influence on later practitioners of the genre: Helstar ("Nosferatu", James Rivera's Vigilante), Psychotic Waltz, Skeptic Sense, Mind-Ashes, Sore Plexus, etc. Having reached their creative peak with their very first effort, Sieges Even could do nothing else, but change their style, in their case into progressive rock/metal, still quite good, but of no interest to thrash metal fans.
The demo is already on a sky-high level with its inspired complex delivery which is evident from the opener "Kristallnacht" which is a prime shredder covering a wide range of paces, and the professionalism of the guys is hide to hinder although the very messy production and the hissing guitars do their best to obstruct the proceedings. "Tell-Tale Heart" exudes plenty of dramatism on a swirling pounding base which almost reaches proto-death dramatism, among other mind-shattering musical "excursions". "Enigma/Traveling Through Time" are two compositions entwined together to create some of the finest moments on the whole progressive metal scene: a progressive thrash opera second to none, this is a textbook for all practitioners of all that is called technical and elaborate in music. "Unknown" is a macabre brutal piece again with more overt tones of proto-death, a more immediate cut with a few vitriolic puzzling passages to further boggle the mind. The voice of Franz Herde at this stage is still thin and not very rehearsed, his higher attempts sounding quite laughable reminding of early Warrel Dane. After hearing this, one shouldn't be surprised at the grandiosity which "Life Cycles" turned out to be.

Demo Demo, 1987
Life Cycle Full-length, 1988

Official Site


Based on "Pissed Off", this band play angry stomping post-thrash not far from mid-period Pantera with harsh overshuoty vocals. "Forces" surorisingly breaks the groovy "idyll" and starts thrashing with force reachig classic headbanging proportions, influencing the following "When You Die" which is more on the crossover side, but is a totally wild shredfest, too. The rest doesn't break the established formula too much the guys content enough with their trite, pretty standard for the time approach.

The Choice EP, 1992
Pissed Off Full-length, 1995
The Corpse Falls Full-length, 1999


Playful modern post-thrash borrowing heavily from Flotsam & Jetsam's mid-90's period, finished with an entertaining crossover cover of the Megadeth hit "Pece Sells...", done in a more optimistic melodic manner with the bad punky vocals an obstruction to the jolly uplifting riffs.

The Slay Begins Demo, 1997

Official Site


A good mixture of brutal classic death metal and thrash with a two-vocal assault: one a deep growl, the other higher-pitched, resembling a more hysterical Mille Petrozza. Probably to increase their appeal, the guys insert melodic guitar lines from the Swedish school from time to time.

Withered Garden Demo, 2001
Promo Demo, 2004
Recrucify Demo, 2005

Official Site


Based on the full-length, this is typical modern thrash/death metal which, when fast, is a decent slab of headbanging music, but there are numerous slower metalcore breaks, some of them accompanied by weak clean vocals, which still are better than the even weaker shouty hardcore main ones.

Sights Set at Midnight EP, 2008
Bloodlines Full-length, 2009

My Space


Based on "Mortales Moshers", these Chileans play classic thrash/crossover with more concentration on the thrashy aspect, also offering slower heavy tracks ("Humanidad Caotica", "Cambio De Sistema"), but the odd grindcore number is just around the corner: "Fuck Cop", as well as the hardcore joy "Slam More". The rest is heads-down thrash, tially ruined by the fuzzy guitar sound, and the slightly strained hardcore vocals.
"Viene En Mascre" clings between the more aggressive approach of early Prong and Cryptic Slaughter, and the more playful delivery of early Ratos de Porao. Some thrash heights are reached on the cool headbanger "You Are A Worm (Cover Betrayed)", which betrays the band's formula of short direct tracks, and boldly thrashes for more than 6-min, mostly in mid-tempo, with heavy crushing riffs.

Mortales Moshers Full-Length, 2001
Viene En Mascre Full-Length, 2002


"Venom Metal" this is indeed although the guys speed up to thrash/crossover dimensions at times ("Rape Me In Hell (With Werewolf From Kult)"), but for most of the time this is a competently done Venom-worship sustained in a more energetic manner, kind of recalling the Brits' more expressively thrashy period ("Prime Evil", "Temples of Ice"), topped by very cool high-strung clean vocals with a dramatic gruff blend.

Venom Metal EP, 2010


Decent modern power/thrash with unsuile growling death metal vocals; the music is mid-paced and peaceful with shades of gothic, but a lot of energy occasionally emits from speedsters like "Burn This Place" which aren't a very frequent phenomenon. This is professioanlly done and all, but will hardly make anyone fall in love with it.

Burn This Place Full-Length, 2010


Retro speed/thrash with gruff death metal vocals; some tracks come decorated with more intense death metal blasting riffs, and generally there is no lack of energy here, with only one composition descending to mid-pace: the cool melodic galloper "Libertad", which also brings the winds of modernism for a while. The rest is pretty fast stuff featuring nice sharp riffs and the odd tinge of melody akin to Rigor Mortis and early Agressor.

Sangrienta Humanidad EP, 2010


The "Moshus Pejgamberov" EP is 5 tracks of pretty good retro thrash with sharp vivid riffs, fast pace, and slightly unsuile gruff death metal vocals. The guys thrash with gusto and competence coming close to the "merciless" approach of the Swedes Merciless at times except for the several stomping moments ("Egzekucija Hodze") which are also quite good as well as the melodic leads, which are short, but deliver. This is a promising start which should further be extended into a full-length to finally put this European country on the metal map.
The "Mracna Strana Svjetlosti" EP is another commendable short effort, the band now seeming fully preed to hit with a longer offering soon. This is awesome speed/thrash with rough, subdued death metal vocals and very cool melodic undercurrents which are supported by a strong bass bottom. "Snovi Jednog Nevjernika" slows down with formidable pounding riffs, before turning into another raging speed/thrashy crescendo with great techical death metal shades at the end. "Udji U Moj Dzennet" is again not the fastest number in the world, at least not in the beginning, but later on develops in a merciless speedy fashion, reaching early Angel Dust heights with ease, and not without the help of more clever technical decisions, where the bass again plays an important role. The closing "Gdje Vjecno Odzvanja Tisina" starts in an imposing gothic/doomy fashion ala early Nightfall, but expect the obligatory faster sections later on, which turn into another nod to Angel Dust and all the other good speed/thrash metal practitioners from the 80's. The band shouldn't hesitate, and continue testing the soil: the time is right for a more ambitious undertaking...

A.S. Demo, 2010
Moshus Pejgamberov EP, 2010
Mracna Strana Svjetlosti EP, 2011

Official Site


Based on "Berdiri Antara Panji-Panji", these guys come up with good technical thrash/death metal which owes something to later period Death, although here the focus is more on melody rather than technicality. Still the riffs cut with technical precision on quite a few moments, and the approach in general is not fast. Swedish-styled guitars can be heard here and there, and the complexity takes bigger proportions ("Santapan Campa") here and there producing fine progressive moments. "Al-hulm Al-Araq" offers more up-tempo riffage, and "Mastica Ibni Israel" hits the top with some furious sections. After that the music takes calmer directions, but keeps the technicality on a high level. The closing "Teras Besi" is a melodic gothic track with nice soaring melodies followed by the real closer "Airmata Palastine", a short acoustic instrumental.
The debut shows the band not yet fully perfected the technical thrash/death metal formula with a sound much closer to death metal. Still this is a good effort slightly hinting at the guys' bigger potential, on more technical tracks like "Sinner Burning...", or the excellent Pestilence-like "Legion of Damned". There is a variety here, not all songs are fast and aggressive; "Frantical Scream" is a cool mid-paced number with a gothic atmosphere. On the other hand we have short blasting tracks, like "Debauch Absorption" and "Beyond My Darkest Moment" which may cause you a headache with their ultra-fast chaotic riffs. The guitar work is on a quite high level all over, especially on the two aforementioned technical numbers, and the closing "Conception of Madness" which is a fine mix of speedy and heavy pounding riffs.
"Gerbang Kayangan" comes as a disappointment after the debut with less technical and much less aggressive guitars without many fast-paced moments. Actually the tempo is seldom really dynamic ("Debauch Absortion" is the exception), and most of the tracks evolve around atmospheric gothic moments with sce more intense outbursts ("Pendita Gila" is the other thrashy delight, but it comes too late to correct the impression).
"Bara Pawaka" is more proficient music-wise than its predecessors, but hasn't yet acquired the technical tendencies fully. So we have more standard modern thrash/death metal which livens up with the occasional highly-charged technical masterpiece: "One`s Mind", which comes in the middle and would possibly make you go back to the beginning, just to check whether you have missed something more of the same previously; no kidding, this is perfectly crafted late-period Death worship. The Death influence is further accentuated with the Death cover "Within the Mind", very well made, followed by another nice cover version: King Diamond's "The Candle"; the vocals try at times to resemble the King, and admirably succeed. The cover version mania carries on, with a faithful interpretation of the Judas Priest's immortal hit "The Ripper"; the singer here tries to imitate the Metal God, but gives up at some point, and starts growling. The Celtic Frost's "Usurper" comes next, to crush your skull. The end is preserved for a great melodic speed/thrash/epic metal anthem, called "Samarkhand", which could be another cover, but to these ears it sounds pretty new. As a whole the guys have given us quite an amalgam, which has its good moments, albeit being in the form of songs already heard before; hey, and don't forget "One's Mind": this song alone will make you cry.

Conception of Madness Full-length, 1993
Pendita Gila EP, 1995
Gerbang Kayangan Full-length, 1997
Bara Pawaka Full-length, 2000
Darah Muda Full-length, 2003
Berdiri Antara Panji-Panji Full-length, 2006

My Space


Pretty decent classic thrash/crossover with a few more modern gimmicks inserted, as well as several more frank hardcore sections. The tempo moves from mid to up the whole time, and the songs' length increases with the passage of time, reaching much more complex, almost progressive, dimensions towards the end with a certain number of laid-back, balladic passages present, and the album consequently losing its crossover spirit, with only the hoarse, but clean and froceful, vocals reminding of it.

Sila Udara Full-Length, 2011


This progressive rock outfit started their career with this excellent slab of power/thrash-oriented, all-instrumental shred which mixes hard, razor-sharp riffs with beautiful atmospheric passages, and the obligatory lead ts, the latter carrying a lot of melody, producing some of the most addictive tunes of recent times, comprising brilliant spiral-like cuts recalling the great Tom Scholz (Boston) with its characteristic blend of melody and technicality. There's a fair balance achieved between the riff and lead sections, the former being really sharp and intense with a shade of industrial at times, except on the several short balladic pieces where the influence of Yngwie Malmsteen is pretty obvious (remember "Crying" from "Trilogy") in a good way. There aren't any show-offy sections, and the compositions aren't very long all wrappped in a calming atmospheric "veil" which is aptly supported by the cool unobtrusive keyboard background. Later the band took a much more melodic direction releasing four more albums of solid progressive metal/AOR.

The Fifth Season Full-length, 1997

Official Site


In the early 90's quality albums like this probably made people think that thrash metal would never fall from grace. The music on display is both stomping and fast, more on the faster side, the songs are long the highlight being the 10-min very diverse "Necromantic", but the band manage to keep them interesting, not without the help of some interesting leads: check out the opener "Vision". "Voice of the iah" starts as a ballad, and one wouldn't bother too much if it had stayed this way since it's really good, but the guys have other plans, and what follows is some stupendous fast-paced thrash which will keep you headbanging throughout the whole 6-min. Late 80's Metallica might be a good reference point, as well as Anthrax's best period (1986-1990). The band spice things up with some shorter, more immediate thrashers, too ("Pitbull", "Death by Womba").

Vision Full-length, 1991


The compilation "Found On The Sun" features a fine multi-faced collection of tracks; the 1st half provides good headbanging thrash, with tracks like "Apollocide" and "The Bruising Beast" being sure-handed thrash winners. "Structures" is a fine, adox-like speed/thrasher; "This Mystic Image" is a cool mid-paced power metal number, suggesting at the other side of the band's style to come soon. "Cold War" is a long track, with an epic flair, mixing power, speed and thrash in a way no worse than the Danes Manticora. "Megalith" brings back the intense thrashing, but this time with a genuine technical edge. "Wrathchild" is, yes-you guessed right, an Iron Maiden cover, which is followed by a couple of live songs, which are clearly in the power/speed metal camp with no traces of thrash. "Kozmos" comes with full force being another smashing thrash metal number with some stupendous leads. "Missing Hope" is a heavy ballad followed by another speed/thrash assault: "Industrial Command" (no traces of industrial here). The last song "Morning Star" is a cool mid-paced power/thrasher, stylishly ending this cool diverse compilation.
Their last (and present) period is the most disappointing: "Death Of Awe" is unimpressive modern death/thrash metal sounding like anyone else out there.
"Divisions" is again your pretty average modern thrash, this time containing no shades of death metal, except for the gruff vocals. The tempo is not as dynamic, and there are just a few more up-tempo moments (the dry "D.E.A.T.H.R.A.Y."; the cool headbangers "Betrayal and Massacre: An Overture to Germania" and "Suppressor"). The rest is uneventful proto-groovy stuff with no highlights whatsoever.
"The Great Bear" is an oddity which many fans will simply discard as the next flop by a once hopeful band. The truth is that although this is hardly a masterpiece, this strange effort has something to offer with its offbeat progressive approach which blends power, a bit of thrash, post-thrash, and groove to a diverse, and at times not very easy to get into amalgam which revolves (lyric-wise) around the US/Russian competition for the conquest of space in the 1960's/1970's. So expect numerous samples, interludes, and even the Russian national hymn as a finishing touch to this ambitious, but flawed release which sees the band taking a U-turn from their conventional more recent modern thrash/death metal past into a not very well trodden path. At this stage things sound a bit messy here and there, and the thrash metal fan will be expecting in vain to hear some riff to bang his/her head to; but the future albums might be no-brainers if the guys manage to polish their approach and bring more focus on the composing of the actual songs.

Kozmos EP, 2000
Black Flames And Burning Worlds Split, 2001
Structures EP, 2002
Found On The Sun Best of/Compilation, 2003
Death Of Awe Full-length, 2005
Divisions Full-length, 2009
The Great Bear Full-Length, 2012

Official Site


This is melodic thrash with epic overtones; the sound clings between the classic and the modern school, and develops in a peaceful calm tone with numerous melodic "ornamentations" and the odd galloping rhythm the latter "killed" by the several balladic interludes which are not bad, by the way, and are assisted by very good lead guitar work. The main problem is that the music may tire the listener with its reluctance to speed up and its somewhat repetitive nature, a situation partly saved by the stylish keyboard insertions which should have been more. The singer merges with the music singing in a sleepy one-dimensional fashion without ever breaking his clean mid-ranged tone.

Ke Hvezd~m Full-length, 2010

Official Site


Modern thrash, not miles away from Trivium and the likes; these guys here adhere more often to other genres, breaking the otherwise biting, energetic sound of the guitars, and the clean vocal interruptions are not as appropriate as the ones on the works of the aforementioned band.

Rebirth of the Temple Full-length, 2006

Official Site


This band refused to lay the banner of classic thrash to rest, and this obscure effort is a faithful tribute to all things old school sustained in a consistent heavy mid-pace with a volcanic bass bottom and a bit underwhelming, not very clearly heard, semi-clean vocals. "We The People" at the end turns to more intense headbanging thrash for a change and wins.

Dementia Demo, 1992

Official Site


Modern power/thrash metal which has it all: catchy melodic guitar lines, groove, balladic passages, even smells metalcore at times. The classic thrash metal fan will not be fascinated, especially when he hears that there is this annoying mixture of hardcore-ish and clean vocals, which every third contemporary metal act uses.

The Pain Of Creation Full-Length, 2007


Cool modern power/thrash with a heavy crushing rhythm section, good mid-pace, and two nice attempts at more classic-sounding headbanging stuff: "Fight In My Mind" and "Red and Gold". The leads are really good, but the vocals are not very suile, being gruff semi-death metal ones.

\par And The Earth Is Blind EP, 2009

My Space


Based on "Hell Hound", these guys pull out good power/thrash of the old school. "Golgotha" is a nice headbanging opener, followed by the more melodic, but faster "Hell Hound", where cool melodic guitars are thrown in. The melody takes the upper hand later on, but the thrashy riffs remain on most of the songs, like the excellent machine gun-like "Crush Into The Fate", the killing intense technical thrasher "Anubis": a riff-fest at its absolute finest, the highlight of the whole album. The peak being reached with this one, the band settle for a more laid-back power/speed/thrash metal mix which still produces very good results: the keyboard-driven speed metal bomb "Tears", and the great closing "Nll": another speed metal track graced by great leads and a nice chorus.
The debut is closer related to thrash, and is the better work displayed early with the smashing opener "Fear Of Abyss". "Buried Soul In The Castle Wall" is a slower stomping power/thrasher followed by a very good original cover of Iron Maiden's "Hallowed Be Thy Name", including nice angelic female vocals in the beginning. The better is yet to come, though, with "Land Of Dead": a brilliant speed/thrashing number, the speed metal killer "Suicide By Illusion" which boasts great leads, and the magnificent intense technical thrashterpiece "Grievance". "World Of Thousand Years" starts like black metal ala Dimmu Borgir, but later the guys serve another technical thrash delight finished with a great balladic passage. "Darkness Walking Through The Hallway" starts with a long-ish bass intro, but later doesn't betray the gained technical inertia, adding more aggressive faster riffs to the proceedings which suddenly flow into a very cool melodic quiet interlude before speeding up admirably near the end. "Dear Jane" again misleads in the beginning starting with soaring black metal melodies although it never switches onto thrash metal which shouldn't be a complaint as up to this point the guys have managed to satisfy even the most capricious thrash fans, but evolves into a majestic gothic number with a symphonic touch ala Bal-Sagoth. This album could be considered one of the finest achievements of the South Korean thrash metal scene, and is also a sign that Japan might soon be overtaken by its smaller neighbour as the leading metal force in the Far East.
The self-titled EP is another strong offering featuring four tracks of blistering speed/thrash, this time more melodic, staying closer to speed metal, infused with a big doze of happy keyboard melodies. The guitarists give themselves a lot of freedom in the melodic sector producing overwhelming passages which would not have been too appropriate on the other, more riff-oriented works. The vocals are higher, quite soaring, but are well fitting into the overall more laid-back picture. This is a short lesson on how modern speed metal should sound which comes as a break for the guys between the more aggressive thrashy full-lengths.

Buried Soul In The Castle Wall Full-length, 2001
Silent Eye EP, 2003
Hell Hound Full-length, 2006

Official Site


This band is mostly in the heroic power metal camp with sudden switches to more energetic, thrashy escapades ("Blind"). "The Force" is a truly inspired thrasher with a few curious semi-technical twists, and the vocals are clean and emotional without necessarily aiming at the very high registers.

Demo Demo, 1989


The EP: three songs of stylish technical thrash on the modern side with a few sections which betray the guys' origin. The band alternate the pace the whole time, but there's seldom a very fast passage to be encountered, the dominant tempo being jumpy and mid. "Realpolitik" is a wild shredder lifting the mood up quite a bit even recalling Atheist's "Jupiter" in a few ways. The singer is a rending deathy growler seldom intercepted by more appropriate clean insertions. There's a lot of promise in this short effort which sees an act well equipped to march with the finest out there.
The full-length fulfils the promises the guys thrashing with a good sense of technicality again without speeding up a lot; which is a pity since when the band brutalize the environment, they reach impossible heights technicality-wise: the ragin hecticer "Realpolitik". "I Am The City (Je Suis La Nuit)" is a choppy mid-pacer with an intense death metal-ish final section, and "Tick-Tock" is the guys' tribute to the doom metal movement to which "Aupolitik" also aims with its heavy steam-rolling riffs. "Brethren's Burden" speeds up again, but in a more friendly optimistic fashion without completely forgetting about the more original quirks the latter siding with the math fraternity on the following imposing opus "Rise, Narcissus, Rise!". "Ignotum" is a short stylish headbanger, and the closer, aptly titled "Epilogue: Of Fervid Custodians" is a crunchy progressiver concentrating more on the melody citing more recent Cynic as an influence with its more oblivious spacey arrangements.

Silent Images EP, 2014
Knightfall Full-Length, 2016

Official Site


Based on the full-length: ordinary modern post-thrash with a lot of groove, clean vocals, angry basic ones, etc.; there are cool headbanging moments ("Lost Your Belief"), but they could hardly be distinguished among the much less inspired rest, unless you pay serious attention to which the music won't lead you.

Babylon Nation EP, 2005
Disease Full-length, 2006

Official Site


Based on the debut: interesting power/thrash with an alternative edge, a distant echo from Depressive Edge and Lost Century; the music here is less adventurous seldom relying on speed which is a shame since when it's on full throttle, the results are impressive: the speed metal delight "Fallen Angel". Later on the sound favours power metal more, in a way not too dissimilar to mid-period Squealer. Near the end the guys remember to insert more intense numbers for a change: "This Is Life", and the cool varied closer "Silent Scream".

Bow Down and Pray Full-length, 1998
Serenades of Fear Full-length, 2004

Fan Site


The album title betrays the Slayer-influence, but this is more of a death metal album mixed with thrash. The music is pounding and heavy with a strong bass-bottom and aggressive death metal vocals which come as a mix between Chuck Schuldiner (R.I.P.) and John Tardy. The sound also recalls Death at times, especially when it introduces more melody ("From The Darkest Depths Of The Imagination"). The album has its pure direct headbanging thrashers ("Open Season") and those which come longer decorated with more stylish moments ("Theatre Of The Depraved"). The leads are short and often ignored which is a shame since they are proficient and are a welcome contrast to the punishing rhythm section. Near the end the guys try something more complex with the last two compositions being longer with cool semi-technical riffs, but those moments are kind of unfinished, with the band again relying more on their trade mark heavy guitar work.

From the Darkest Depths of the Imagination Full Length,1992

My Space


A good power/thrash metal band whose sound is modern-ish, and at times comes quite close to Iced Earth and Mystic Prophecy, ably supported by good vocals which sound like a cross between Matt Barlow and Tim "Ripper" Owens. "Longing For Sorrow" opens like a typical modern Swedish album, with "Longing", featuring all the staples of the genre if we exclude the very catchy chorus. "Old World Disorder" adds some groove mixed with melodic interludes recalling Nevermore and Iced Earth. "My Only Family (My Only Enemy)" carries on in the same vein, but is more simplistic and softer, but this is the predominant style from now on. The last song ("To Each His Own") is much longer than the rest, but doesn't betray the mid-paced power/thrash metal style witnessed previously; more intricate technical sections can be heard as well as quiet acoustic ones, but there's nothing progressive here. The actual final number is an acoustic live version of an older composition of the band ("Unknown").

Longing For Sorrow Full-length, 2003
Suffer In Silence Full-length, 2004

Official Site


The debut demo: modern thrash with atmospheric gothic overtones with a few more aggressive outbreaks ("Psycho", which also contains a couple of more twisted technical riffs); otherwise the music is mid-paced at best with the guitars having a mechanical fuzzy sound, and the singer is hardly intelligible with his brutal low-tuned tember.
The "Blood Red" demo is a major improvement over the debut one being quite good technical/progressive thrash/death ala late-period Death and the Czechs Scenery. A couple of more aggressive blasting moments are scattered around, but the concentration is clearly on complex intriguing arrangements, clever technical riffs, varied tempos all this nicely summed up on the good cover of Death's "Crystal Mountain" at the end.

Mental Nails Demo, 2009
Blood Red Demo, 2010


This is the band where Dave Padden (Annihilator) tries to do something outside the shadow of Mr. Jeff Waters. Whether you will like this act or not depends to a certain extent on how you feel towards Padden who is largely considered one of the weakest (if not the weakest) singers ever recruited by Waters. The music has nothing to do with Annihilator being generic modern groovy thrash mixed with some Swedish death metal elements. The musicianship is below par and Padden doesn't do much to save the day: he tries to give a more brutal edge to his voice to better suit the music reaching hardcore-heights at quite a few times, but when he unleashes the vocals he used to use on the Annihilator albums, plus more melodic ones, the final mixture is not really striking. Listening to this, one would probaly advise Padden to take it easy for the time being feeling more comforle under the "cloak" of Annihilator.

Demo Demo, 2006

Official Site


First-class technical thrash, quite unique and original; the band alternate moody, slower, but very technical passages (think the Germans Of Rytes and Coroner's "Grin" (but more aggressive)) with a few very fast moments ala Necrodeath and Atheist. The tracks are lengthy, one of them even almost hitting the 10-min mark, but there's so much happening inside that you would hardly notice that, and it definitely requires a few listens before you start fully appreciating this very complex stuff. There are also great atmospheric, acoustic sections as well as really abstract ones (fans of Cynic's "Focus" and Pestilence's "Spheres", beware!), but the concentration is clearly on the more up-tempo, hard-hitting side. The vocals are similar to the vicious, mean snarls of Kelly Shaeffer (Atheist) (these are probably a bit more vicious); a very obscure, but highly recommended effort.

Humanity...Sold Out Demo, 1991


This album is obviously a compilation of the band's demos, the last one dating back from 1990. "Better Late Than Never", as the saying goes. Never late, though, for some more classic speed/thrash metal, and this is exactly the case here: for fans of early Angel Dust and adox these guys are a must. The album starts in a blistering, speedy way, with "Crucial Incision", a smashing speed/thrasher. "Agent Orange", which is not a Sodom cover, blasts in a similar fashion as well as most of the other tracks which follow suit. Especially interesting is "Respect the Act", which breaks the pattern by adding some really cool Oriental hooks. The only time when the guys take a break from this intense thrashing is on the intro, and on the short melodic interlude in the middle "Infernal Ending".

Search For Distant Lights... Full-length, 2003


Some of the guys from the death/gothic/doom metal masters Orphanage have decided here to mix the sound of their previous band with the trendy groovy approach of the time. As a result we have the 90's post-thrash style served with a heavy pinch of a heavy/doomy twist. Not bad, but the tracks are divided: some of them belong to the groovy genre whereas others are a direct take on the Orphanage sound. Seldom do the band try to put the two sides together (the very good intense "The Conversation", the jumpy "No Direction"), which is a pity, since when that happens the album is very close to taking off. "Hear" is a masterful acoustic ballad, something which Orphanage can do better than anyone else, with a fine female vocal participation.

Bash Full-length, 1997


An energetic classic/modern thrash hybrid which definitely has its friendlier side (the frolic proto-groover "War Planet", the lyrical progressiver "Kingdom of Betrayal"), but there's no speed lost on ripping headachers like "Evol Monument" and "Seven Demons". The singer is an attached semi-cleaner who uses his higher-pitched timbre to a positive impression at times. The band members are also involved with the death metallers Fornicator, and the modern thrash formation InstinctHate.

Hell Awakening\\tab Full-length, 2017

Official Site


This French act offers modern thrash with a slight progressive twist and a few more intense death metal moments (including the brutal low-tuned vocals). Except for those death metal moments which speed up quite a bit, the rest develops in a predictable mid-pace with more quiet balladic sections springing up from time to time. There's a lot of atmosphere present in a way not far from their peers and compatriots Misanthrope, but here one will come across slower, doomy cuts ("Watchtower", the dark crusher "Quadruple Degats"). "A Lampoon To God" is a merrier hardcore-ish piece, and "Kamikazee" is an energetic modern thrasher, which influences the closing "Chtulhu F'Taghn", an aggressive death metal-laced piece with a nice balladic interlude. There are by all emans attempts at a more serious song-writing, but it seems as though the guys can't be bothered complicating their approach too much at this stage.

The Triumph Of Death (Metal?) Full-Length, 2011


This was the early incarnation of the technical/progressive thrash wizards Vision Purple so expect virtuoso swirls on every corner, great lead sections, and good clean vocals without too many experimentations. After the warming-up title-track comes the behemoth opus "Eggplant" which is supreme progressive thrash with puzzling riffs galore and some of the most enchanting lead passages of the late-80's. Such a masterppiece is hard to beat, but here comes "Genetic Pit" which is another brilliant piece that embraces the best from their compatriots Toxik and Realm and melds it together in a seamless symbiosis one may end up listening to over and over. This one-demo-wonder, along with the Vision Purple output, can easily pass for the the American underground scene's finest hour.
The "Too Young To Die" demo is a more immediate affair the guys speed/thrashing more directly with a lot of passion, producing in the end some notable more progressive achievements: the opening shredding title-track. The rest is more straight-forward and shorter "The Passing" still making heads turn with its stylish hooks and twists thrown in. The Unknown track at the end is a tribute to the Bay-Area, ripping technical mid-tempo thrash with sharp cutting guitars and great leads.

Too Young To Die Demo, 1989
No One's Home Demo, 1989


A cool power/thrash metal debut with a dark, moody atmosphere; the music is mid-paced to up-tempo with some off-beat moments, like the 10-min epic track "Conflict In Tristram", the 1-min lead guitar performance "The Fall Of Man", and the last song with the strange title "1d3r", which has a strong alternative vibe.

Yesterday's Tomorrow Full-length, 2007

Official Site


Based on "Fe Ciega", these folks, half of whom come from the power/speed metal heroes Muro, serve slightly thrash-fixated power/speed metal, quite similar to the one of Muro, which relies too much on catchy melodies, still speed/thrashing harder on occasion ("Mi Rebelion"), but also having plenty of time to insert the more tender semi-ballads ("El Dolor", the keyboard abundant title-track). Interesting more progressive compositions ("Mi Ultimo Dia") also "roam" around, but the last word have the faster-paced numbers like "Entre el Odio y el Amor" and "Se Acabo". The vocals aren't bad at all being emotional without being too high-strung, mostly occupying the mid-ranged parametres. Some of the musicians are also involved with the death metallers Hateskor.

Ave Fenix Full-length, 2004
Legrimas de Sangre Full-length, 2006
Tears of Blood Full-length, 2007
Todaveda Vivo EP, 2015
Fe Ciega Full-length, 2016



Silver is the alias of the guy who is behind this project. He uses modern thrash as a base for his exploits which evolve around semi-complex mid-paced riffs which grow into several long elaborate compositions, but the musicianship on thsoe is nothing special making them slightly dragging listens, especially the semi-balladic oddity "Reflection". In the 2nd half the guy infuses more atmosphere, and "The Garden" hits the right notes with its creepy rhythms and escalating dramatism. "Straight-Arrow" is the desirable more dynamic cut, and "Timelines" is another more cleverly-concocted progressive opus, but the rest is just passable. Silver is not a big talent as a singer his baritone trying to capture the magic of James Hetfield, and actually succedding here and there.

Axia Full-Length, 2013

Official Site


Based on "Orthodox Heresy", this band play aggresive retro thrash/death which is equal parts Devastation, Slayer and Gammacide. The opening "The Sinful Nun of Satan's Abbey" will sprain your neck big time before it exits with a cool slower passage. The heaviness of the latter is well translated on the folowing "The Dark Chamber" in the beginning before this cut turns into a violent moshpit "manufacturer" with more nods to death metal. The headbanging fun never ends at times served in a more restrained thrashy manner ("Pan Reborn"), at others splitting heads with brutal death metal outrages ("Murdered by Martyrs"). "Goddess of Unspeakable Lust" in the middle is almost radio-friendly by the album's standards with its relaxed semi-balladic rhythms, but its sluggish off-context nature is immediately cancelled by the ripping "Suicide with Occam's Razor" which sets the tone for the remaining material also bringing a fresh more technical flair to the recordings the latter handsomely felt on the hectic shredder "Pontifex Diabolus" and the closing diverse rager "Radical Fleshwork Assembly". The vocalist is a comprehensive semi-clean semi-shouter who actually sings on quite a few times ranking every bit as high as his colleagues for whom the best is surely yet to come.

Pornographic Scripture Full-Length, 2011
Orthodox Heresy Full-Length, 2015

Official Site


Based on the full-length: members of Malon, Hermetica and the heavy metal outfit Heinkel have joined forces for the creation of this not very impressive, dragging groovy post-thrash effort which is deeply sunk in all the cliches staple for the style the pleasant digressions being a few spacey moments ("Frio Austral") which bring a fresh, quasi-progressive feel also helped by the better vocal insertions there. Mentioning the singer, the guy can really sing, and is by all means the best performer in the band as is also evident from the cool acoustic ballad "Morir Otra Vez No Alcanza "; it's just that undemanding music of this kind sadly undervalues his talents.

Simbiosis EP, 1998
Riesgo y Reaccion Full-length, 1999


Based on the full-length, these Ukrainians pull out quite good technical thrash/death which is along the lines of later-period Death on the faster moments, but there are complex passages wher the guys (and a girl, the soprano vocalist who appears from time to time) unleash some awesome vortex-like riffs which also bring Atheist and Coroner to mind. On the shorter tracks the band play pure headbanging thrash without too many technical gimmicks, but most of the material is unobtrusively complex although there is no song longer than 5-min here. The musicianship all over is top-notch with very good lead guitar work accompanying the great riff-patterns well boosted by the very clear sound quality.

Sruivaiushii Teni EP, 2004
Tainui Vechnuih Snov Full-length, 2006

Official Site


Decent classic thrash metal with with gruffer proto-death moments; first the lead guitarist shows his talents on the excellent atmospheric intro "Lugubres Presagios" before the others get involved on the varied energetic mosher "Inpolitica" which also introduces a couple of more stylish decisions, the latter further developed on the fine technical speedster "Tiempos De Guerra". "Persiguiendo a La Muerte" is a diverse 10-min opus the guys thrashing there in a more conventional mid-tempo leaving the final "damage" to an overlong balladic outro. The singer is a suile rough death metal growler similar to Mike Browning (Nocturnus).

Tiempos De Guerra Demo, 2009


This band's debut is one of the better thrash/funk albums around. It leaves behind the attepmts made in the genre from Re-Animator and Mordred, for example. The important thing is that these guys never forget that they are a thrash metal act above all, and the hrashy guitar dominates although the funky moments are also quite a few, but they are not annoying, and are not left without a thrash "company" like it had happened on lesser works. The music is ably supported by very good vocals, melodic ones, fitting the band's style very well; might remind you of a more hoarse version of Faith No More's Mike Patton. It is nice to hear an album in the mid-90's "stripped" from the typical for the time groove with a nice fresh take on thrash metal.
"Gravity" "gravitates" too much towards the modern 90's trends, and has almost nothing to do with the debut music-wise being a slightly more complex version of the modern groovy metal.

Formulations in Black Full-length, 1993
Gravity Full-length, 1996


Based on the full-length, this act provide modern melodic power/thrash which only most particular feature is the "gruff vs. clean" vocal duel which serves to no purpose since the music is quite soft and friendly. "Sins" is an exception with its faster more dynamic riffage recalling Face Down Hero and Perzonal War, and "As Chaos Prevails" is a formidable heavy squasher with nice speedy implements creating imposing progressive atmosphere. "Enter the Maze" is a cool doomy instrumental leaving the more intense crescendos for the closing brisk power/thrasher "Chasing Ghosts".

Cursed EP, 2014
Apocalypse Full-length, 2017

Official Site


The line-up features Fotis: the guitarist who later joined another fine Greek act, Utmost Contempt. This is stylish dark technical thrash of the modern type, quite close to Coroner's "Grin" and Aftermath's "Eyes of Tomorrow". The riffs are quite complex and creepy, and although the band seldom speeds up, in the end one can not help, but be moved by this unique approach. The singer is not an asset, and his rending hardcore-ish shouts could be a serious obstacle to some. "Forever Angel" is quite an interesting composition which starts in an expected sleepy very complex mode, but suddenly bursts into a fast passage which flows into a melodic, almost crossover deviation, before it settles for the technical arrangements from the beginning. "Second God" is a minimalistic technical thrash masterpiece also adding some more dynamic guitar work ala Coroner's "Mental Vortex". "Rapture" lasts for more than 9-min and may be considered the downpoint here since the band's delivery is hardly suile for such a long song, and despite a few lively moments here and there, it ends up sounding a bit boring, and on top of that the bad singer has decided here to ticipate more actively, worsening things even further. As a whole this is quite an unusual read of the modern technical thrash genre, and an obvious influence later on Utmost Contempt.

...Towards Rapture? Demo, 2000


This Argentinian outfit acquit themselves with dynamic modern thrash which relies on both sharpness and melody both sides ably blended together for the production of another capable Gothenburg worship, low on originality, but high on musicianship and production qualities. Most of the tracks race with the speed of light and this is this short effort's main saving grace. The singer is a throaty semi-shouty death metaller who, despite his efforts, can't be heard very clearly at times.

Condenado a Vivir EP, 2012

Official Site


Based on "Beyond Human", this act plays intense crunchy death/thrash metal of the modern type, a dynamic affair despite the frequent nods towards the groovy scene. There's a lot of headbanging thrash to be encountered some of which comes with twisting technical sections ("One Day Closer"), some with jumpy steam-roller riffs ("Final Vision"), some with an open old school attitude ("Waiting To Die"). "Psycho Society" is a nice combination of heavy groovy and sharp speedy riffs summing up the album's influences quite well near the end, and the closer "The Last War" will rip you at with a violent grinding break in the middle.
"To the Death" is in a similar vein ripping fast'n tight riffs supported by a crisp sound quality and generally good, albeit fairly predicle, arrangements. The speedy delivery predominates, but this is hardly a complaint since this is when the band sound the most convincing except on the several blast-beating moments. The band members also have another project: 8 Foot Sativa where the style is prety similar, maybe a tad less intense.

Beyond Human Full-length, 2005
Violent Ambitions Full-length, 2006
To the Death Full-Length, 2012

Official Site


This is modern post-thrash with an intriguing technical flavour. The riffs are jumpy with a dry mechanical echo reminiscent of mid-period Prong and the Canadians Obliveon. The inevitable groovy "traps" are also around and the guys don't bother circling them, but jump straight into them creating the unnecessary repetitive patterns the latter aggravated by the dry dispassionate semi-clean vocals.

Pray For God EP, 2008

Official Site


Based on the "Multiverse" EP, Sindone play an interesting brand of power/thrash metal; the sound is definitely modern, but is rich in atmosphere which brings them at times close to the gothic metal acts. The vocals are also worth mentioning: on one side we have semi-death metal ones, on the other one come the more traditional ones which sound like a more hoarse and angrier Kai Hansen. The music is mostly heavy and mid-paced, but "System Failure" speeds up respecly showing that, when necessary, these guys can thrash along with the best out there. "Proton" comes as a complete surprise, though, near the end being a complete ambient track with no guitars or vocals, also atmospheric, but scarily non-metal. Hopefully this is just the casual offbeat song, but not a hint at some future direction taken?

Time Leave My Life Demo, 1995
A Symbol Of Power EP, 2000
Multiverse EP, 2004

Official Site


Argentinian thrash metal has been witnessing a revival in the past few years with the coming of bands like Serpentor, Malicia and this one. Sindrome are the most modern sounding of the lot with riffage not too far from the later works of the Argentinian thrash metal legends from the not so distant past Lethal. The band's music is mostly heavy and mid-paced with occasional skles of modern groovy post-thrash which are quickly buried in the predominant classic riffs. When the guys decide to speed up, they thrash with force ("Fuera De Lin", the aggressive Bay-Area-esque "Desata Tu Lo") no worse than any other big name out there.

Sindrome Full-Length, 2006


This band should have had a big influence on the spawning death metal genre: their first demo is relentless, aggressive thrash/proto-death drawing comparisons to Possessed's "Seven Churches" or Slaughter's "Strappado". The opening titlle-track is a distinct qualifier for "Scream Bloody Gore" with its vicious rhythms the intense semi-declamatory/semi-deathy vocals greatly helping on the side. "Rapture In Blood" attempts something more stylish and a tad more moderate, a nice diverse cut, but "Precognition" brings back the relentless mosh with a few stomping sections thrown in. The alternation between the two sides goes on with "Cathedral Of Ice", another more laid-back and more technical proposition with darker late-80's Slayer-esque overtones. All the way to the closing "Aortic Expulsion", a raging proto-deathy cut with a few intriguing twisted developments and hysterical screamy leads.
The "Vault Of Inner Conscience" demo is a revelation, standout technical/progressive thrash ala Nocturnus' "The Lake" and Dark Angel's "Time Dies Not Heal". The clinical riffage on "Descending Into Madness" transforms into the atmospheric technical pirouettes on "Extra Sensory Warning (E.S.W.)" which offers more complex configurations and a couple of memorable melodic tunes. "Astral Projection" speeds up by retaining the technical escapades all over, the roller-coaster reaching a dramatic fever pitch with aportion of tighly knotted hectic riffs mid-way. "Against Infinity" retains the elaborate template being another great less ordinary shredder with virtuoso lead pyrotechnics ala Nocturnus again. "Exit Screaming" is indeed the exit, a more energetic proposition with all the technical tools of the trade lined up to make it the highlight on this perennial delight for all fans of high quality old school thrash.

Into The Halls Of Extermination Demo, 1987
Vault Of Inner Conscience Demo, 1991

Official Site


Modern thrash/death metal ala Terror 2000 and Corporation 187. This fast energetic music with a good sense of melody ruined by the very deep death metal growls, and the several shifts into metalcore.

EP EP, 2009


Based on "IV", this band plays modern thrash with more thought-out progressive tendencies breaking the intesne approach, which relies on heavy sharp riffs and sparse metalcore breaks. The longer compositions are too varied, the leads stealing the show completely there, as well as the more aggressive deathy sections ("Hands of the Wicked"). Still, the musical prowess on the 10-min instrumental "saga" "Auctioneer of Souls" should be noted, the major damage done by the very good leads again, on top of contrasting tempos and more atmospheric dramatism. "Samsara" is another more ambitious piece, combining melo-death/thrash with more moderate progressive leanings. This isn't completely without merits, actually, fitting well into the already depleted NWOAHM catalogue (think Suidakra, God Forbid, Trivium).
"Route 666" is more ordinary with an agrier and more conventional delivery, owing much to Machine Head's "The More Things Change...", consequently adhering to heavy, a bit repetitive, riff patterns with the casual faster piece ("Automatic Impulse") thrown in. "Imperfect Fit" is a more stylish technical cut, with the next "Revamp/Rebuild" sharing some of its flair with slower, almost doomy, guitars. The 2nd half as a whole is more diverse, with the more energetic melo-thrasher "Route 666", and the laid-back alternative closer "Bone Machine". The shouty vocals are an expected addition as well as the casual metalcore leanings.

The Anatomy of Being EP, 2000
Route 666 Full-length, 2003
Behind Eyes of Hatred Full-length, 2004
On Broken Wings Full-length, 2007
IV Full-Length, 2011

Official Site


Modern industrialized post-thrash which takes its inspiration from early Mastodon, Strapping Young Lad and Voodoocult. "Baltimore" is an interesting more complex number, and "Broken Silence" is a curious sterile, also lyrical ballad the harsh shouty singer acquiring a warm cleaner tone on it. "Free Like Me" attempts something doomy, and manages to pull it off in a way no worse than Acid Bath, the nice lead section in the second half helping a lot alongside the poignant balladic additive which occupies quite a bit of spcace on the closing "Operations Activate".

Angels & Demons Full-Length, 2017


Based on the full-length: these guys were previously known as Graverape Ritual with one album released in 2010 of classic thrash/death. This new incarnation towards the lighter side of the spectre with a blend of black and thrash which still delivers with its weird riffage ("Liberato") and its stripped-down headbanging qualities ("Inside My Head", "EU-topia"). "Allegiance To No One" is another delight with its epic arrangements accompanied by haunting violin tunes; and "The Disease" is an awesome sprawling thrasher recalling the band's past exploits with a portion of more brutal death-laced riffs. Another pleasant surprise would be the great closing instrumental "Transylvania", an ambient orchestral symphony which enchants with its atmosphere regardless of its total lack of any metal hints.

Oppression of the Sunlight EP, 2014
Revelations in Mayhem Full-length, 2016



This is stylish, at times quite wild, technical thrash/proto-death along the lines the guys' compatriots Invocator (the guitarist had played in that formation at some stage) and Atheist's "Piece of Time". Frantic fast-paced rhythms interlace with slower labyrinthine ones making each of the three tracks interesting eventful listens. "Boundless Delusions" spices the situation with some melodic hooks and could be viewed the highlight on this short, but quite impressive, effort. The singer is a dead ringer for Kelly Shaeffer (Atheist again), maybe a bit more strained and throaty. The band later carried on under the name Chiro Therium where the style mutated into a modern form of groovy post-thrash.

Fractions of Minority Demo, 1990


This band's line-up included musicians who later took part in other thrash metal acts: Mystik, Metalourd, Wretch. If these guys had continued with this band, they would have probably done a better job than the one with the aforementioned ones; this is awesome speed/thrash which manages to sound quite fast, but it's in the heavy, slower numbers where the band really show their class ("The Kill", "Feeding Ground"). This is great music which will remind you of many 80's heroes: Griffin, Agent Steel, Aftermath, Helstar, Savage Grace, etc.

Demo Demo, 1988
Demo Demo, 1989


Based on the "Up From the Abyss" demo, this outfit pull out cleverly-executed semi-technical thrash that has all the energy in the world as evident from "The Pawn" before "Why?" comes out with more technical, more hectic ways of execution the guys still thrashing their souls out, a process which goes on even on the more progressive-prone "Sentence of Fear". "The Witch" slows down for a couple of more intricate insertions, adding more to the stylish aura of this cool recording.
The "Last Hope Cemetary" demo starts with "Distortions of Reality", an exemplary progressive/technical thrasher which can qualify for "Twisted into Form" any time. "Brain Dead" is shorter and more immediate, but the bash acquires more interesting dimensions, not without the help of the capable bassist. "Destiny of Man" is a dramatic hectic epicer with echoes of Fates Warning, and "Bastard Child" is a more complex headbanger again reminding of Forbidden's magnum opus. "Armor" is another highlight, a surgical clinical shredder with gradual speedier accumulations, the guys riding the progressive thrash wave with vigour and enthusiasm, sadly remaining just an underground phenomenon.

Up From the Abyss Demo, 1988
Last Hope Cemetary Demo, 1989


A late comer on the classic 90's thrash metal scene pulling out energetic music sounding close to the Forbidden debut and even Rigor Mortis on the faster moments, but there are quite a few slower pounding sections, some of them even sounding proto-groovy at times, as well as one bland heavy rocker: "Footstep from Hell". "Roadkill" at the end will smash you with brutal proto-death riffage as though the guys were preing for entering the death metal arena which never happened.

Court of Corruption Demo, 1990


An obsure US trio providing bland insipid 90's post-thrash with hardcore, grunge, and even electronics meshed in.

Sinister Reflection Demo, 1994


Interesting progressive power/thrash which will engage you from the very first chords (the ones after the short acoustic intro) of the opening isntrumental "The Lucifer Effect" which is a labyrinth of moods and complex music on a sterile, mechanical base, reminiscent of the Dutch avantgardists Kong and the Americans Odyssey. "The Minimalist" would be a pullback to some: first, introducing the bad deathy, semi-shouty vocals; and second, decreasing the technical delivery almost to the point of disappearance. But then comes the vortex-like instrumental piece "Home Sickness", and things get back on track delivering with complex arrangements and very cool technical leads. The unimpressive vocal performance continues on the creepy dry shredder "Distancing", which works music-wise with stylish minimalistic riffs in a doomy, slow-ish pace, creating a lot of macabre atmosphere. Then arrives another all-instrumental composition, "The Letter", which is abstract modern thrash with industrial undercurrents and very good leads. "Jester" wraps it up nicely in the end, another vocal track, which is vintage early-90's Coroner, a great technical cut with serpentine swirling guitars and a few faster sections (speed is never dominant here), a dramatic number with the standout musicianship. If we exclude the not very convincing vocal delivery, the rest is top-notch technical metal which only benefits from the bigger space taken by the music.

The Lucifer Effect Demo, 2011


Groovy post-thrash quite close to the works of Machine Head mixing heavy riffage ala "Burn My Eyes" with their more melodic period. There is the obligatory "duel" between the angry vocals ala Phil Anselmo and semi-clean ones, which are not bad, by the way, and somehow remind me of a more aggressive version of Peter Steele (Carnivore, Type-O-Negative). Some up-tempo thrashers stir the mood here: "This Could Get Burned", "Bowls For Bowling", but the rest is average at best.

New Trinity Full-length, 2006

Official Site


Decent modern thrash with harsh death metal vocals; the delivery is mostly straight and direct except for the stylish hectic piece "Revolution Now!", and generally the guys aren't interested in a very fast play preferring to pull out more atmosphere ("While the Moment Stagnates") which will remind of their compatriots Mokoma and the Swedes Raise Hell. Near the end the band liven up for the release of "Here Today, Buried Tomorrow" which is a cool speedster, and the closer "Sindom" adding diversity to this cool, but hardly exceptional effort which will also recall the Gothenburg school on the more intense sections.

Carnival for Mankind Full-Length, 2014

Official Site


Modern thrash metal which sounds quite fast and cool ("Kill Your Idol", "No Heaven Beyond") at times, but the rest of the songs are slower and far less hard-hitting.

The 666 X Murder Project EP, 2003

Official Site


This obscurity from the South American underground serves edgy pounding power/thrash which is still more on the old school side despite the slight aggro-shades in the vocal detment. The guys thrash with heavy, mostly mid-tempo in the first half, guitars bringing Xentrix and early Testament to mind, and even the muddy sound production can't conceal the compulsive headbanging moments on the excellent Bay-Area worship "No Other Man". "Shadows" begins with a haunting lead-driven section, and could swear that this must have been Alex Scholnick (Testament) to pull this out so expertly; the rest of the track is another very cool nod to the Bay-Area with its brisk semi-technical passages.

Chronicles Of Extermination Demo, 1994


Fast dynamic modern thrash exacerbated by even intenser shouty semi-death metal vocals. The album isn't completely devoid of melody (check out the restrained tunes on "Magic Bullet") the latter occupying quite a bit of space on the final trio of longer, more ambitious compositions among which "Symphony of Sorrow" is a doomy semi-ballad with not many faster surprises; a situation greatly improved on the closer "A Feast of Fools", a varied fast-pacer with nice semi-technical guitars of the speed/thrashing variety.

A Feast of Fools Full-Length, 2016

Official Site


On their full-length debut this band come up with a fairly good blend of melodic death metal slightly influenced by the Gothenburg school, and thrash. The music isn't always fast with frequently changing tempos and nice technical touches. The sound might remind you of the Canadians Quo Vadis, especially the more technical guitar work.

Recording Session Demo 2003 Demo, 2003
Painted With Utter Desolation Full-length, 2004
Sinning Is Our Savior Demo, 2004

Official Site


This band play thrash/crossover with cool fast thrashy guitars, not too far from the Brazilians Ratos de Porao, clinging between their more hardcore-based and their more thrashy period.

Speedcore Overdose Demo, 2005


Based on "Love like...", this French trio play modern thrash/death with hysterical screechy death metal vocals. The music has some choppy technical pretensions ("Love Like a Despot") and acquires more dynamic overtones ("Love Like a Snake") at times, but there are also shades of doom ("Love Like an Animal") and sincere playful Pro-Painesque groovy numbers ("Love Like a Business Man").

Follow Us EP, 2011
Faceless Full-length, 2013
Love like... Full-length, 2017

Official Site


Modern-ish thrash/post-thrash with shouty quarrelsome vocals with a deathy tone; "Thread of Salvation" throws in some death metal dramatism which remains for a couple of tracks which measure the Gothenburg standards far'n wide before less interesting groove emerges in the 2nd half to further increase the derivative nature of this recording.

Sinphobia Full-Length, 2014

Official Site


Intense crushing modern thrash with steam-roller riffs which at times transform into cool energetic headbanging moments ("Fear Of Reality"), but the more clumsy groovy moments are also around ("Black Cat"). The singer growls in a harsh semi-shouty manner recalling a more deathy version of Kirk Windstein (Crowbar).

Sins of the Father Full-length, 2011

My Space


Based on the full-length, this act pulls out thrashcore not far from the Cerebral Fix debut and the early efforts of Hellbastard. Expect fast music, short tracks and raw semi-shouty vocals, plus a few nods to doom near the end reflected in seate ts from certain songs.
The EP is three tracks of more serious thrash with more brutal, now clearly death metal, vocals. A pull back might be the loss of speed, the sound now sticking to repetitive mid-paced riffs, which are certainly missing on the 1.5-min exploder "Skip Skool", which is stripped-down hardcore ala the debut.

Greed Full-length, 1988
Know Your Enemy EP, 1989

Fan Site


Heavy modern post-thrash which marches forward in a steady battle-like manner with more intense pieces ("Let's Get Mental") scattered around. The riffs are squashingly heavy, but keep the dynamics with short crossover-ish exploders like "The Answer" and more classic-prone headbangers like "I Get It Now". The vocals are shouty and angry by also carrying a good sense of melody on the more lyrical moments.

Sway for a Better Day Full-Length, 2015

Official Site


Melodic post-thrash with groovy and stoner/doom borrowings; at their best the guys slightly touch the alternative twists of Tool, but the material on offer is too soft to hold the thrash metal fans' attention, except if they are also big lovers of Metallica's "Load" and "Reload" which can also be cited as soundalikes.

Sintanic EP, 2010


This is pretty cool atmospheric progressive thrash pulling all the astops on the excellent elaborate "Lands of Nowhere" which obviously follows the path of "Master of Puppets" with a galloping flavour and more screamy leads. "Groundless" is a more traditional mid-paced pounder, and the title-track is another hard-hitting complexer with a stretched balladic interlude. "See Who I Am" is a full-blooded ballad, a cool track despite its sleepy nature the lead guitarist not hiding his fascination with Kirk Hammett; neither does the singer with James Hetfield although the guy's tember is not as deep and less emotional.

Dies Irae Demo, 1996


Based on the "Nation in Pain" demo (which is eight songs long and could easily pass for a full-length with its very good sound quality), this band mix genuine technical moments with more conventional, headbanging ones, in a way not too far from Living Death's "World Neurosis", or even Megadeth's "Rust in Peace". Both styles are mixed in equal dozes so just when you think that the music has become too complex, here comes a cool straight riff which will make you jump around; but you have to know that very soon you'll have to stop because the next technical stroke is very nearby. As a matter of fact, the technical play is more concentrated on, but is never of a very elaborate nature; there are speedy parts, there are mid-paced as well as slower ones, all nicely blended together. With their music firmly rooted in 80's thrash with the coming of the new trends in metal, it's understandable why these very talented musicians never made it to the first division although they richly deserved that.
The 1992 demo is three songs of more carefree, less serious power/thrash which adds some modern-ish elements on the proto-groovy "No Better Than Yesterday", but "Feelings of Deceit" is a full-blooded old school technical thrasher with the intricate riffage and the authoritative bass implements. "Separation of One" is another less ordinary shredder recalling the better moments from the Bay-Area, seeing the band still holding onto the classic metal canons for most of the time.

Nation in Pain Demo, 1990
Demo Demo, 1992
Cripsy Elevator Crunch Demo, 1993


Based on the debut, this band play state-of-the-art progressive thrash with enchanting balladic passages where the leads reign supreme. The guys thrash with force on quite a few moments, and "Entre La Luz Y La Oscuridad I" would easily fascinate fans of Watchtower and Toxik with its labyrinthine structure and not very predicle time-changes. Thwe title-track leads the pack towards more abstract waters with its dissonant riffage and expressive bass support, and things go futher down the rabbit hole, first with the hectic pounder "Bajo Prueba", then with the wild cacophonic thrasher "Dependencia Externa" which is "saved" by a portion of very good melodic leads; the rest reaches a death metal intensity with echoes of Sadus and Death. The closer "Espera Dolorosa" is a bit on the more immediate side (finally!) with some nice melodic passages, but all jaws will drop on the puzzling section ala Coroner near the end. This is a really admirable achievement, and one would be quite curious to check out whether this compelling ultra-stylish, complex approach has been sustained on the sophomore release...
"Prisma" is a progressive jazzorama with no ties to metal whatsoever; it's a fairly interesting release with the quirky rhythms and the illogical arrangements, but it'll hold no water for the thrash metal lovers.

Reflexiones Full-length, 1999
Prisma Full-length, 2001

Offical Site


Modern thrash/post-thrash bordering on death metal at times; the guys shred with passion producing noisy proto-blasting moments ("Spread of Hate") which are still captivating with their mechanical sterile flair. In the 2nd half the sound takes a radical turn towards Meshuggah-esque dirges with the robotic title-track and the mechanized headbanger "Transmutation". "Intent" is even more brutal touching death metal, but it's the final track "Becoming Aware" which delivers the best with its technical dispassionate riffs with mathematical time-changes and a cool fast-paced retro passage. This is a fine release which is well conformed with the tastes of the time when math and djent rule the scene, by still staying on metal ground not without the help of the expressive shouty death metal vocals.

In Chaos We Trust Full-Length, 2014


A diverse intense offering serving thrash, hardcore and death metal on an abrasive modern base. Heavy steam-rollers ("Dret I Deure") shake hands with surprising, but very welcome melodic escapades ("Segcent") this symbiosis rudely broken by the fast-paced ragers ("Races Perilloses"). The vocals are rough brutal death metal ones and kind of don't suit the varied character of the music.

Mes Llenya! Full-Length, 2015


Based on "Bioelectric Violent Sisthem", these Italians pull out mechanized industrial post-thrash quite close to the Danes Grope, maybe a tad more dynamic ("Naked Skin" is a cool robotic headbanger). Still, the monotony is hard to get by, especially on heavy doomy exercises like "Sickman". The band shifted their style towards the gothic sector on subsequent releases preserving some of the dryness of the guitars, plus adding nice female vocals to support the not very starking main shouty hardcore ones.

Bioelectric Violent Sisthem Full-length, 1998
The Fourth Discontinuity Full-length, 2001
Black Leaves Falling Full-length, 2008

My Space


A thrash/black/death metal band; the base is the German school- Destruction, Kreator, but there are more brutal parts on both works which will remind you of Darkthrone, early Bathory, Satyricon, Necrodeath, among others ("Holy Virgin's Demise"). You can even hear the Australian National Anthem performed with a thrash metal intensity as an introduction to the EP; might serve as the opening of some major event there...

Labyrinth To The Gods EP, 2000
The Return to Godless Times Full-length, 2002


Based on the demo, this band plays abrasive thrash/crossover of the classic type. There is hardcore, punk, and harsh semi-death metal vocals, but the speed is not so much accentuated on the overall approach leaning towards the heavy mid-paced side also reminding of the Germans Warpath on the more intense moments.

Abracadabra Demo, 1989
Situaci'a2n General Split album, 1999


Based on the debut: cool thrash mixed with heavy/power metal; will appeal to fans of both genres. The music is mid to up-tempo, with slightly rough semi-clean vocals. Don't expect to hear a full-fledged thrasher: all songs mix the aforementioned styles, some sounding more intense, some clinging more towards the heavy/power metal side.
"Vida Futura" is more aggressive the band thrashing with force on a few tracks. The songs are longer, but those ones are the lesser achievements where the guys let themselves loose more than necessary, often ruining the preceding thrashy passage with bland, insipid hard'n heavy rhythms. However, the shorter, more direct numbers could make a few thrash heads turn, although the end is quite dull, preserved for two long boring ballads.
"Angeles Ca'a1dos" returns to the more laid-back power/thrash formula, but wins on all counts with its catchy hooks and galloping passages which get nicely translated on a couple of more vigorous cuts ("Apocalipsis", "Cuando la Luz se Escape de tus Ojos"). The mid-paced "idyll" reaches the inevile ballad near the end: "Six Michelada" which is a tender romantic piece with a good vocal performance which takes a more melodic turn here without losing its traditional hoarse blend. The final "El Fantasma" is also a ballad, but is way better with its more dynamic guitars and very good leads.
"Mentes Perdidas" is nothing special serving rough modern-ish post-thrash with doomy tendencies ("No Viviras") so don't expect anything headbanging here the muddy sound quality additionally presupposing a not very eventful delivery. Later on the band entertain themselves playing pure hard rock "Ni Escape Ni Piedad" being the only more energetic number here speed/thrashing in a surprisingly classic fashion near the end.

Lengua de Serpiente Full-length, 1989
Vida Futura Full-length, 1993
Mentes Perdidas Full-length, 2002
Angeles Caidos Full-length, 2007

Official Site


Based on "Triotus, Tricephalus and Tribadism", this band plays a cool mix of doom and thrash, more on the melodic and modern side, but edgy enough to keep the fans interested. The music is mid-tempo for most of the time, but sudden very fast proto-death outbreaks are quite frequent as well, albeit short. There are nice balladic moments, too, where the otherwise good emotional semi-clean singer takes a mellower direction.
"Moon 2002: Nocturnal Breed" is a similar mixture, probably a bit more melodic with more concentration on power and doom metal, and the vocal performance is more diverse this time also featuring cool female ones. A wide gamut of moods and emotions has been covered well supported by catchy choruses, melodic hooks, keyboard implements and a few blast-beat passages.
"Of Us" continues the diversity of the revious works, but its concentration on thrash is bigger, and as such it would be of a bigger interest to fans of the genre. The delivery is melodic and modern with touches of power metal, mid-paced with sce blasting outbursts. "Of Common Guilt" is a nice exception to the formula thrashing hard and fast, but the middle is occupied by much slower compositions with adherence to doom, a situation livened up by the last three numbers: the edgier, but still more mid-tempo "For John", the more dynamic proto-death metal-laced "Felicitas", and the speed/thrashing closer "For Jack".

Moon 2002: Nocturnal Breed Full-length, 2002
Triotus, Tricephalus and Tribadism Full-length, 2005
Chain-driven Sunset Full-length, 2007
Of Us Full-length, 2010

Official Site


3 songs of more radio-friendly old school speed/thrash ornated with the odd power metal hook and the more stylish lead section. The not very pleasant side are the rough drunken vocals which could have been more acceple if they weren't hissing hysterically for most of the time. The guys infuse the effort with merrier crossover rhythms ("We Intend To Hang You"), and generally the diversity in the musical department is quite big the guys never settling for one riff-pattern for very long.

U Shud Hev Invtd Me EP, 2011


Evilintense old school black/thrash which interest in, or rather passion for, alcohol sides them with the legends Tankard. Music-wise, however, this act are way more brutal often crossing the boundaries towards death metal (but of course "Alcoholic Attack"!). "Six Pack" is a wonderful, less predictable technicaller, but the rest is aggressive bash without deviations "Toxic Church" splitting your head with brutal lashing guitars recalling Devastation and Slayer at their wildest. The vocallist is a harsh semi-shouty death metaller whose rendings at times border on the hysterical.

Drunken Possession Full-Length, 2016

Official Site


This act pull out modern dynamicthrash with volcanic riffs and several cool faster passages: check out the merry galloping riffage in "Rise in Terror" which also boasts the finest lead guitar work on this effort. "The Marksman" is pure retro thrashing fury, an unexpected breath of fresh air which gives a nice boost to the album followed by another fast-paced ripper: "The One" which is the highlight here with its various tempos lashing curring riffs. A bit of groove sneaks in here and there, but this album should be a sure pick for fans of the more vivid side of the modern trends.

Ruled By Anger Full-Length, 2012


Based on "Another Horizon": this band offers run-of-the-mill Swedish thrash/death metal which doesn't lack energy and dynamics, but all the annoying gimmicks are here as well: the recently acquired by the genre practitioners metalcore breaks, the very melodic hooks, the clean vocals, etc. Still the guys have an idea of what cool headbanging thrash is, as is evident from songs like "Another Horizon" and "Weak In Darkening". The pure aggressive death metal attacks are not too bad, either: "Massgrave Memorial", and could have been more.

Kiss the Demon Full-length, 2000
Reborn Full-length, 2005
Another Horizon Full-length, 2008

Official Site


There is only one person responsible for this, going under the name Tasos Kiliaras. This guy comes up with an energetic mixture of thrash and hardcore, and gives an additional aggressive edge to the music with his gruff, but effective, semi-death metal vocals. He does a ticularly good job on the leads which are short, but proficient, with a cool melodic blend at times. The music actually stays closer to thrash, and is mostly up-tempo, with the exception of the groovy doomy "King of the World", and the stomping heavy instrumental at the end "Sick Society". The other songs are quite good intense thrashy pieces with hard headbanging riffs.

Piss Around the World Full-length, 1998


These are the same guys who also play in the folk metallers Shadowblade. Here the music is harder and better being a mix of power, speed and thrash ("Anti-Photon" is a major heavy galloping thrasher; and "Boot Hill" is great heavy riffy thrash in mid-tempo) metal with excellent dual guitar melodies (as well as leads) and a pinch of folk on the slower material which is not very frequent. The singer is a nice addition with his melodic, but also forceful tember, covering all ranges with dexterity, even gruffing at times wherever needed. "Solar" is a pleasant surprise towards the end thrashing with a certain doze of technicality, with a brilliant twisted speedy ending. More galloping riffs follow on the energetic speedsters "Fire from the Sky" and "Hallows Eve" which close the album in a fine brisk fashion making a really satisfying cross over the major metal genres from the 80's.

Sixguns Over Tombstone EP, 2007
Putting Revenge on the Map Full-length, 2009

My Space


Based on the 1st EP, this band plays an atmospheric brand of the 90's post-thrash, the mood marred by the throaty semi-death metal vocalist. The dynamic moments are not too many ("Say What You See"; the surprising headbanger at the end "My Da Could Beat Your Da In A Fight"), and despite the not very usual approach to the style, it all wears thin, even on an EP.

The Rise of the Robot of Satan EP 2006
Battle Royale EP 2008

My Space


Thrash/crossover similar to D.R.I.; Sixty Nine are more aggressive and vary things a bit more with sudden slower breaks and interesting riffs, but the general mood is pretty much the same.

Just For The Fun Full-length, 1988

Vibrations of Doom


A capable emulation of mid-period Sepultura borrowing both from the more classic spirit of "Arise" and the heavy more modern sound of "Chaos AD". As a result we have an alternation between fast and slower numbers with more carefree crossover tracks ("Way to It All", well sustained in the spirit of the Sepultura cover of New Model Army's "The Hunt") thrown in. The guitars are a bit noisy, but this is hardly a hindrance for major crushers, like "Insufficient", to sound aggressive and moshy. Still, the buzz favours the heavier songs more the latter also boosted by the angry semi-shouty singer.

Confronting The Mirror Full-length 2010

Official Site


Based on "The Metal Chronicles t I", these Bulgarians play cool modern power/thrash metal quite reminiscent of both Judas Priest's "Jugulator" and Fight's "War of Words" with a capable singer who pulls out pretty cool high-pitched performance, as opposed to his equally as impressive dominant mid-ranged one, very close to the antics of the Metal God spiced with the less piercing semi-screams of Tim "Ripper" Owens. The band is skilful in delivering heavy, mostly mid-tempo, tracks with crushing riffs, screaming leads and a good sense of melody (check out "Worm In A Brain"). "Venom Grace" is a vivid headbanging number, but "Crossroad" is the compulsory ballad. "House of Cards" is a dramatic power/thrasher with intense rhythms, but "Clouds Of Doubt" goes away with all the laurels being the highlight here: a compelling 8-min progressive song with jumpy riffs and engaging melodic decisions. The final "Eternity" is an edgy thrasher with lashing guitars in a galloping pace finishig this stylish effort with aplomb. Although Tim Owens tries to keep this ticular breed of metal alive with his projects Beyond Fear and Charred Walls of the Damned, these guys seem to pull it out in a better, more inspired, way, and it would be interesting to check whether this style has been eslished from the beginning.
The debut is already a sure-handed heavy affair epitomizing the guys' staple sound quite well, maybe slower and heavier with a crushing rhythm section, and stylish technical/jazzy insertions ("Smokejack") here and there. More classic-sounding power/thrash metal can be heard on "Seeker", but this leads to the loss of dynamics near the end where the guys indulge in doomy/bluesy explorations, the biggest embarrassment being the remake of the opening "Euthanasia", turned into a dancey industrial KMFDM-like anthem to a not very positive effect.

Euthanasia Full-length 1999
Worm in a Brain Full-length 2002
The Metal Chronicles t I Full-length 2005

Official Site


A band who have already embraced the modern 90's tendencies trying to produce their own version of Exhorder's "Slaughter in The Vatican". This is a mixed bag although "Cat Call" pulls out some fairly effective technical riffs which are nowhere to be encountered later the rest of the material being a bit repetitive and too heavy. The vocals are semi-clean, a bit shouty at times, but not bad also having a somewhat mean tone.

Restrainer Demo, 1992


Melodic thrash/death metal with sparce blast-beats and a dual vocal attack: low growls versus screechy hysterical ones. The music is closer to death metal, and is graced by stylish technical "decorations" ruined by the hollowly-sounding drums. The At the Gates influence is pretty obvious although on the slower tracks ("Jizh Navsegda" (Life Forever)) the band run away from it going into a doom/death metal direction. The progressive pretensions are not very well grounded despite the beauty of the several balladic moments ("Kazn" (Prison)) which smell Opeth quite a bit.

Ia Znaiu Pravdu (I Know the Truth) Full-Length, 2010


Based on the full-length, this outfit serve groovy post-thrash with echoes of Helmet and mid-period Prong. Th eapproach is not very eventful, and the tedious one-dimensional grooves will wear out before long with bluesy ballads and other demosntrations of tenderness not not doing much to impress the listener who will at least be mildly entertained by the versatile vocalist who covers a wide gamut of notes from angry shouts to romantic clean tirades. Some of the band members also take part in the very similarly-styled Cryptkicker.

Imbedded in Flesh EP, 1997
Blood of Sorrow Full-length, 1998

My Space


Black/thrash metal maniacs from China who after the insane blasting opener "Skeletal Augury" settle for cool up-tempo thrash by preserving the husky sinister croaky vocals. The thrash attack carries on until another black metal madness ("Funeral Mutilate") in the middle. More speedy thrash comes after that with a shade of Impaled Nazarene on "Total Maniac" and a couple of other tracks before "Temple of Blood" closes the album in a heavy doomy manner. The guys insert film sample dialogues in the beginning of almost every track, sometimes getting carried away with this touch, forgetting to stop it before it starts to annoy.
"Bless of Destroyed, Raped, Dismembered Flesh": the brutal black/thrashy saga carries on on full-throttle on this opus which is more professionally done although in terms of aggression nothing has been lost. The approahc has become more technical with clever death metal licks "tearing the silence" now more often, and thrash now taking a bigger space making headbangers like "Black Hydra" and the semi-technical riff-fest "Barbaric Realm" the highlight on the album. The end is actually occupied by purely thrashy pieces which sound quite classic and will lift the mood up.

Victory of the Holocaust Full-length, 2009
Bless of Destroyed, Raped, Dismembered Flesh Full-Length, 2014

Official Site


This UK trio specializes in not very exciting or eventful modern thrash which breaks the proto-groovy monotony at times with the odd brutal death metal inclusion. Rare displays of style (the long engaging "The Dogs of War") are not excluded, neither are more energetic, jumpy riffs ("Blue on Blue"). Te 2nd half is actually more interesting, featuring the cool diverse "Of False Hope", which boasts great melodic leads and several breathtaking balladic interludes. The closing "Night Turns to Day" is a surprising deathster of the semi-blasting type, and delivers to produce the final headbanging portion, this time spiced with a few more technical decisions. The singer is a not very impressive semi-shouter, but suits the not very demanding musical approach.

Fire and Forget Full-length, 2011

Official Site


Based on the EP, these guys come up with classic sounding thrashy death metal which combines the groovy steam roller-like sound of Obituary with the grinding aggression of Morbid Angel, plus more light-hearted crossover moments. There is even one attempt at semi-technical performance ("Sybil") which could have reached somewhere if it were longer.
"Eulogy For A Dying Fetus" is a frenetic, wild mix of thrash and death, quite chaotic at times, but strangely listenable and compelling, and even technical ("Psych"). The tracks are short, within the 2-3min range, and the music packs a punch all the time with good aggressive riffage. If you listen carefully, there's no way you will miss the cool cover version of Van Halen's "You Really Got Me".
"De.Ev' O.Lu' Shun" offers a more serious attitude with slower longer compositions and added modern 90's elements ("Dreamscape", which also serves straight headbanging thrashy riffs at some point). The sound is considerably softer and tracks like the slower groovy "Hypochrist", or crossover delights like the closing "Dr. Love", are not a rarity taking turns with old school headbangers ("Absence Of Intimidation"). As a whole this album is inferior to the strong debut showing the guys more mature and more diverse, but not better.

Eulogy For A Dying Fetus Full-length, 1991
Dreighphuck EP, 1993
De.ev''shun Full-length, 1994


Based on the "Never Slow Down" demo, this is excellent power/thrash metal (which actually slows down) with a more aggressive edge than the one which usually goes with the style. The vocals are melodic, resembling Michael Coons from Laaz Rockit (the ones he used on the first two albums). The music isn't far from Laaz Rockit's "Know Your Enemy" and Helstar's "Remnants of War".
The "Requiem" demo is just 2 songs: "Requiem" is a nice soulful ballad, but "Hammerhead of Fury" is blistering speed/thrash metal with ripping riffs in the good old Bay-Area style.
The "Happy World" demo contains 2 songs which have embraced the 90's modern post-thrash idea, and 2 others to oppose to them: "Blood of Life", which is a smashing mosher ala Anthrax with a few slower mid-tempo moments, and the final "Opposites Attract" which is a wild speed/thrasher with fine technical implements.

Never Slow Down Demo, 1988
Requiem Demo, 1990
Happy World Demo, 1992

Official Site


Based on the full-length: one of the finest moments from the French metal scene of the new millennium: stylish, quite technical at times, atmospheric dark/gothic thrash. The tempo is mostly mid-paced, but the riffs crush admirably, with nods to both the modern and the classic school with several quite intense shredding sections on the first two tracks which are also the fastest. Some of the songs are quite complex with different time and tempo changes alternating, but not in an annnoying way, and the dark-sounding guitars create quite a dramatic environment. The thing that may annoy, though, is the two vocal styles used: one is in the gothic/death metal-camp being subdued semi-whispered, but it's the other one which does the damage being from the clean gothic/alternative variety, and could be skipped for the future; what could be another pullback is that on the moments with those vocals the sound gets a bit more melodic with a more clear shade of gothic.
The EP contains the title-track, also featured on the full-length, plus 2 other songs which are in the same cutting atmospheric mode, mid-tempo gothic-infused cuts with semi-whispered/semi-deathy vocals. The delivery is kind of more restrained with more laid-back guitar work still missing the visceral effect of the succeeding effort.
"Mirror of Shadows" is more on the gothic/power metal side with thrash not present very frequently. The singer is still on the amateurish, gruff semi-clean side sounding close to early Carl McCoy (Fields of the Nephilim), including the music at times which is dark and mid-paced touching doom metal quite often.

Mirror of Shadows Full-Length, 1997
Shining Blood EP, 2000
Unmuted System Full-length, 2005

Official Site


Fast blitzkrieg retro thrash along the lines of Tankard and Necronomicon; the band mosh out on full-throttle and seldom pause for a break producing quite a few "Nuclear Thrash Mutants", like the title here implies, also supported by a couple of aggressive Slayer-esque pieces near the end. There'll be a lot of necks sprained once of this roller-coaster is over which also benefits from the good shouty attached, semi-clean vocals and the crystal clear sound quality.

Chaos at the Mosh-Reactor Full-Length, 2015

Official Site


Based on "Grief", this is heavy old school thrash/death metal akin to late-period Protector with grindcore breaks ("Surgery Of Fecal Sores").

Out of the Hydra's Teeth EP, 2005
Conflagration Full-length, 2005
Grief Full-length, 2006

My Space


These folks deliver modern Scandinavian thrash which can only be listened on a cold winter night... kidding of course, but the guys' mixture of more dynamic Swedish school guitars and heavier slower passages hasn't been given the sparkle of life the latter more prominent on the purer thrashy material ("M.P.F.F.") which is a bit hard to track down due to the profusion of slower, semi-balladic touches, those mamming the album an atmospheric raher than a moshing-around listen.

Skeleton Wolf Full-Length, 2016


The sludge masters increase their repertoire with some modern thrash here, and the result is a more dynamic affair with a strong post-thrash flavour. Watch out for the short explosive deathster "Skinning Angels" which would be a rude awakening even for the hard-boiled headbangers. After this truly scary moment the effort picks up quite a bit of energy, and the 2nd half is way thrashier than sludgier. The band die-hard fans would hardly feel betrayed here; on the contrary, they'll feel appropriately intoxicated by the several dynamic "injections" which show another dimension to be explored further by the band.

Tombs Full-Length, 2014

Official Site


Based on the demo, these folks serve heavy stomping thrash/crossover with a few more linear thrashing attacks ("The Attack") trying to follow the model established by Slaughter's "Slaughter in the Vatican". "Day After" is a more quirky stylish piece, nad "Dreamer" is an energetic galloper its bouncy retro rhythms contrasting with the gruff angry hardcore vocals.

Demo Demo, 1992
Downfall\\tab EP,\\tab 2012

Official Site


Melodic death meets thrash, and somewhere along the way a black metal singer. The black metal vocals are one side of the show; on the other one we have low death growls. The solos on the band's debut are from the classic heavy metal school. So, as a whole, we have a fusion of styles which would make this band appealing to fans from several sides of the metal circuit.
"Beyond the Permafrost" is the band's finest hour so far with a stronger concentration on thrash, excellent melodic guitar lines and cool speedy riffs. The sound is definitely classic if we exclude sce touches from the Gothenburg school. "Baptized in Flames" is probably the only track which could be classified as melodic death metal; the rest is nice classic thrash of the more melodic variety.
"Breathing The Fire" follows on the steps of its predecessor quite closely serving decent retro thrash in an energetic tempo, with distant echoes of melo-death ("Released from the Catacombs" and ts of other songs) at times. The fast pace for most of the time makes the atmospheric mid-paced sleeper near the end "Strangled by Unseen Hands" the highlight of the album, with the closing raging more modern-sounding thrasher "...And Into The Flame" a close second.
"Forever Abomination" is another decent offering crossing thrash with melo-death again keeping the energy high with short (2.5-3min) vivid tracks although the guitars lack an edge, a slight compensation offered in the more technical sector ("Choke Beyond Betrayal"). Black metal spings up timidly on the more extreme cut "Shredding Sacred Flesh" suiting the expressively raven-like black metal vocals, and the closing "My Skin Of Deceit" also keeps the intensity high relying on purer death metal riffage as a finishing touch. The band have found their own niche and stick to it without too many deviations, but one more album of the same may just remain unnoticed.
"Serpents Unleashed": the guys keep on churning classic/modern thrash worships and indeed, this effort has no chances to get noticed in the sea of similar works at present. This is so pedestrian by modern standards that only diehard fans of the style may really enjoy it thoroughly till the end where one will find frolic melodic speedsters ("Unending, Everliving"), short ripping thrashers ("Blade On The Flesh, Blood On My Hands"), nods to the melo-death movement ("This Evil Embrace"), and the closing "More Cruel Than Weak" which is the highlight with its more eventful, less predictable, delivery and sharper guitars.
The "The Apothic Gloom" could be considered a slight deviation from the norm with its optimistic, uplifting opening title-track which is closer to melo-death. The tone remains more on the death metal side blast-beats ruining the otherwise cool thrasher "Well of Despair". "Black Waters" goes straight into operatic black metal territories scattering the sound all over the place, the not very positive impression hardly corrected on the closing melo-death opus "Red Death, White Light" which is epic, brisk rhythms alternating with spasmodic blast-beats for over 7-min which would leave the listener passingly amused, but not really impressed.

At One with the Shadows Full-length, 2004
Worship the Witch EP, 2006
Beyond the Permafrost Full-Length, 2007
Breathing The Fire Full-length, 2009
Forever Abomination Full-length 2011
Serpents Unleashed Full-Length, 2013
The Apothic Gloom EP, 2016

My Space


Modern thrash/death played with intensity and a bit of technicality; the guys vary the delivery quite a bit ranging from intense speedsters (the opener "Bound In Blood", the stylish proto-blaster "New Skin For The Old Ceremony") to groovy steam-rollers ("Unbroken") to more complex, almost progressive, exercises in the craft (the closer "Perpetual Death"). The lead guitar work is quite good (check the closer again) and the vocals are fitting, maybe a tad more brutal for the style grunting with passion on quite a few times. Some of the band members also take t in the Swiss black/death metal act Tribes of Ca'8bn.

Skeletor Full-length, 2010

My Space


This power trio indulge in a heavy seismic blend of modern post-thrash and stoner/sludge which is not very exciting since the mid-pace is seldom broken topped by not very pleasant shouty death metal vocals. "Impending Doom" near the end is a faster cut with sudden blasting passages inserted to a fairly disorienting effect, and remains the most interesting moment on this eruption-causing effort.

Skeletor Full-Length, 2012

Official Site


Melodic thrash with a modern edge and dual vocals: one clean, the other from the death metal type. The last track is a surprisingly nice touch being a take on some popular evergreens ("Green Sleeves" and the likes).

Baked Alaskans Demo, 2000

Official Site


These Germans offer laid-back modern/classic thrash with progressive overtones. There is still some energy at play: "Taste of Blood" is a diverse cut with several speedy sections, and "Remnants Of Humanity" is a dynamic lasher echoing more recent adox "Electrify" being the closest reference. The other two compositions are a bit heavy-handed, mid-paced and a bit monotonous. The singer is not bad, though, his mid-ranged clean antics fitting the music again reminding of the adox frontman Charly Steinhauer. The band were previously known as Silenced under which name they released a solitary album in 2007 of a pretty similar style, maybe a tad more aggressive.

Cause of Death EP, 2011


Two guys are behind this dedication to the old school thrash metal idea which is sustained on full spead ahead for most of the time. The guitars have a sterile, computerized feel to them, and the vocals are strongly synthesized and not very clearly heard. "Midnight" is a subdued, more melodic power/thrasher, but the rest is fast and kind of one-dimensional, a situation livend up by the final "Open the Coffin", which is a varied piece mixing slow funeral doom sections with the staple speedy ones. This offering could have had more soul, though: it's obvious that the musicians have used the computer a lot during the recordings...
The self-titled album is anothe retro thrash affair "graced" by a dirtier sound which surprisingly favours the energetic delivery which cites Slayer and Atomica as influences: check out the intense roller-coasters "Desensitized to Death" and the 7-min of intense moshing thrash "Funeral For a Dream". The not very rehearsed shouty vocals are an impediment, though, since they occupy quite a bit of space, and the thin leads, albeit mellidc and occasionally stylish, are another minor annoyance deafening all the rest creating the impression that all the othe instruments have been silenced for the lead guitarist to show his skills unobstructed. Later it beocmes evident that this time there is just one guy behind the recordings, the name Evan Kotner, seeing the band's line-up going towards complete disappearance.

The Nightmare Begins Full-length, 2011
Just for the Hell of It EP, 2012
Skelteria Full-length, 2012

Official Site


One of the few bands who managed to impersonate Realm and Deathrow without sounding ridiculous; even the vocals are quite close to the ones of Mark Antoni (Realm), but are a tad more controlled on the higher tones. This is standout progressive/technical thrash rubbing shoulders with other groups from the genre like Sieges Even, Deathrow, and even Mekong Delta. The guys like to keep things simple with short, but eventful songs (tempo changes and riffs, I mean, not off-beat non-metal elements). The tempo changes all the time, and this creates a somewhat chaotic feeling, but on every subsequent listen you'll find that there's nothing out-of-hand here, and everything is logical and coherent. "Human Indulgence" is the band's tribute to the faster, more aggressive side of thrash, and could be well placed on Toxik's "World Circus", or Forbidden's "Forbidden Evil", for example. The music is not very easy to get into at first, but you'll be rewarded for the invested time. This bad is one of the representatives of the progressive/technical thrash metal wave which started in Germany in the early 90's, and one of its finest representatives; very highly recommended.

Presence Of Mind Full-length, 1994

My Space


This talented young act provide excellent complex progressive thrash summing up the best from the veterans Toxik, Realm, and Intruder. The guys start very ambitiously with the long eventful opening title-track which thrashes wild amidst head-scratching, elaborate sections. There's no technical ground uncovered on the following puzzler "Key to Power" which shreds to no end creating spiral-like structures also leaving room for one final fast-paced moment. Then comes "Tyrant" which is ripping headbanging thrash to the bone. "Savage Metal" is exactly what the title promises: brutal thrash with some of the most cleverly-concocted intricate guitar arrangements this one echoing the Dutch masters Expulsion. "Disciples of the Fourth Branch" is another super-technical portion of thrash reaching the extreme complexity of acts like Deathrow and Skeptic Sense with ease with mind-scratching decisions galore waiting at every corner. The closing "Sentenced to Death" is a wild speedster with furious tremolo pickings and the obligatory odd time-signatures, the long lost Toxik composition from "World Circus". The singer is an exemplary high-stringer easily "flirting" with the Rob Halford falcetto whenever necessary pulling out commendable performance all over. This is a truly unique achievement, a highly recommended album which already puts the band fairly high up in the rankings from the start.

United We Stand...Together We Fall Full-Length, 2014

Official Site


This US trio indulge in staple Swedish melodic thrash/death metal which is more on the controlled side without missing completely in the speedy department. The compositions elongate with time also becoming more technical ("Wages of Internal Conflict") with echoes of Anata and their compatriots Arsis. "Skies of Redemption" is a more serious progressive cut and despite the reduction of speed remains the highlight. The vocals are of the brutal shouty death metal variety and may be considered a pullback to an extent.

A Passage Through Tribulations Full-Length, 2009

Official Site


A diverse blend of post-thrash, modern thrash and death metal. There's some twisted, chaotic technicality involved ("Supernatural Catastrophic") bordering on djent, and its mechanical, robotic character can sound appealing ("Extreme Of Consciousness") at times. The rest is decidedly slower and too jumpy to attract a wide crowd from the regular thrash fanbase, not to mention the overshouty aggro-vocals with a death metal blend which annoyingly take too much space at times.

Murdernation Full-Length, 2015


Based on the full-length: Stuart Toolin from the industrial metal wizards Pitchshifter had tired his hand son a more thrash-fixated sound, with expected heavy abrasive results. The overall delivery strongly recalls the father band to the point that this can easily pass for long lost Pitchshifter album with an increased dynamics on cuts like "Vehement" and "Defaced". "Intolerance" is a post-thrashy groover, the only not really interesting piece here; and "Gegen" is pure industrial miasma the "agony" prolonged by the nice choppy title-tack and the robotic mechanizer "Machine". Another winner is the closing "Mind Hate", a crunchy dirge in the best tradition of Godflesh and the Canadians Soulstorm.

Wound Freeze Full-length, 1994
Walking Knife EP, 1995


Cool retro thrash which comes in various tempos with a characteristic dark sound which may remind of Deathwish and Hallows' Eve's better moments. The musicianship is clever with a few serious attempts at a more complex song-writing (don't read progressive here): check out the diverse opus "March of Fallen Souls", but the jollier, crossover, side of the genre hasn't been completely ignored, either: the closing punky hymn "Jail Breakers".

Jail Breakers EP, 2011

Official Site


A new Canadian trio from hell unleashes straight retro speed/thrash with apocalyptic black-ish vocals. The music is very close to the works of the Portuguese Alastor and the Japanese acts Abigail and Barbatos. So expect mostly up-tempo riffs ("Born In Hell" is the only slower doomy heavy track) with short leads, lighter heavy metal anthems ("Metal Warriors") and a few short thrash/crossover happiness-es ("Heavend Is Destroyed").

Made in Hell Full-length, 2008

My Space


Based on the 1st demo, this is primal Venom-esque thrash with very good bass support, but the rest is below par including the chaotically shouty vocals which accompany a scattered mid-paced barrage whic could even pass for an early aggro-recording the chugga-chugga wall of noise pricked by the sparse more sensible lead section, and the jumpy joke piece at the end "Choo Choo Train".

Demo Demo, 1991
Starve Demo, 1994


The debut: intense old school thrash pours over the unsuspecting listener which can be viciously aggressive ("Crawling as a Worm" at times "decorated" with the casual death metal-ish throw-in. Generally the tempo is quite fast the guys showng no remorse touching their renowned compatriots Sepultura's mid-period with ease if we exclude the deliberately dry sterile guitar sound which could be lessened on future efforts. The singer semi-shouts in a forceful deathy manner, not as convincing as Max Cavalera, but not far behind. The band members are also active with the death/thrash formation Desaster, and the grindcore veterans Siegrid Ingrid.
"Dissolved" has no intentions of slowing down as the delivery has moved up in terms of aggression with more frequent nods ot death metal ("The Mentor"). "Ask to Diablo" is an imposing heavy stomper, but stoppages of the kind are simply not many at all here as the band mosh with the utmost intensity adding the odd more technical hook ("Caustic Honor", the excellent short instrumental "Insomnia") on occasion.

Condemning the Empty Souls Full-Length, 2013
Dissolved Full-Length, 2017

Official Site


This is a project of ex-Imagika members among whom is the singer Norman Skinner (also Machine Called Man, etc.). The band's music is a mix of speed, power and thrash recalling the early days of the father band including the excellent "And so It Burns" since the concentration is clearly on thrash regardless of the several balladic passages, the progressive leanings (the more toughtful closer "The Enemy Within") and the infectious melodic lead guitars. Skinner is in fine form covering several ranges with ease without losing his characteristic hoarse blend which comes curiously mixed with brutal death metal insertions on the aforementioned closer.

The Enemy Within EP, 2012

Official Site


Based on the "Throwing Dirt" demo, Skiptoe play thrash/crossover with no borrowings from the groovy 90's post-thrash scene having in mind the time of release; this is old school music, not really heavy, recalling Excel and C.I.A.

Throwing Dirt Demo, 1994
Mortal Lies Demo, 1994
Live at WREK Live album, 1996
Mortal Lies-The Demos Best of/Compilation, 1997


Based on the full-length: pree for a constant "skirmish" of modern melo-death/thrash riffs along the lines of Carnal Forge and Maze of Torment. A few more abstract, Meshuggah-sque ("Insurgency") elements can be felt as well as nice epic pounding rhythms ("Mystery in a Blazing Dream") ala Amon Amarth, but overall the established formula is seldom broken coming with guttural, low-tuned death metal vocals.
"Jet-Black Days" is more complex, with more serious arrangements, and some of the songs come with a good sense of aggression ("Replacement") as opposed to the more morose ones. The album picks steam a bit by bit until it reaches the end where "Terminal Embrace" is a shattering thrash/deathster with loads of hard-hitting riffs and a few enchanting melodies coming from the lead detment.

Four Devouring Pieces EP, 2006
Undefined Phobias EP, 2008
Skirmish EP, 2010
Through The Abacinated Eyes Full-length, 2011
Jet-Black Days Full-Length, 2013

Official Site


This act, who have the penchant to paint their faces in a manner not too far from Kiss, produce (based on "DEN H'8fRDASTE J'8eVELN") modern thrash with a few epic and more tender balladic sections lacking the energy and vigour of their compatriots from the Gothenburg school relying instead on melody and catchiness which brings pleasant clean vocals as opposed to the much more brutal main death metal ones. The tempo is mostly mid without too many highlights, a situation saved by the very good lead guitar work and the several more dynamic cuts ("De Lever!"; the closing grinding outbreak "Reich'81bersturmf'81hrer Drdblquote rrvakt").
"Tarmageddon": the modern thrash saga carries on unabated here served in a more dynamic fashion this time although again there's not much speed to be savoured, and some sprawling, not very eventful, ballads ("LIV-negativ", the elegiac "Kast-abort") may seriously stretch the fans' nerves. The sound is quite epic-tinged creating a feeling that the guys are getting ready to embrace the folk/pagan vogue some time in the future.

Skitarg Full-Length, 2010
DEN H'8fRDASTE J'8eVELN Full-length, 2011
Tarmageddon Full-Length, 2014

Official Site


An excellent 3-song demo of technical power/thrash metal; the band has an approach which is based both on the more complex style of Sieges Even and Watchtower, and the more aggressive lashing one of Helstar and the Dutch Paralysis. "Progressive Psychosis", a very appropriately-titled song, by the way, is a great example of mixing the two sides sounding both energetic and galloping, and twisting and meandering the latter accompanied by an unobtrusive keyboard background; there's a lot to hear here: sharp hitting riffs, sparce acoustic implements, faster headbanging sections, labyrinthine passages, etc. "The Killer Instinct" is an aggressive mid-paced smasher which loosens up a bit on the technical side in the 1st half, but wait till you hear the super-twisted riffage near the end: exemplary technical thrash ala Coroner's "Mental Vortex" in a creepy doomy pace. "Too Late For Repentance" is the ultimate technical/progressive thrasher: a surreal hallucinogenic composition with great bass support; precise technical, at times quite abstract, riffing; brilliant fast technical leads; a nice speedy mid-passage, and more. The singer is a cool addition with his attached clean, at times quite high-strung, tone trying to capture the inimitable blend of Mike Soliz (Watchtower) on a few times. It's a pity that acts like this never managed to produce an official release: this small gem could have been the backbone of a full-length masterpiece...
The unreleased demo features 5 previosuly unreleased tracks in league with the ones already heard from the debut demo. It should come as no surprise the high level of musicianship displayed here having in mind what delight the first 3 compositions were. "Stagged" is an awesome opener which chops and slices its way with hectic twisted riffage ala Watchtower. "Born Again" is more along the lines of the 80's American power metal movement with the semi-gallops and a few stylish insertions ala Helstar's "Nosferatu" alongside a cool dramatic accumulation serving as the chorus later followed by the most unpredictable time-changes on the demo. "Mother's Revenge" is a progressive power/thrasher with creepy overlapping rhythms, a larger-than-life amalgam of moods and technical riffs which circle around the mid-tempo. "Symmetrical" is the fastest composition here thrashing in an energetic galloping manner akin to Savage Steel's "Do or Die", becoming wonderfully chaotic towards the middle not to mention the fine melodic lead section near the end. "In Vain" is a superb technical shredder again sustained ina jumpy mid-pace, one of the highest achievements of the band, full of strange rhythmic shifts entwined with beautiful melodic tunes. This masterpiece is another testimony that the best works of metal can be found after years of hard digging in the underground...

, Progressive Psychosis Demo, 1990
Unreleased Demo


You might find it hard to believe, but Skitzo are one of the oldest metal bands in the USA: their first demos date back from the distant 1985. Their predominant style is aggressive, well-constructed thrash mixing both the classic and the modern sound throughout the different periods of their career. "Synusar'Sukus" is probably the band's best effort, still closer to the classic sound; this is very aggressive stuff with nods to death metal ("Leatherface"), and the best parts are where the band don't play very fast, but crush impressively with heavy doom-laden riffage ("Grinding Gears"). Such intense stuff could wear down both musicians and listeners quickly, and this is the reason why the last three tracks are nothing more than senseless joke-songs with not much music involved.
"Dementia Praecox" is the next in line return for the guys who mosh on the good old way adding more brutal death metal-ish elements whenever needed ("Back To The Grave") alos displaying their more tender side on the hard rocking anthem "Born In Hell". "Sick Son Of A Bitch" is vintage classic Overkill, a fast raging speedster, but expect more novelties later like the crossover frolicer "Mindless Corruption", the short death metal exploder "Lust And Perversion", the surprisingly stylish semi-technical "March Of The Rhino", and the closing soulful balladic instrumental "Attack Of The Zombie Hippies".

Derragerous EP, 1989
The Skulling EP, 1991
Evilution Full-length, 1992
Synusar'sukus Full-length, 1994
Psychobabble Full-length, 1996
Got Sick! Full-length, 2000
Hellavator Musick Full-length, 2002
Heavy Shit Full-length, 2005
Five Point Containment Full-length, 2007
Dementia Praecox Full-Length, 2015

Official Site


Based on the full-length, this Italian duo play fairly competent old school thrash which built around fast blitzkrieg rhythms as exemplified by the short bursting "Zombie Arrapati". Diversity arrives in the middle with the nice balladic stomper "Il Filo Rosso", and the cool cover of Manowar's "Kingdom Come" ruined by the very weak vocal performance which is horrible on the whole album, by the way. Anyway, one would quickly learn to completely ignore the "singing" thanks to the good music which in the 2nd half continues to enchant with speedy cuts like "Skizoviolenza" and "La Triade" where speed metal also steps in before "Maniaci Di Guerra" brutalizes the environment with less restrained proto-deathy hooks those missing from the imposing balladic closer "Skizopatix II (La Storia)", another stylish display of diversity seeing an act ready to interfere more prominently into the contemporary mertal scene if, of course, they take care of the horrible vocal side.
"A Volte Ritornano": the bad vocal side remains, but the music is nothing short of outstanding the guys coming up with the exemplary speed/thrashing shredder "Bar" in the beginning, awesome classic stuff at its best. The rest which follows is by no means a sloucher, mind you: "Il Porno" is brutal bash with superb technical leads; "Condannato" is stunning technical thrash in mid-pace; and "Morte In Un Horror Film" is a longer more complex composition served in various tempos including a smashing blasting passage in the middle. "ForzaSatana" is vintage retro speed/thrash, nothing fancy here; and "Pazzo" is another more elaborate headbanger growing into the formidable steam-rolling technicaller "Anatomia Di Un Omicidio". "Cazzo Mosh" deserves its title being aggressive direct mosh without any ado graced by a brilliant lead section; and the closing "Capodanno" is nearly 9-min of intricate technical thrshisms blending fast-paced sections with some of the most labyrinthine riff-patterns to come out of Europe recently. This is a masterpiece in every respect, a consummate display of inspired high class mucisianchip, leaving the weaker vocals just a not such an annoying afterthought after all.
The EP is another super-energetic slab of the good old thrash featuring the energizing semi-technical galloper "n-Dipendenza", a very cool cover of Metal Church's immortal hit "Metal Church" ruined by the very screechy vocals; and the merry rock'n roll stupidity "Canzone D'Amore". "Problema Di Fisica" is a mild power metal anthem , and the final "Meritevole Inno Per Noi Metallari" is an optimsitic speed metal revelation still hinting nothing at the amazing transformation the band would experience just a few months later.

Skizoviolenza Full-length, 2016
Disfunzioni EP, 2016
A Volte Ritornano Full-Length, 2016

Official Site


This is modern thrash/death metal which comes served with brutal, low-tuned, ultimately incomprehensive vocals, running from the Gothenburg patterns by sticking to darker, more brooding riffage. The guys try to mix things up, alternating fast and slow sections on almost every track, the later kind of working better coming with a nice doomy shade ("Devil In My Face").
"Accursed Through Eternity" is an elaboration on the EP the dark gloomy tones ably translated as well as the cool melodic tunes. Again, the emphasis is not so much on speed as it is on mood and atmosphere which are also aptly reflected in the several short acoustic interludes including a dreamy ambient closer. The vocals again remain the downside their rough brutal character hampering the musical proceedings to an extent.

The Unforgiven Sin EP, 2011
Accursed Through Eternity Full-Length, 2013

Official Site


This young act indulge in in intense bashing thrash/proto-death in the vein of Morbid Saint, Rigor Mortis and Devastation. The guitar sound is crisp and sharp, and the band are not strangers to some more intriguing motifs: check out the twisting meandering riffage on "Shadow of the White Skull", or the hectic shredding on "Napalm 'Nam". The strong bass bottom is a major asset giving the music a characteristic thundering reverberation. The closing "Catastrophic End" is more death metal-immersed number which finishes this effort with aplomb in team with a blistering lead section, another indication that there's more potential hidden here to be given more opportunities for exposure later.

Lucid Persecution Full-Length, 2014



3 songs of energetic classic thrash with a boosted modern production; the guys shred well sticking to energetic, a bit jumpy crossover-ish rhythms, "Rojdenie" being the exception: a groovy, sleepy cut with abrasive riffs. The singer is all right with a not very attached clean tone shouting unpleasantly with a synthesized blend at times (the aforementioned "Rojdenie").

Bejat Demo, 2011


Based on the full-length, this act indulge in brisk intense old school thrash which keeps the fast-paced guitars coming even on the more serious, longer material ("Bankrupt Justice") whereas the shorter tracks like "Guilhotine, Torture and Genocide" are pure rage the screamy leads a fine addition alll over. "State of Suffering" is a fabulous mix of technicality and melody with speedy lashing riffs flying from all sides, the highlight on this enjoyable recording which loses a few points from the not very impressive subdued death metal vocals.

Crack Massacre EP, 2014
Betrayal of the Breed Full-length, 2017

Official Site


Based on the full-length, these folks deliver energetic intense modern thrash with very expressed, shouty death metal vocals. The guitar work is very crisp polished by the modern production working fine on the mid-paced material as well among which "Running Out Of Time" is a particularly seismic number. "Thrashtastik" by all means deserves its title although it's more of the hardcore type with abrasive, diirect riffage. However, its primal intensity has no match later the music losing its fast-character summed up by the closing doomster "Leaving The Killing Field". The vocalist is a gruff deathy semi-shouter who takes quite a bit of space.

Skox EP, 2010
Years of Legions Full-length, 2016



An early incarnation of this band included future members of quality thrash metal acts like Calibos and Section Brain, who did not survive long ehough in the band to take part in the recordings of this album. But even without them the guys manage to pull out worthy speed/thrash metal along the lines of Iron Angel and Toxis Shock. The 1st part is more melodic with a certain power/thrash metal flavour, but the second half picks up speed admirably, still finding time for one long (7-min), heavy, almost doomy number: "Smrtici Znameni", followed by the smashing Slayer-esque thrasher "Lovec Lidi". This was a promising debut and considering that the Czech metal scene had become active a bit later than the major ones, this band could have perfectly served as one of its backbones through the 90's (if, of course, they had continued in the same vein).

Dark Powers Full-length, 1991


This great band was formed by Adam Grossman, one of the legends of industrial metal, after he put an end to his previous formation Angkor Wat. The band came on the scene with a splash with their excellent debut of sharp, riff-oriented thrash (there is a three guitar attack present on every album), "decorated" with industrial elements which have started to turn into a trend in the early 90's. "Dusted" continued in the same uncompromising fashion, being another stellar work, this time with an increased presence of industrial. "Shadow of a Doubt" threw a certain "shadow of a doubt" over the band with its less aggressive, slower, groovy and choppy sound sounding like a not very convincing attempt at a more technical and interesting play which misused the triple guitar support quite a bit. "Angel Seed XXIII" followed on the steps of its predecessor, speeding up a bit, and generally containing a more thrashy and heavier material. As a matter of fact, if you give the last two albums a few more spins, you might find that they are not too bad; they have their moments as well and show that the guys have moved on although in a less impressive way comed to the beginning.
"Universal Immolation": After a long period of silence the industrial masters are testing the soil with this 4-tracker which sees them treading the waters already stirred by their last 2 albums which means that there's no "back to the roots" here, but the fan will have to prepare for dark brooding riffs with a big doze of groove thrown in the short shredder "Empires" the sole reminder of the band's glorious beginnings. New tricks: the lower-tuned death metal vocals of Adam Grossman, and the sudden blasting black metal insertion on "Nazarene Lash". So ger ready for the larger-than-life opera which should follow...
"Universal Immolation" the full-length: Mr. Adam Grossman and Co. return just a few months later with a full-length, and not surprisingly (judging by the album-title) have included all the 4 tracks from the preceding EP. Combined with 5 new songs, however, these tracks deliver in a much better way and make this new offering way superior to the band's last two lacklustre full-length affairs. The opener "Rise" doesn't promise much being groovy modern dirge along the lines of "Angel Seed"; neither does the following "Blind Deaf And Dumb" which is a groovy creeper of the sombre kind. Enters "Empires", and things start moving aorund with more dynamic riffage which even borders on the technical and progressive in the middle. From this moment onwards the situation hits pretty much the top, first with the technical headbanger "Nazarene Lash" which even blast-beats for a while in a less controlled black-ish fashion; then with the diverse sinister "Hijack" which is a doom-laden piece with funereal atmosphere. "Chaos" starts to "reign" with the coming of "Chaos Reigning", another morose cut, and just when the proceedings become too macabre and monotonous, arrives "the Lie" to "lie" to everyone that this will be another bore providing a requisite doze of hard-hitting energetic passages which reach a headbanging pitch somewhere in the middle. The closing "Omega" is a hard shredder with cutting guitars and a few dramatic build-ups which hit the blast-beats again for a bit before the fine surreal ending wraps things up.
Industrial is barely present here the band now sounding like a fully accomplished modern thrash metal outfit who have made some adjustments, all for the better, to their established, but declining main approach, and now look well equipped to shine with the brightest out there if, of course, they decide to appear more regularly on the scene. And, the more brutal death metal vocals introduced are not courtesy of Grossman, but are handled by a new throat, the name Hunter Townsend, who is also a full-time member of the metalcore heroes Prey for Sleep.

Burning in Water, Drowning In Flames Full-length, 1991
Dusted Full-length, 1994
Shadow of a Doubt Full-length, 1996
Angel Seed XXIII Full-length, 1997
Universal Immolation EP, 2013
Universal Immolation Full-Length, 2014

My Space


4 tracks of clever, technical modern post-thrash which meanders through with choppy hectic rhythms with a more overt progressive flavour on "Artifice" which even touches Siieges Even; adding a technical death metal touch to the proceedings on "Anathema" the latter also graced by a few surreal, more mechanical shreds. "Supremacy" is another more intense death-ornated cut, and the closer "Constructing The Absolute" is an eventful hectic technicaller with dramatic crescendos on a more orthodox, melo-death/thrash base. The vocalist is the traditional shouty death metaller, the downside on this otherwise cleverly-concocted effort. Some of the musicians also play with the death metal outfit Godless.

Discord EP, 2010

Official Site


A Colombian trio whose vocalist and bassist looks like Lemmy Kilmister quite a lot, but the resemblances with the Brits end here since the music on offer here is nice classic speed/thrash metal with early Metallica and the Whiplash debut being the main influences. The guys spare no speed on the first 2 songs before they decide to come up with "Ferro", which sounds too crossover-ish in the beginning, but later on turns into a major headbanger again. After another fast-paced song ("Lonely Wolf") the sound quality drops for the remaining 4 ones which are apparently leftovers from the band's earlier days, although the style is the same, with a Bulldozer cover coming up at the end ("Cut Throat").

A Night Of The Battle City EP, 2009

My Space


Bashing raw thrash/proto-death also with an overt hardcore "sting"; the delivery is quite fast and brutal the band marching on relentlessly not using the bad singer a lot whose low-tuned death metal insertions are barely heard. At around the same time the guys also operated under the name Contra where the style was much better constructed speed/thrash.

You're Dead Demo, 1990


Although present on the same tape with Second Hell, this band aren't as brutal and intense. Their music is more along the lines of bands like Warrant (Germany) and Tyrant (Germany): speed metal mixed with melodic thrash; music which will definitely not crush your skull (pun intended).

Metal Deadness Split, 1986
No Boundary for Hell Demo, 1986


Cool intense retro speed/thrash metal with vicious black metal vocals which are more on the hysterical screamy side, but are not very annoying. Shades of black in the musical department can also be felt ("Order from Hell"), of the blasting type, but the rest is cool energetic stuff with Alastor and Iron Angel's debut the closest soundalikes.

In the Name of War Demo, 2010

My Space


This Canadian outfit acquit themselves with cool classic speed/thrash which has plenty of energy and sharp, ripping riffs producing something not far from the Metallica debut ("Hammer Fist" is a sure reminder of "Hit the Lights" and "Whiplash"). Then arrive the deviations in the middle: the intense shredder "Welcome to Camp Blood" which even acquires slight proto-death tendencies for a while; the more engaging longer "The Age Of Steel". The 2nd half returns to the optimistic speedy formula wrapping things up with the sweeping speedy closer "Destroyers Of The Faith". The singer is a forceful semi-cleaner who spices his approach with the odd clean note producing a convincing attached performance all over.

Destroyers of the Faith Full-length, 2012

My Space


This US trio plays typical 80's American power/thrash metal mixing the heavy dark sound of the Nasty Savage debut ("Fear The Truth") with more intense riffage ala Blessed Death and Destructor ("Demons Roulette").
"Pay It In Blood" is an elaboration on the EP offering a similar mix between faster and slower numbers as both sides deliver as the preferences would probably go towards the former where the approach again recalls Destructor, and early Whiplash on the more intense moments. In the middle the album loses steam quite a bit with a string of mild toothless heavy/power metal hymns ("The Gladiator", "Blasphemy", etc.), but near the end a hefty compensation is provided, first with the furious thrasher "Born Evil", and then with the sinister galloper "Convicted of Conviction". The closing "Hit By God" is a doomy unfocused affair again "courting" power metal more. The singer is not a detriment although his mid-levelled gruff semi-clean delvery is not very expressive lacking the necessary emotional blend to these ears sounding not far from the old Omen vocalist J.D. Kimball (R.I.P.).

Fear the Truth EP, 2008
Pay It In Blood Full-length, 2010

My Space


Well done: a live album right after just one demo; this is a feat. Otherwise this is heavy mid-paced thrash with hoarse semi-death metal vocals. At times the music slows down to a doom/death pace ("Harvest Desire") which sounds like a hesitation as to what direction the band should go, rather than an intentional variation.

Demo Demo, 2001
Live At K1, Elmshorn 24.02.01 Live album, 2001

Official Site


Based on the full-length, these folks pull out noisy, fuzzy old school thrash which is more on the one-dimensional, bashing side with expressive bass support. "Yearnings of Bane" is the seeming highlight here, a furious stylish thrasher with a covert death metal flair soaring above the rest which is really simplistic, direct stuff topped by angry, shouty vocals.

Wild Nation EP, 2012
In the Name of Rage Full-length, 2015



This act pull out jumpy groovy post-thrash with doomy elements whicu is quite heavy and crushing, and strangely dynamic at the least expected places. The resultant mixture is not bad if we exclude the final string of songs which are mere groovers without any merits the assured angry vocals being the best oart there.

The Perfect Harmony for Doomsday Full-Length, 2013

Official Site


2 songs showing an act fascinated with the more technical side of the modern thrash movement, not far from Gojira and Biomechanical. "Reclaim" is more immediate and more dynamic, whereas "Only Darkness" is more complex, but also features notable guitar work with a progressive flavour. The singer is nothing special, and could be considered the weak link with his slightly hysterical shouty death metal/hardcore-ish tember.

Skull Vultures EP, 2014


German thrash metal mixing classic and modern elements with Dew-Scented being a close soundalike; nothing to lose your sleep over: fast one-dimensional thrash with no hooks or technical riffs whatsoever.

Total Thrash Terror Full-length, 2005

Official Site


Germanic thrash played by the book with more adherences to speed metal; the band play with competence if we exclude the not very clear sound quality which may have been applied intentionally as a nod to the old school. The band soften down in the middle relaxing with less intense guitars and mid-tempos, but the ending is worthy in the form of the headbanging hit "Nepokor". The singer doesn't quite shine with his gruff drunken semi-clean tone which completely lacks emotion and depth.

Skullcrush Full-Length, 2009

My Space


These Colombians had concentrated on the raw brutal side of classic thrash metal, the one with the proto-death tendencies, and probably this stuff would have had some appeal if it wasn't for the awful underground sound quality which makes all into one big mass of sound of the fast aggressive type with early Messiah perhaps the most likely influence.

Who Cares Demo, 1991


This is a 4-track demo of interesting dark brooding thrash which may remind you of the works of their compatriots The Mist who perfected this approach a year later on "The Hangman Tree"; the music is a cool mix of doomy pounding riffs and faster sections which never go over the up-tempo. On the more intense ts the guys touch Rigor Mortis ("Remains Of A Cruel War"), and some stylish guitar work is not a "stranger" to the proceedings, but the not very good sound quality spoils things a bit. "The Worst Intentions" is a captivating semi-technical number also recalling early Coroner graced by good bass performance. The singer has already acquired a semi-death metal tone, but his delivery is intelligible and well suited to the moody music.

Protect Your Soul Demo, 1990


Intense blitzkrieg old school thrash moving forward in a steady speedy manner assisted by not very pleasant shouty hardcore vocals. Things never get out of control although the approach is on the border of death metal at times the guys shredding really brutally on the more inspired moments ("Bullets of Blood").

Skullcrusher Attack EP, 2010

Official Site


This is the first attempt of the musicians from Freevil to play music, and they come up with modern groovy thrash/death metal, very similar to later-period Massacra ("Sick", "Humanize Human"). In other words we have slightly one-dimensional mid-paced stuff which livens up for the casual number ("The New Conspiracy", and especially the explosive bomb "Breaking Point", which pleasantly surprises with melodic leads as well), but this makes the rest even more unimpressive and unappealing.

Tortured To Death Demo, 1997


This act operate within the modern thrash/death zone where so many other modern practitioners fall into. The guys differ from the majority thanks to more clever decisions like the technical build-ups on "White Phosphorus Bombings", the cleverly inserted gallops on "Trigger the Crisis", and the warmer progressive atmospherics on "Antisocial Agenda". "Through Death" is a destructive headbanger with lashing semi-technical riffs, and the vocalist is the staple attached shouter with a more melodic timbre without any death metal leanings. Some of the band members are also active with the thrash metal formation Zodiac Ciphers, and the black/death metal hybriders Mortellez.

Hatred Rising Full-Length, 2017

Official Site


Based on "Eat Thrash", these folks will make anyone "eat thrash" with their remorseless fast-paced approach which only offers respite on the balladic beginning of "Riot Of The Rats", and partially on the more laid-back developments on the longer and more serious "Shell Shock". "Kate Mosh" recalls Slayer in their prime only without the vocals which are in the more attached, semi-clean camp; and "Satan In My Drink" is more than a fitting epitaph to this entertaining immediate roller-coaster.

Demo[n] Inside EP, 2013
Chaos Through Order Full-length, 2014
Eat Thrash Full-length, 2017

Official Site


There is only one guy behind all here, going under the name Nikk, who acquits himself with fast classic thrash not far from mid-period Flames, sometimes relaxing with soft crossover, sometimes bashing in a more extreme proto-death fashion. As a whole the man entertains himself here trying his hands on many influences, and generally this effort is hard to be taken seriously despite the few good thrashy moments. The vocals provided are of the husky semi-whispered type carrying both a black and a death metal blend.

Halloween Sacrifice Full-length, 2008

My Space


A mix of modern thrash and death metal; reminds of Six Feet Under's "Haunted" (especially in the vocal department); it also features cleaner non-death metal vocals.

Standing in Blood Full-length, 2002
Planet Hell Full-length, 2003

Official Site


Based on the full-length: this is rough, badly produced retro thrash/death metal with noisy guitars and very brutal low-tuned vocals. The guys adhere to a fast play without any unnecessary gimmicks sticking to the death metal formula more, thrash being present on the calmer numbers ("Necrofagia") which are not too many and carry a nice technical charge.
The demo comes with a very clear sound quality, offering intense thrash/death with more dominant death metal tendencies, quite close to Benediction and Asphyx. The singer doesn't hide his fascination with Dave Ingram (Benediction, Bolt Thrower), which is ticularly evident on the faithful cover of the Brits' "Subconscious Terror" near the end.

Demo Demo, 2010
Skullpture...The Sinister Art Full-length, 2011

My Space


Based on "Unaware/Unwarned", these guys pull out cool energetic modern thrash with a groovy edge. The heavy stomping sound alternates with brisk fast-paced riffage, and as a result on quite a few times the fans can get their doze of intense headbanging: check out the short explosive "Bomber" which definitely deserves its bombastic title, or the smashing Pantera-sque "Call Upon". The singer further brings the band closer to the Americans with his angry potent Phil Anselmo-like delivery. The jollier more light-hearted moments are directly taken from the textbooks of Lawnmower Deth ("Confusion"), or early Suicidal Tendencies ("Futile"), and are not bad, either.
"Unaware/Unwarned" is a better effort the band having incorporated several more aggressive death metal elements which come intertwined with more stylish technical riffs. The resultant "therapy" has a strange proficient "aura" which works despite the dominant mid-pace (rudely broken with the excellent death metal-ish technicaller "Behind My Wound") and the not very pleasant brutal death metal vocals. The bass plays a prominent role here thundering its way "behind the curtains" all the musicians reaching their highest potential on the 2 closing numbers: "Sucking Up My Brain" which is an oddity with the sudden mixtures of intense death metal shredding and cool melodic tunes; and "Agony" which is a heavy crunchy track apently written earlier with great melodies and a virtuous bass interlude reminding of Metallica's "Orion". It seesm as though the guys are "aware" of their musical skills, but they shouldn't keep themselves deep in the underground by releasing albums so sporadically.

Urge of the Human Device Full-length, 1996
Unaware/Unwarned Full-length, 2000

My Space


Modern thrash with shades of metalcore; still, it's not a total Gotherburg rip-off, and at times actually thrashes quite hard: check out the 5-min of headbanging intensity "Fire To The Earth". "Wrath Of Triton" is a cool melodic thrashing anthem, but this firmula gets repeated later on almost every subsequent number abandoned to an extent on the exiting trio of more serious, progressive opuses among which "Hallucinated Wings" is a particularly interesting shredder with echoes of Darkane. The closer "Hereditas Lucem" is also worth mentioning with its futuristic, more mechanical technical rhythms which are just on the edge of becoming visionary.

Bestiarium Full-Length, 2015


Martin Walkyier formed this band after he left Sabbat, and on the first Skyclad works it clearly shows who the mastermind was, behind the other band's success. Skyclad's debut is a much better follow-up to "Dreamweaver" than the Sabbat last effort, with the characteristic pagan atmosphere and sharp riffs. Once "The Sky Beneath My Feet" hits you with its superb combination of hard-hitting guitars and genuine atmospheric moments, you know that this will not be an ordinary experience. "Trance Dance (A Dreamtime Walkabout)" elaborates on those atmospheric moments by retaining the steel riffage. "The Widdershins Jig" is the first real hint at the band's future metamorphosis: a nice laid-back epic violin-driven heavy/power metal piece. After it the songs become more complex starting with the great riff-fest "Our Dying Island", also "decorated" by stylish epic passages. Another long more elaborate affair awaits you: "The Cradle Will Fall", this time coming with genuine technical sections; a tendency continued on the following "Skyclad". "Moongleam And Meadowsweet" is a marvellous ballad, with a striking acoustic guitar performance serving as a "calm before the storm", because then comes the closing track "Terminus": a smashing stomping semi-technical thrasher which will literaly make you count the days until the band's next release.
"A Burnt Offering for the Bone Idol" promises a similar entertainment, at least on the energetic power/thrashing opener "A Broken Promised Land" with a stronger presence of the violin which from now on will be one of the main instruments used by the band. Later on the thrash metal fan will realize that there won't be too many aggressive riffs, like on the debut, but he will definitely appreciate numbers like the up-tempo "Salt On The Earth (Another Man's Poison)", the stomping thrasher "Karmageddon", or the closing heavy doomy/thrashy track "Alone In Death's Shadow". This transitional album preed the ground for a change in style into quite original, and pretty much one-of-a-kind at the time, folk/heavy/power metal, a sub-genre where Skyclad still remain unbeaten.

The Wayward Sons of Mother Earth Full-length, 1991
Tracks from the Wilderness EP, 1992
A Burnt Offering for the Bone Idol Full-length, 1992

Official Site


"Way of Deted" offers modern melodic thrash/death metal with a small classic twist. The music is dynamic switching between fast and slower sections the whole time leaving room for one laid-back power/heavy metal hymn at the end ("Embrujada").
"Land of the Grim" is in a similar vein, maybe the classic throw-ins are a bit more common, but the riffs' sharpness is ultimately sunk in sweeping melodies which reach heights in the lead sections (check out "Ancestral Lands"). Keyboards have been incorporated adding further to the melodic dramatism which is noteworthy on the closing opus "The Galician Exile" which finishes this effort with more style than it actually deserves.

Pozo de L~grimas Full-length, 2007
Endorsed by Self-destruction Full-length, 2009
Way Of Deted EP, 2010
Land of the Grim Full-Length, 2013

Official Site


Cool modern power/thrash which can be dramatic with decent accumulations in the riff-department which contrast with the not very convincing varied vocals which are all over the place: clean, deathy, shouty, declamatory, etc. "Savior Of Metal" in the second half compensates for the relative lack of speed at the beginning, but the focus is strictly on heavy pounding riffs as evident from the epic closer "Black Owl".

Lake of Bones Full-Length, 2015

Official Site


This band play stylish semi-technical thrash/death which serves various tempos the fast ones leading the show second only to the very good, both melodic and screamy, leads. "Suicides Scenery" is pure death metal madness, and "Why" is an experimental joke "flirting" with Dr. Alban's hit "It's MY Life". The closing "Pilgrim" is another curiosity, a dark gothic number in mid-pace. The singer is a forceful death metal semi-shouter who makes himself heard due to his authoritative delivery.

The Confession Demo, 1992

Official Site


Based on "The Edge", this outfit serve quite cool progressive power/thrash fronted by a girl (the name Clarissa Moraes) which comes with a rich dark sound well exemplified by the intense thrashing opener "Arkham". Then comes the title-track which increases the speed turning the delivery into a speed/thrashing cavalcade with a great memorable chorus. The memorable choruses remain, but the intensity gets abandoned for a string of more moderate power metal-based cuts before "Opening Pandora's Box" erupts with more speed/thrashing pleasantries "painted" on a dark, brooding canvas with Orinetal motifs "floating" around. "Endless Cycle" is the dreamy filler, and "This Madness Of Mine" is the final stroke of progressive speed/thrashing genius which still reigns on the "eagle fly free" hymn "Final Call" which is indeed "the final call" on this cool atmospheric effort.
The debut is another commendable crunchy affair, more melodic as a whole although heads will bang on the very aptly-titled "Born for Metal" which also boasts a great melodic lead section. "Burning Temptations" is an ultra-heavy pounder leading to the semi-balladic "Innocent Eyes" graced by enchanting Oriental rhythms. "Blind Faith" is a vigorous hard-hitting power/thrasher and the band keep the intensity high for the remaining material "Future" coming out with genuine speed metal riffs not to mention the great catchy chorus. The final "Alone in Darkness" is more on the balladic side, but is still a fitting closer to this excellent, deeply atmospheric effort which sees a major star rising on the South Americam metal horizon.

Beyond Creation Full-length, 2008
The Edge Full-length, 2016

Official Site


Even the "sky" can't help these Turks who pull out inimaginative noisy thrash which, despite its classic pretensions, suffers from such a bad sound quality that even more renowned musicians wouldn't be able to correct the impression. This is pounding thrash which varies the pace in a way similar to the Brits Deathwish and later-period Messiah, and the final "Prince Of Death" is a nice atmospheric progressive cut, featuring a great flamenco guitar passage; it's just that with the constant buzz accompanying the music the listener would be ultimately distracted and not without the help of the unpleasant shouty vocals.

Phantasm Or Real? Demo, 1998

My Space


Slammer have often been referred to as the British answer to Metallica (although Xentrix could be considered a very close call, too), and while this has not been completely ungrounded, this doesn't really describe the band's sound accurately. The roots of the music are firmly in the Bay Area scene, but at from Metallica, there are also shades of Testament, Defiance and others, and Slammer seldom reach the technical heights typical for the Metallica's later 80's period, although they almost equal them in terms of heaviness.
"Work of Idle Hands" contains the heavier, and arguably the lesser material (certainly here the opinions can be divided). The songs are energetic with sharp riffs slowing down on the longer ones: "God's Prey", which is surprisingly catchy and memorable, not without the help of the very good "Chuck Billy meets James Hetfield"-like vocals (this guy is a bit higher-pitched, and maybe more melodic). "Hellhound", on the other hand, is longer, but comes thrashing in a fairly aggressive manner, and is the highlight here.
"Nightmare Scenario" adds more technicality to the proceedings, a tendency obvious on the very 1st song: "What's Your Pleasure?", with the choppy guitars, bass breaks, more stylish leads, and great Oriental melodic hooks. On the best moments the sound actually comes close to Metallica's late 80's period, but there's more melody in the approach. Even the faster more immediate thrashers ("In The Name Of God", "Architect Of Pain") are served with a decidedly more technical edge. The music is not as fast anymore being replaced by more complex technical one, a great example of which is the last track "Corruption", a marvellous closer which deserves to be even on "...And Justice For All".

Work of Idle Hands Full-length, 1989
Insanity Addicts EP, 1990
Nightmare Scenario Full-length, 1991

My Space


Based on the "Sanctuary of Life" EP, this band play pleasant friendly power/thrash which is both modern and classic-sounding with cool balladic dimensions ("Cage of Mercy"). The tempo never goes above the mid and as a whole the style clings more towards the power metal side the good emotional clean vocals another apt support, especially on the last two longer, progressive opuses where thay occupy more space.
The full-length carries on in the same direction with more epic arrangements which turn to more serious progressive ("Clarity in Duality") with atmospheric balladic elements incorporated. "The Hedonist" thrashes harder by retaining the more elaborate arrangements, and "Stand in Line" embeddes several headbanging decisions into its labyrinthine 8-min length, a progressive composition worthy of Manticora. "Into Me You See" is a full-fledged ballad, and "The Significance of Insignificance" is a more vivid power metal anthem with a cool catchy chorus.

Pseudo Reality EP , 2013
Sanctuary of Life EP, 2015
Walls of the Mind Full-Length, 2017

Official Site


The technical thrash act Rosicrucian decide to change their name, and consequently, their style. While there's nothing wrong with the name Slapdash (whatever that may mean: hasty and careless), the change in music is quite disappointing: the new style is your average modern thrash ala Pantera with some of the technical proficiency of Rosicrucian only timidly showing here and there. A kind of relief that they never recorded again.

Bound EP, 1995
240.25 Actual Reality Full-length, 1996


The debut: a decent blend of modern and retro thrash with angry, but subdued, not very shouty, vocals. The album is a mixture of fast classic and slower modern tracks the latter overtaking the space in the second half diminishing the impact from this otherwise not bad offering somewhat reminiscent of the last two albums of their compatriots MX.
"Katharsis" is another "slashing" affair perhaps clinging more on the modern side this time the boosted edge of the guitars now an advantage despite the diminished speedy delivery. In the 2nd half the album gets lost in repetitive modern thrash patterns killing all the inertia with the dragging closer "All Covered in Blood" which is a bland blend of power metral and post-thrash.

Broken Faith EP 2009
Pray For The Dead Full-length 2011
Katharsis Full-Length, 2014

Official Site


Based on the "Kill Me Coz I Can't Stop" demo, this is thrash/crossover which in terms of speed and brutality surpasses even Wehrmacht and Beyond Possession. The music is quite intense bordering on grindcore with short 1,1.5-min tracks. The aggression leaves some room for more melodic, punk-ish numbers, though: "Power".

Deathly Ceremonic Demo, 1988
Live at Thrash Camp Demo, 1988
Irrevocably And With No Hope Demo, 1989
Kill Me Coz I Can't Stop Demo, 1990
Kill Me Coz I Have No Hope Best of/Compilation, 1992
Kill Me Coz I Can't Stop/Irrevocably & With No Hope/Live at Thrash Cam Best of/Compilation, 2004


Based on "World Turns to Black", these guys provide dynamic modern thrash with steel, sharp riffs and with a vocal "duel" between clean and death metal throats. The delivery at times clings towards the melod-death side, but this can't be a complaint as the guys do everything proficiently moshing hard on short rippers like "Remedy" and "Angel", complicating the environment on more elaborate cuts like "Speechless" and the diverse progressiver "Generation of Degenerates".

Living in Obscurity EP, 2008
Nothing Ever Dies Full-length, 2009
World Turns to Black Full-length, 2017

Official Site


A cult thrash metal band; "Strappado" is a raw and brutal affair, sounding like early Celtic Frost mixed with Possessed's "Seven Churches", which delivers the goods in a respecle manner. The opener "Disintegrator Incinerator" will shock the unpreed with its brutal, fast proto-death-ish riffs in the beginning, although the continuation is much slower, but almost as impressive: "Nocturnal Hell" is a fine, monotonous, hypnotic track in the best tradition of Celtic Frost. "F.O.D. (Fuck of Death)" carries on in the same vein, before "Tortured Soul" kills those who survived the first brutal attack with another explosion of aggressive merciless guitars, this time served with a heavy doomy break. Later on both styles take turns, but the songs become shorter, and the faster numbers come with an even bigger death-ish edge, with "One Foot In The Grave" boldly jumping the "fence" towards grindcore.
"Not dead Yet" should have been the band's real initiation into the death metal field which they "courted" so well on the debut. Well, but no: similar to Possessed the guys have chosen the thrash metal path and have chosen wisely because with the much improved musicianship this great album is what "Eyes Of Terror" was for Possessed: a sure-handed take on more thought-out, even semi-technical at times, thrash. The speed remains for most of the time, but the more polished guitar sound brings now the style closer to acts like Vio-Lence and Rigor Mortis. The slower songs ("Threshold Of Pain") don't carry the Celtic Frost legacy, but have a sound of their own, maybe resembling Slayer's late-80's period. The 2nd half is a true revelation: "Time Warp" is a nice little semi-technical thrasher recalling early Coroner as well as the longer more complex "The Dark". "Astral Projektor" is a fine speed/thrasher with a nice guitar work reminiscent of Mike Scaccia (Rigor Mortis, Ministry), and "Telepathic Screams" is a masterpiece of up-tempo atmospheric thrash with technical, but not fully developed, tendencies. This work screamed for a follow-up which was to elaborate on the stylish skles scattered throughout, but like it was the case with Possessed it remained without any continuation, still being more than enough to secure the band a place among the finest practitioners of the genre from Canada.
"Not Dead Yet" is excluded from the band's discography at present, and is listed in the one of the act named Strappado who is the obvious continuation of Slaughter founded by the guitarist and singer Dave Hewson from that same band.

Nocturnal Hell EP, 1986
Strappado Full-length, 1986
Not Dead Yet Full-length, 1990

Official Site


Despite the bad sound quality, this demo could pass as one of the first attempts at death metal on Polish ground. The music is a very fast and brutal fusion of thrash an death metal, similar to the first two Death albums, and Kreator's "Pleasure to Kill", but kind of more vicious and relentless. In the vocal department again we have a Kreator resemblance as the guy is definitely influenced by Mille Petrozza, although his voice is more aggressive and hysterical. The last track "Fucking Thrash" is intended as a joke (noone can fuck with thrash, you know that!), but it alone can break your neck if you try to headbang to it. Seldom can one hear so much sheer speed involved; this very obscure demo could have been an influence on Impaled Nazarene and other extreme metal bands.

Into the Darkness Demo, 1989


Bashing black-ish thrash with not very pleasant screechy raven-like vocals. The music packs a punch and the riff-patterns are not bad at all despite the hissing reverberation accompanying the guitars for most of the time. Purer thrash arrives with "Adamantium Rage" and improves the situation the remaining numbers all possessing the razor-sharp retro spirit which doesn't get betrayed even on longer compositions like the Impaled Nazarene-sque "Impious Verses/Dragged to the Altar". More thrashing roller-coasters later on with "Camp Blood" and the vicious thrash/deathster "Interceptor" before the title-track wraps it on more compplicated landscapes along the lines of mid-period Destruction. Some of the musicians indulge in more orthodox black metal with Moredhel.

Ride the Tornado Full-Length, 2012

Official Site


Based on the full-length, these Italians provide a modern thrash/death mixture which in this case means that some groove is inevile, but it comes with a nice aggressive flavour ala early Pantera (think the period with Phil Anselmo, not the very early one), also recalling Slipknot (yeah, those same ones) in the intense guitar department. The album has the necessary amount of energy flowing out of the cuts in the second half like "Treachery" and "Reedemer Butcher". "Chilling Abduction" is a cool more technical, jumpy track, and the final "Mind Diverted" is a more industrial take with an overlong voice sample finishing it, the latter not involving the hysterical shouty vocals which are at times interrupted by more appropriate death metal-tinged ones.

Eyes of Madness EP, 2010
Treachery Full-length, 2011

Official Site


Based on the debut, this act serve a playful laid-back blend of power, speed and thrash which is close to acquiring an elusive groovy vibe on the opening "F.T.W.". Not much hard-hitting thrash on "Let The Neighbors Hear" which hesitates between cheesy rock and more intense speed metal. A somewhat awkward amalgam which concentrates on the cheese and the sleaze on "U.S.A." that may impress the Cinderella or Quiet Riot crowd. "It Ain't Easy" is another sloppy mix of speed and poppy aesthetics the band apparently intent on turning this concoction into their trade mark since almost every subsequent cut epitomizes this approach, "Kick 'Em When They're Down" after overcoming a cool balladic intro, being a suprisingly energetic speed metal anthem. Elsewhere "Incomplete Insanity" is a semi-galloping merry-go-rounder, and "Demon's Flight" is a really boring 7-min quasi-doomy rockabilia. "Wasting Away" is a blase pensioner's rocker starkly contrasting with "Black Sheep", the last entertaining fast-pacer if we exclude the joke closer "Electric Rasp", 1.5 min of carefree crossover. This is a fairly bland recording which may not find its most devoted fanbase among the thrash metal one.
"Face Reality" is an audible improvement in nearly every respect with a couple of sharper thrashers like "Open Eyes Open" provided on top more diverse, more serious speedsters ("Baby Song"). "Getting Away With Murder" is by far the highlight, a rigorous speed/thrasher in the vein of Tankard and Vectom, and the final "D.W.DIE" is the only indication of open radio-friendliness that so heavily peppered the debut.

Slaughter House Full-length, 1990
Face Reality Full-length, 1991


This obscure Australian band feature two Mortal Sin members, but their music is far from the Metallica-esque one of their more renowned compatriots. Slaughterlord never got lucky to have an official release, and their raw primitive, Slayer-influenced thrash bordering on death metal at times, have reached the ears of a very limited number of thrash metal fans. The compilation is an uneven mixture of very messy amateurish songs and nice thrashers with good riffs, surely a sign that, if having been given the chance, these guys could have become something more than just an underground phenomenon.

Demo Demo, 1986
Rehearsal Demo Demo, 1986
Taste of Blood Demo, 1986
Thrash 'til Death Best of/Compilation, 1998


Ripping modern thrash/death with a Gothenburg flavour so the band name is actually not very misleading. There are a few slower moments ("Damnation") with a semi-balladic vibe, and generally in the 2nd half the intensity gets decreased by a few nothces. Still, te final "Among The Deaf" is a revelation, a dynamic headbanger with cool semi-technical riffs. The singer shouts in a forceful, comprehensive manner leading the show with panache. The guys are also active with the death metal act Night Gallery.

MMXII Full-Length, 2012

Official Site


Based on the demo, this act play a playful form of thrash which isn't exactly crossover-laced, but clings more towards Re-Animator, the Mordred debut and Anthrax on the more aggressive ts. The fast sections are not many at all, and the band at some stage seem quite content shredding in a calm power metal-ish manner the rough semi-clean vocals not very fitting on the last couple of cuts which are more on the sleepy side. despite the clear sound quality, the band can hardly convince anyone that they can produce something more interesting.

Slaughter Shack Demo, 1989
Fuck You/Fuck You Too Split, 1992

Official Site


Bashing raw retro thrash/death metal which ranges from outrageous grinding ("Into The Slaughter", "Lone Wolf Dementia") to atmospheric doomy ("Carnal Promises") compositions all accompanied by low-tuned semi-whispered death metal vocals. The pace is usually fast, but one-dimensional, and the drums are too hollow stifling the other instruments on quite a few times.

At Life's End EP, 2010

Official Site


These guys had tried hard to "slaughter christ" with their only demo of fairly interesting vicious intense thrash/death which, despite the garage sound quality, manage to pull out interesting twisted riffs on a semi-technical base which relies on several tempo-changes and a thundering bass bottom. The overall delivery recalls Infernal Majesty and even early Coroner (the interesting unpredicle twister "Faith"; the excellent closing progressive saga "Revolving Death") with its meandering arangements and more stylish musical decisions plus the oblivious proficient lead sweep which is another highlight, albeit not very frequently applied. The guys relax for a bit with the short more direct "Pray (Prey)", but on the other material they really do a good job except probably in the vocal detment where the guy just semi-recites in a dark scary death metal way. The band could have been major stars on the burgeoning at the time death metal circuit if they had lasted longer. Some of them also took t in the short-lived death/thrash metal outfit Baphomet who released a solitary demo in 1987.

Reflections of Things to Come Demo, 1990

Official Site


This is classic thrash with an abrasive guitar sound which blasts out at times in a not very controlled blacky fashion ("Slaughterday") which breaks the otherwise monolithic sound which is quite close to early Celtic Frost and Hellhammer, if we exclude the hysterical shouty vocals which come served with a pinch of black metal. A cover of Ramones' "I Don't Care" is thrown in at the end sustained in the appropriate punky spirit except for, again, the bad vocals.

Rulers Command From Iron Thrones Demo, 2011

Official Site


Two songs of intense speedy classic thrash with a pinch of hardcore; there's some Slayer influence in the guitar work as well a few scary death metal shouts unleashed on "Chilean Horror Homicide" as opposed to the main gruff semi-hardcore vocals.

DxTxF Demo, 2008

My Space


Ordinary pedestrian thrash metal close to Hallows Eve; "Music For The Dead" is a nice short instrumental, but the rest is average at best.

Call This Planet...Slaughtered Grace Full-length, 1989


This act, which consists of oly two "satanists" (one of whom, the alias Ungod, is a "notorious" figure on the Greek underground, taking t in numerous black metal projects), plays cool sinister black/thrash of the old school, mixing energetic up-tempo numbers ala early Bathory with heavy doomier ones in the spirit of Khold. Sparce abstract blasts ala early Satyricon can be caught ("Antihumanity"), as well as heavy stompers in the best tradition of Celtic Frost: "I'll Keep Burning Your Cross". "Your Temple" suddenly switches onto a more technical play, being a very good intense thrasher. The vocals are mean snarly, coming as a mix between early Quorthon (R.I.P.) and Gard from Khold.
"World Wide War" is the more proficient effort, thrashing faster with a better sound quality although the mixture from the debut remains. The vicious Bathory sound returns with "Proud To Be A Sinner" ably supporting vintage old school speed/thrashers like "Lightnings Of Vengeance", the speed delight at the end "Unholy War", and the excellent diverse opener "W.C. (World's Coffin)". "Rise Against Humanity" crosses over the good behaviour with more extreme black semi-blasts, and "Slaughtered Priest" is sinister doomy black/thrash metal in the best tradition of Khold and more recent Satyricon.
"Serpent's Nekrowhores" is a cool, albeit too short (six songs only), effort of merry-go-round classic black/thrash which develops in an energetic speedy fashion for most of the time this time recalling the Japanese practitioners in the trade (early Sabbat, in ticular) and Toxic Holocaust with its non-stop barrage of roller-coaster guitars which surprisingly moves up the technical level on a few longer cuts ("Serpent's Nekrowhores", which also scores high in the melody department; "Vomiting Your Inner Self" which is a dramatic thrasher with genuine atmospheric moments). Fans of the band should by all means be happy the guys staying faithful to their roots without sounding repetitive or boring.

"Confess Your Sins" will make you "confess your sins" big time especially with the "speed metal attack" unleashed upon you with the explosive opening "Speed Metal Attack". The mosh carries on on full-throttle the speedy approach getting a bit merrier towards the middle clinging more towards speed metal the guys never losing it producing an intense sound not far from the one of Solitaire and Alastor. "Thrash The Witch" would rather "speed the witch" with its relentless fast barrage before "Bloodthirsty Pentagram Bitch" loses it quite a bit with its more stripped hardcore-ish approach. No any complaints, though, on the excellent closer "Demonic Terror" which combines melodity and ferocity in an impressive manner making this effort arguably the band's finest hour.

Eternal Goat Reign Full-length, 2008
World Wide War Full-length, 2009
Serpent's Nekrowhores Full-length, 2011
Confess Your Sins Full-Length, 2012

Official Site


Based on "The Conjuror of Realities", this act indulge in vicious aggressive thrash/death which is more prone to death metal, but the fun is ensured thanks to fast, sharp riffs which at times cross the border of the good behaviour: the uncontrolled blast-beats on "Compulsive Disorder". The title-track is a more curious piece with twisted melodies ala Immolation abounding; and "Morbid Realm Of Pestilence" is a surreal, more technical composition thrash taking the upper hand for once there, its role further diminished by the guttural semi-shouty death metal vocals.

Possessing Violence Full-length, 2014
The Conjuror of Realities Full-length, 2016

Official Site


An ultimately raw and brutal recording of fast amateurish thrash/proto-death with very extreme growling vocals which only emit some unintelligible sounds of the semi-vomitting type. The music is constantly fast and clearly favours the early death metal sound sounding well more vicious than the Death debut, for example, but the musicianship is of such a low quality that one would hardly wonder why he has never heard of it after all these years; this is just a wall of guitars and bass with hardly any drum work at all. If Hellhammer had released pioneering twisted brutality of the slower doomy kind, this act here had aimed at the other extreme, but the Swiss' music skills were way better.

Zombie Surrender Demo, 1986


Based on "Lugenherz", this band play modern dynamic thrash with melodc metalcore implements. The tempos vary from one track to another, but ultiimately this is too familiar to make one stand with it till the end. The guys were earlier known as Tortured whenn they managed to release a solitary demo in 2010.

Slaughterra Full-length, 2013
Lugenherz Full-length, 2016

Official Site


With three demos released in just one year (now that's what I call productivity) it's obvious that the band want their voice to be heard. The titles of some of the demos (and split) already give you a clue: the guys play old school thrash metal with nods to the German scene of the 80's, and a shade of Slayer and Evildead. The music is fast and aggressive most of the time: simplistic, but true to the high models.

Demo Demo, 2005
Sacrificial Homicide Demo, 2005
Thrash Metal Warfare Demo, 2005
Hellish Thrash Assault Split, 2006

Official Site


If we exclude the not very pleasant fuzzy background noise, the rest is pretty acceple old school thrash which is full of energy in a way not too different from Slayer's "Reign in Blood" and Evildead's "Annihilation of Civilization". The guys here are perhaps more sophisticated, especially in the lead detment where some cool moments can be caught despite the screamy nature of the guitars. Still, the pace is pretty fast for most of the time the slower passages not a very frequent occurrence. The closing "Thrashed" will do more than just "thrash" you: this is a squashing proto-death cut which will nail you down with its merciless downpour of riffs lasting for just above 2-min. The semi-declamatory death-laced vocals are not really an asset but are suile and not distracting.

Brutality Demo, 2011


An energetic mixture of power, speed and thrash which suffers a bit from the inexpressive punk-ish vocals which only favour the more laid-back approach on "PSYCHOXXX", and partially the more lively thrash/crossover jump-arounder "D.N.A.". The sound quality is really bad considerably hampering the guys' sincere efforts.

Demo Demo, 1997


The debut: the album-title might incline you to think that you'll come across some technical thrash here, but this isn't the case. This is modern melodic thrash metal with a certain amount of groove present, but also nice melodic leads and riffs, and a somewhat gothic atmosphere bringing to mind early Lake of Tears. So you can imagine that this would be pretty far from a "technical "paradise" although it's not bad at all with its dark semi-depressing guitars.
"The Maze" is another modern power/thrash affair without any particular surprises if we exclude the several more intense exercises on more hard-hitting thrash like "Taking Power" and the cool headbanger "My Place". The rest is much less belligerent also coming with a semi-balladic shade ("All Is Lost"), and with a touch of progressive ("One of One", the dramatic brooding shredder "Burning").

Technical Paradise Full-length, 2004
The Maze Full-Length, 2018

Official Site


Old school thrash (based on the debut) with shouty death metal vocals; the music is a hit-and-miss affair: there are some nice moments, the 10-min epic thrasher "When Science Turns To Hope" which reminds of the similar exploits of the Finns A.R.G., and a cool cover version of Death's "Zombie Ritual"; but there are quite a few tracks which sound uninspired and derivative. This could, however, be forgiven as the band definitely have potential and these flaws can be easily smoothened out on future efforts.
The "Disambiguated Visionary" EP provides a very clinical, mechanized guitar edge, to these ears for the much better, for the sake of the more dynamic moments from the guys' previous repertoire. Still, the stylish jumpy deciions on "Embroidered Strategy Of Calcul" are quite captivating embroidering twisted Atheist-like tapestries, and the short "Oscillating Perceptions Of An Abstract Existence" is a wild chaotic thrash/deathster with head-spinning vortex-like riff-patterns. The closer "Anthropic Landscape Theory" is another labyrinth of escalating technical dramatisms which are this time more on the melodic side, and a pleasant epitaph to this really impressive new beginning for the band.
The "The Pain Remits" EP switches onto a heavier sound with doom metal taking over on the opening title-track. Then comes "I Fear For You" which is a fairly dynamic, not very predictable technical jumper also graced by a slower doomier passage, but remains a really tasty hectic shredfest. "Soul Of Ruin" is another appetizing mixture of very technical and heavy riff-patterns, a spastic rifforama at its most shining best with a brilliant balladic bass-driven exit. "Relief" is hardly a "relief" being the next in line exercise in virtuous technicality of the creepy, less flashy type with fine melodic leads. "Faceless" closes this short effort in a more orthodox progressive fashion, a timid melodic number, the only reminder of the less interesting approach from the debut.
"Exempt from All Tolerance" is a stunning display of technical wizardry at which the preceding very good EP can't be even considered a hint. The guys start shredding with so much style from the opening title-track that the listener will be literally overwhelmed by the perennial cannonade of spastic, overlapping rhythms and riff-patterns which will bring sweet memories of heroes like Atheist, Coroner, Mekong Delta and early Nomicon. This is addictive stuff which will throw you into several spontaneous pogos as well: check the brutal insertions on the cataclysmic puzzler "Antidote To Suffering". "Engineering Opportunities To 'Ordain' The Innocent" is a superb cavalcade of stop-and-go rhythms which would make even Tommy Vetterli (Coroner) wince on a couple of times at these audacious time-changes which flow unperturbed by the very dynamic, headbanging background. A string of shorter, more death metal-based numbers follows from which "A Sacrifice For The Greater Good" is the relatively more atmospheric, less exuberant shredder, and "Impervious Determination Undermining A Malignant Ambition" is the shortest way to the asylum, 2.5-min of crazy compulsive technical rhythms with a nice futuristic "colouring". "Straight for the Jugular" is an ultra-technical deathster (there's not a lot of thrash to be encountered here) with an almost undecipherable conglomerate of twists and turns paving the way for the closer "Vengeance" which brutalizes the environment with a few blast-beats on top of a very nice quiet mid-break and virtuoso lead sections. The vocals remain the weakling being too shouty and forced, both the lower-pitched growls and the higher-positioned shrieks the latter to point of hysteria. Listening to this extraordinary album, one may find it really hard to believe that these are the same guys behind the very ordinary debut; by far one of the most impressive efforts of the new millennium.

The Defiant Stand Full-length, 2002
The Pain Remits EP, 2006
Exempt from All Tolerance Full-length, 2009
Disambiguated Visionary EP, 2013

Official Site


This band is another one where M'e1rcio Cambito, the singer and guitarist of the new Brazilian thrash metal heroes Violator, displays his talents. This 3-song demo is a direct take on the early Destruction blistering speed/thrash style. This is excellent intense fast-paced stuff, hitting you like a hammer ("Thrash Forces" is the new thrash metal hymn), touching Kreator's "Pleasure to KIll" on the more intense ts ("Slaver"). Cambito gives a new shade to his vocals here coming as a lower-pitched gruffer version of Schmier, trying some quite cool semi-shrieks in his vein (check out "Slaver" again). Hopefully his engagements with his main band wil not keep the fans waiting long for the eventual full-length.

Thrash Forces Demo, 2006
Brazilian Thrash Massacre Split, 2007

My Space


Death/thrash metal resembling Hellwitch and early Massacra; very energetic, with two vocals quarrelling throughout the albums: one of the regular death-type, the other a vicious snarl. "To Kill in Cold Blood" is a fine combination of thrash and death metal with fast tempos and a dark brooding atmosphere. The album has its more brutal uncompromising side ("Devil's Triangle") which, when given a more technical edge ("World of Tears"), touches Hellwitch and Morbid Angel, but it's energetic thrashers like "Burial To Crowd" and "Silence Is Agony Of Die", which would please the thrash metal fan more and should have been more. "Immortality" is a nice technical death/thrashing piece started with a marvellous acoustic intro.
"Immortal Dismalness" is mostly aggressive relentless thrash metal with a more technical edge, this time sounding quite like Hellwitch, although the more immediate numbers ("ased onHeartless By Face") are not miles away from early Kreator ("Pleasure to Kill") as well. The break from the intense delivery is in the form of "Flatlines": a fine slower, gothic-laced song, after which the sound becomes more brutal, with death metal coming back for a while, as a remastered version of the best track from the debut "World of Tears" (at least to these ears the difference between the two versions is very small). "Melancholies Of A Soul" is a marvellous closer: a lead-driven atmospheric instrumental followed by the equally as enchanting short orchestral outro "Melancholies".

To Kill in Cold Blood Full-length, 1992
Immortal Dismalness Full-length, 1994


"Collapse" offers heavy thrash which hesitates between the classic and the modern school. The mixture works well and the music is mostly mid-paced acquiring more melodic tendencies ("Damned Sunset") brought by atmospheric offbeat moments. When the guys put more energy into the proceedings, they can come up with cool more energetic thrashers: "No More", which is arguably their more preferrable side. On the other extreme we have the dark doomy "I Live In Torment".

Collapse Full-length, 1997
Rencor EP, 2005

Official Site


The debut: these guys play decent classic power/thrash with quite a few epic throw-ins ala Falconer; as a result the music will also remind you of the Swiss Drifter and Bifrost. The speedy outbreaks scattered throughout are the better side since they give the music a desirable boost, and the dominant mid-tempo wears thin after a few listens not containing very interesting guitar work although the singer is a find with his emotional clean delivery again recalling the early (and also present as of this writing) Falconer singer Mathias Blad.
"Dawn of Mankind" comes with a more modern sound and more conventional song formulas which don't contain a lot of thrash sticking to moderate power/speed metal patterns consequently feeling more comforle staying closer to the 90's trends in the style. The speedy crescendos on "Collective Suicide Salvation" are a cool deviation from the eslished calm patterns, but those moments are very rare the only saving grace of this saga being the very good dramatic vocals which surpass the other performers by miles.

Lost Reality Full-length, 2009
Dawn of Mankind Full-length, 2012

Official Site


This formation specialize in intense retro thrash which has its more brutal death metal leanings ("Blowback", the semi-technical "The Panopticon"), but the overall approach resembles Sacrifice with a similar mean, screechy vocal approach. "Mouthpiece" is a heavy squasher with shades of doom setting the tone for a string of less energeitc, less impressive pieces until "Acts of Subversion" starts thrashing with passion once again. As a whole the 2nd half is not that great the band seldom coming with all the guns blazing regardless of the scattered blast-beats applied which to these ears are plain annoying.

Illicit Mandate Full-Length, 2016

Official Site


An essential band for every self-respected metal fan; theirs was the first real thrash metal album, along with Metallica's "Kill'em All". The band made revolution with the groundbreaking "Reign In Blood" which pushed the boundaries of the genre to its extremes. After such a masterpiece an inevile change of style followed suit, but Slayer did it in the best possible way opting for a heavier, slower and an overall darker sound on the next two. They recorded sporadically during the 90's lying in wait for the old school days to return, killing the time by making covers of their favourite punk bands ("Undisputed Attitude"), or experimenting with the modern style ("God Hates Us All"). "Christ Illusion" captures only tially the vintage Slayer sound of the 80's, but is a sure step in the right direction; setting up the scene for another revolution in thrash?
Well, the truth is that Slayer were probably the only ones from the old "dogs" of thrash who never messed it up without experimenting with other styles outside the thrash metal spectre without splitting-up during the "dark ages", either, and although "Diabolus in Musica" and "God Hates Us All" were by no means vintage Slayer, they were at least pretty decent more "updated" slabs of thrash, their impact further strengthened by the fact that during the times they were released very few were the brave ones to even entertain the idea of a "classic thrash resurrection", let alone talk aloud about it. "Christ Illusion" saw the guys shaking off the modern elements from the last two albums, and it looked as though the "fathers" of the genre would be able to lead the pack again during the movement's second peak.
So, will Slayer be worthy leaders of the pack in 2009, a very successful for metal in general year? After listening to "World Painted Blood" two, three and more times, the answer is: "Yes", "Yes", and again: "Yes", because this is the best Slayer album since "Seasons in the Abyss", despite the few annoyances along the way, like the mechanized guitar sound and Araya's sce shouty quarrelsome vocals which he acquired more recently. The title track lifts the mood up in an energetic up-tempo opening confidently despite a few modern "leftovers" in the middle, but is completely overshadowed by the rest which starts with the thrashing madness "Unit 731" which will throw the listener with a splash straight into the middle of the 1980's, and the next "Snuff" will keep him buried there with the staple Slayer creepy mid-paced riffage also added. "Beauty Through Order" begins in a crushing mid-tempo manner, before turning into another whirlwind of fast headbanging riffs very soon after. The mayhem carries on unabated on the next two songs until "Human Strain" which is a slower sinister sleeper, followed by the proto-modern "Americon", but this slight loss of inertia comes fully compensated on the full-on aggression on "Psycopathy Red". A time for a rest is needed after this exhausting number, and "Playing with Dolls" is the last relatively relaxing "stop from the train", again mid-paced and not as intense, before the closing "Not of This God" smashes everything around with its furious riffs. Slayer simply had no right to flop now, in a time when the genre they helped eslish is pretty much on top of the music scene once again, both in terms of quality and quantity, and although this is not "Reign in Blood 2" (some albums only "live" once), it is a perfectly acceptable mix of fast aggressive and heavy slower compositions, in a way quite similar to "South of Heaven" and "Seasons in the Abyss". It doesn't quite reach the level of those two (their dark brooding atmosphere and musical depth can not possibly be matched), but it clearly shows an old-timer more than well equipped to compete with both their old colleagues and the new up-and-coming forces on the field.
"Repentless": meet half-Slayer, legends of thrash metal, who were robbed by life... sorry, death, after Jeff Hanneman's untimely demise. And not only that, but the greatest drummer in the universe (you know who) packed up and left leaving his former comrades badly crippled. So what have the remainers cooked this time? Well, this can only be a job half done with half of the crew not present. Paul Bostaph, another famous drum guru, steps in to fill in Lombardo's unfillable shoes whereas another guitatist hasn't been recruited leaving Hanneman's legacy hanging in the air, to these ears not awkwardly. A promising beginning with two "repentless" blitzkriegers, one of which is the title-track, raises the joy high; alas, tehn follow a string of not very focused mid-pacers one of which, "When The Stillness Comes", is Slayer's first attempt at the semi-ballad/ballad (what the f...?). It takes "Implode" to bring the aggression back, albeit with a tinge of hardcore, and "Piano Wire" is another slow dramatizer, but its creepy rhythms are way more desirable than the ones on the previous cuts. The finishing touches are nothing short of outstanding, though, "Atrocity Vendor" a vintage Slayer brutalizer, a sure leftover from "Reign in Blood"; "You Against You" another classic rager; and the closer "Pride In Prejudice" a somewhat modernized, atmospheric shredder.
This is far from a flop and is by no means weaker than the band's last two installments. Considering the absence of two of the band members, this album is still an above average achievement which indelibly leaves an aftertaste due to its not very impressive middle, but sparkles of the guys' 80's genius can clearly be felt, and would at least keep the fans' hopes smouldering that, who knows, "Reign in Blood 2" could still be a possibility if not in this, perhaps in the next lifetime...

Show No Mercy Full-length, 1983
Haunting the Chapel EP, 1984
Hell Awaits Full-length, 1985
Reign in Blood Full-length, 1986
South of Heaven Full-length, 1988
Seasons in the Abyss Full-length, 1990
Divine Intervention Full-length, 1994
Live Intrusion EP, 1995
Serenity in Murder EP, 1995
Undisputed Attitude Full-length, 1996
Diabolus In Musica Full-length, 1998
God Hates Us All Full-length, 2001
Eternal Pyre EP, 2006
Christ Illusion Full-length, 2006
World Painted Blood Full-length, 2009
Repentless Full-Length, 2015

Official Site


These South American newcomers serve fresh, "critically thinking", blitzkrieg retro thrash sustained in an up-pace with several melodic "ornamentations" which can't possibly stand on the way of ragers like "Carnage" and "Bonded by Violence" the latter leading the show supported by the casual more relaxed crossover cut ("The Coroner"). There's plenty of thrash "metal up your ass" here, like the title of one of the songs here describes so well, that few will be those disappointed afte rhearing this sincere downpour whcih also boasts good attached shouty semi-clean vocals.

Critical Thinking Full-Length, 2014

Official Site


A pretty decent between clasic and modern power/thrash; energetic speed roller-coasters ("Lookin' For Fun", "Ghost of Past") take turns with longer, but monotonous and not very exciting, groovers ("Stone Dead Rocker", the nice semi-balladic "Another Phase of Truth"), with a few really nice surprises (the excellent more technical energeizer "Chance", the retro thrashing headbanger "You Must Be a Star") the show topped by good inebriate semi-clean vocals. The band members are also active with other outfits, like the power metallers Galactica Phantom, the heavy metal/shred purveyors Jill's Project, etc.

Stone Dead Full-length, 1997



Based on the full-length, this act provide optimistic thrash/crossover which doesn't miss out on a more officiant slower material ("See The End"). Still, faster surprises are not a rarity (the speed/thrashing delight "G", the frolic merry-go-rounder "Unicus Interitum"), and the closing "V2" even serves more intriguing progressive thrash on an urgent fast-paced base. The vocals are anotehr cool addition singing passionately and dramatically recalling Jan Lubitski (Depressive Age).

Get the Innsmouth Look! EP, 2015
Midnight Crisis Casino Full-length, 2016

Official Site


This is an optimistic roller-coater thrasher which by all means has a bite ("Crematorium") including a more brutal death metal flair ("Crashing") also expressed in the growling shouty vocals. "Psycho Rocker" moves to the other extreme wth friendly pop rock rhythms, and the closing "1347 Black Death" tries some imposing batle-like approach ala Bolt Thrower which remains the highlight on this varied uplifting recording. Some of the musicians also play in the death metal formation Massive Assault.

Stop! Hammertime! Full-length, 2017

Official Site


Really cool retro power/speed/thrash with nice atmosphere and sharp cutting riffs; all nuances are immaculately presented on the opening "Price To Pay" before "World in Ashes" introduces more laid-back progressive passages with a balladic undercurrent. "The Promise" is a wild thrasher with more clever insertions sounding like a more aggressive version of Sanctuary's "Into the Mirror Black". "Dancing All Alone" is a dramatic power/thrasher with choppy riffs, and "Stay" embraces the progressive motifs once again this time with a stronger emphasis on the balladic arrangements. The final "Raven's Fight" is an encompassing 10-min opera which blends wild thrashing with pensive doomy moments excelling in the lead detment as well. The singer is by all means an asset with his deep clean tone which elicits emotion and passion in a way not far from Warrel Dane.

Sleepers' Guilt EP, 2012

Official Site


Based on the self-titled demo, this act pull out decent stomping thrash which is also graced by a very good sound quality. The music loses steam later on with a string of longer not very exciting compositions where the bass player wins the highest marks for his standout performance. The ne dis on the more technical side the guys offering several mixes of the same songs for the listener to choose which one he/she thinks is better. This is good stuff and the band could have capitalized on it if perhaps located in a more metal-prone country.

Eternal Darkness Demo, 1991
Sleeping Village Demo, 1992


A very enjoyable band who play wild and furious crossover/thrash not too distant from S.O.D.; the album is only half-hour long consisting of 12 songs. The guys infuse their intense sound with a great sense of humour and some punk-ish touches including a version of a Danish children's song.

Brains Condemned To Serious Laughter Full-Length, 1988
Fuckin' Serious Guess Why...? Full-length, 1989


First-rate modern, sterile technical/progressive thrash which also comes with a pinch of retro thrash/crossover the resultant "cocktail" featuring such alternative progressive pieces like the spacey "Hell Ya" and the interesting mechanical headbanger "G-Sus". "Pink Noise" reaches almost Voivod-like dizziness due to the dissonant guitars, and "In Between" is another dynamic ripper with clever hectic arrangements. The energetic thrashing "carnage" carries on with the more straight-forward "Mr. Torance", and later with the intricate technicaller "Deathmath" which also features a cool memorable chorus. Jumpy technical rhythms alternate with spacey progressivisms on "My Will To Live" whereas "Attack Of The 50 Feed Woman" is a raging mechanizer the fast-paced riffage also transferred to the closing speed/thrashing rifforama "Warhead". THe singer shouts in a dry, robotic manner the whole time, but he can't possibly rival the superb musical delivery which puts these folks right beside Voivod and Myopia as one of the best practitioners of modern/classic progressive/technical thrash of the new millennium.

Some Like It...Dad? Full-Length, 2004

Official Site


Based on the full-length, this band provide a pretty decent blend of power, speed and thrash metal which is marked by some admirable speedsters: "Death Never Rests", the title-track, etc. Certanly, mixes of the kind inevitably come with quite a few melodic fillers, and this album is no exception although their number is inordinately big, and they also contain the odd harder riff to keep the listener on the edge ("Ascent to Madness" a very good example of that). "Dead in My Eyes" is a nice more serious speed/thrasher, and "On the Rocks" is a cool speedy support to the more dynamic part of the album. The singer should by all means be mentioned as well his emotional, soaring clean tember a sure highlight on this entertaining diverse opus.

Black Wind of Death EP, 2015
Savage Full-length, 2016

Official Site


This band plays decent old school power/thrash with crisp, edgy riffs and somewhat annoying shouty, hardcore-ish vocals. The music is mostly mid-paced, but isn't stale and repetitive the guys varying things with melodic hooks and piercing leads. The closer "Tanda Luka" is a nice lyrical ballad, ruined to an extent by the gruff, not very emotional, vocal delivery.

Otak Sampah Full-Length, 2011


Don't get terrified, folks: these are not the Iowa-based showmen; this is a 6-track EP of fast, aggressive thrash/crossover. The guys are more intense than D.R.I., but less vicious and brutal than Wehrmacht.

Slipknot EP, 1989


This outfit, the acronym standing for "Seven Lines of Death", have fun thrashing in the good old school manner the harsh semi-shouty death metal vocals the only awkward moment. Otherwise the team know what they do and provide energetic crisp riffs, and cuts like "Friend of Enemy" and "Revenge" will stir the fan's blood in no time; the latter will have to pree to be smitten by the polished technical fury of the closing "District of Death" which is an ambitious undertaking with progressive/atmospheric undercurrents and could serve as a template for the production of something striking later.

Line I: In Your Eyes Full-Length, 2012

Official Site


On their demos Slogan mix jolly crossover/thrash with more serious, almost technical, riffs. The singer has an awful voice and does a good job to ruin everything. On the full-lengths thrash metal is no longer existent; the style is progresive metal with just a few merits.

Forgotten Moods Demo, 1990
The Art of Ego Demo, 1992
Speci_l V_szontekercseknek +S Gyurmahabarcsoknak Full-length, 1994
Voluntary Swoon Full-length, 1994
Nincs Best of/Compilation, 1997

Official Site


Raw, abrasive thrash which tries to disguise the band's infatuations with the growing groovy movement, but their heavy delivery is just too seismic to be viewed as a pure classic effort. The angry shouty singer also hints at the metamorphosis the genre was \\f0 experiencing at the time, but still near the end ("Crossing the Light") the band show their teeth and start thrashing with force the thin, screamy leads a not very pleasant addition on top of the sloppy, noisy production.

Native Demo, 1992

Official Site


This band is a side-project of the Illdisposed guys, who here have joined efforts with two others from the thrashers Demolition Inc. Alas, this collaboration offers nothing more than boring groovy post-thrash, mid-paced to slow with heavy guitars which seldom pack a punch. The energetic speedy sections ("Behavioral Abnormalities") are very few, and the borrowings from stoner/doom, hardcore and even gothic do not seem to help a lot.

From the Gutter to Your Ears Full-length, 2008

Official Site


Based on the "Fridge" demo, these unknown Germans play energetic hard-hitting thrash with echoes of Slayer and Kreator. The guys know their craft shredding like the time was the most prosperous one for this kind of music with short blazing leads coming out of nowhere to assits the fast-paced riffage. The muddy sound quality tries hard to impede the proceedings, but the inspired musicianship overcomes it although the singer could have been a bit more attached: his semi-harcore-ish recitals are put too up front in the mix deafening the instruments when in action.

Fridge Demo, 1990
Scenotest Demo, 1991


Based on "Nordic Rage": this band play quite common modern POST-thrash; their music is not very groovy, and has energy, although it is melodic stuff with power and heavy metal moments added as well. The 2nd half is the better one with longer and edgier tracks sharing something with the Metallica's Black Album.
"Force of the Unknown" is a more varied affair woth quite a bit of aggression offered in the beginning, of the modern The Haunted type with casual death metal throw-ins which are way superior to the bland groovy passages. "Moving the Clouds" is a fairly stylish composition which mixes haunting progressive with raging thrash and alternative to produce a hallucinogenic piece with clean vocals quarrelling with the main gruff death metal ones. The other highlight would probably be "Split Personality Syndrome": a sprawling doomy progressive track; or alternatively the short brutal ball of fury "Hit My Face" near the end.

Force of the Unknown Full-length, 2002
Nordic Rage Full-length, 2005

Official Site


On both albums this band stick to the well eslished pattern of Swedish thrash/death metal along the lines of The Haunted, Carnal Forge and the likes. There are no surprises here although this is by all means professional work and hardly is there a band from Italy at the present moment who are better practitioners of this style than these guys.

My Own Private Armageddon Full-length, 2005
Obsidian Full-length, 2007

Official Site


Based on the demo, this act indulges in noisy sludge/doom with modern post-thrashy tendencies. The strong buzz of the guitars is a detriment for the music to be appreciated fully, but if you can imagine a mixture of Crowbar and Pantera, accompanied by shouty, angry vocals, then the picture should be not far from complete. The riffs move up the speed scale ("Twisted Thoughts For Sweetie") at times, and create some thrashy dynamics here and there, but this is mostly for the doom metal fans with its heavy thunderous riffage and the seismic rhythm-section.

Alone & Twisted Demo, 1998
Behavior Modification Theory Full-length, 1999
As a Man Thinketh Full-length, 2002


This is playful retro power/thrash with frequent crossover elements plus the added heaviness in the form of several quite seismic doomy rhythms ("Ectogenesis"; check out the playful technical, melodic quirks on this one). "Consuming Afterbirth" is a cool dynamic headbanger with great melodic leads (man, can this guy shred!) the latter clearly the star of the show giivng this opus a Shrapnel-like decoration at times including on the excellent balladic "Utopian", and the bonus track "Casualties" at the end, a great technical number with numerous twists and turns. The only real drawback here would be the not very impressive guttural death metal vocalswhich contribute nothing to the entertaining melodic carnival provided by the music.

The Fallen Sun Full-Length, 2016


Based on "Points Of View", this outfit specialize in modern playful post-thrash which crosses the doom-laden easthetics of The Flotsam's "Quatro" with the more radio-friendly shreds of Skid Row's "Slave to the Grind". The blend works and the fans will have good fun jumping around on the more dynamic material which is mostly mid-tempo, especially on the extremely catchy anthem "Fight Against Myself" and the more intense shredder "V.V.". The singer delivers with his forceful semi-clean tember which he doesnt strain too much, and even manages to give it a more melodic inflection from time to time (the closer "Out of Your Minds").

Shattered Full-length, 1997
Points Of View Full-length, 2002
Not For Sale Full-length, 2005

Official Site


Angry modern thrash/death metal which has its furious side (the overdramatic death metal opera "The Agony Of Perseverance"), but generally this is seismic, stomping music the earth-shattering rhythms dissipated at times by more energetic cuts ("Lighter Fluid"; the dramatic semi-technical shredder "Possessed"). The closer "Wrath Of Ra" is by all means the highlight, a virtuous all-instrumental composition covering a wide gamut of time and temo-shifts during its nearly 8-min including some hard death/thrashing among the complicated , melodic progressive landscapes.

The Agony of Perseverance Full-Length, 2016

Official Site


Only one guy is behind this project, known with the initials B.F., and he entertains himself playing wicked retro black/thrash metal mixing heavy Celtic Frost-esque passages with ultra-fast blasting ones supported by unholy low-tuned grunts which are very hard to comprehend.

Sluggard Demo, 2010


Based on "All the Splendor and Rot", Slugnut pull out nice Bay Area-influenced riffs along the lines of early Metallica and Exodus supported by black metal with the overall sound not too far from the Swedes Witchery, or Raise Hell's second album. This is simplistic music, not very fast and aggressive, but having enough headbanging moments to keep the thrashers happy with production qualities recalling the 80's, and some crossover atmosphere bringing to mind Nuclear Assault.

Spasmatic Straightjacket Recital Full-length, 1996
All the Splendor and Rot Full-length, 2005

Official Site


This band was formed by two members of the Danish thrashers Sacrificial. Based on the "Rotten" demo, the style is not miles away from the guys' previous band, but is not as aggressive although it's still a thrash/death metal hybrid of the modern type. The music is more melodic, slower and groovy, with a couple of more up-tempo thrashers, like "Anti-Revolutionary", stirring the mood.
The "Halfway to Hell" demo is a very mild playful affair which has not much to do with either thrash or death metal. This is rocky stuff which would be hard to classify as even post-thrash. At their best the guys manage to capture the high-octane merriment of Down and Spirit Caravan, so you can imagine that for thrash metal fans this would be a waste of time; a big waste...

Sex, Slugs & Rock'N'Roll Demo, 2001
Rotten Demo, 2003
Halfway to Hell Demo, 2005

Official Site


Based on the "Dreaming Underneath Destruction" EP, this Syrian band offer thrash/death metal with nods to both the classic and the modern school. The sound ranges from aggressive to more laid-back, but the highlight here is the nice Oriental melodies, embedded in the music so well that the only band who have managed to pull them so well, are Orphaned Land (and Melechesh, of course, both acts from Israel). Another cool touch are the female vocals which further enhance the good impression from this talented band.

Dreaming Underneath Destruction EP, 2005
F.T.U.N. EP, 2007

Official Site


Based on "Swarming Darkness", this formation offer classic black/thrash with an evil atmosphere reminiscent of the Japanese examples in the field: Sabbat, Abigail, etc. Both styles get mized on almost every song except on the short outbursts ("Bombing the Chapel", "Servants of Satan") where the style is pure blasting black metal. On the other hand, we have energetic thrashers like "Eden Ablaze" to dissipate the darkness as well as more ambitious shredders: the final "Harbringer of Doom". The singer is an unholy witch-like shouter who suits well the macabre musical approach.

Turning the Cross Towards Hell EP, 2011
Swarming Darkness Full-length, 2013



Competent decently executed modern death/thrash metal with a slight technical edge; the guys play with inspiration blasting some furious pieces: the opener of the way "Antidote", the Swedish-influenced track "Answer". "Marching Through The Defeated" is a short intense composition, rich in both speed and technicality, probably the highlight. The epic death metal sound of Amon Amarth is paid tribute with "Between & Under", but the thrashing continues intact on "As The Corners Take Shape" and the slower crunchy closing "Localized" (there is actually one peaceful ambient outro after this one).
"Existing Unreal" offers a more mechanical, sterile sound which retains the technicality mostly reflected in the very jumpy rhythm-section and the quick tempo-changes, Despite the cold atmosphere, some cool melodies ("Prevailing Millions") can be caught, as well as calmer epic moments ("Nothing Seen Within"). Groove reigns supreme on the steam-rolling "Shall They Learn War Anymore", with raging death metal superceding it on the following "Millenary Venus"; but expect right modern thrash with crushing riffage on "My Mist", and an interesting gothic/thrash/industrial "cocktail" on the final "Nexus", where the brutal death growls are intercepted by good clean vocals.

Explanation: Unknown Full-length, 2008
Existing Unreal Full-length, 2011

Official Site


Based on "Use Once and Destroy", this act provide modern post-thrash with covert death metal tendencies also reflected in the shouty rending vocals those intercpeted at times by better cleaner ones. The delivery is mostly heavy and mid-tempo with several more aggressive numbers ("Tools of the End Times", the short dramatic "17 Seconds") added to the fore also bringing a covert progressive flair with them.

Smackfactor Full-length, 2008
Use Once and Destroy Full-length, 2017

Official Site


This is a "small experiment" in atmospheric dark modern thrash with elements of gothic; catchy Oriental hooks intercept with haunting keyboard melodies topped by not very suile low-tuned death metal vocals. The overall delivery comes as a mix of early Theatre of Tragedy and Cemetary on a crunchy thrash base. Attempts at a fast play ("Someone Is Going To Die") are very rare, but there is a lot of mood and dramatism packed in these five pieces of darkness.

In My Old Age...Only Lust And Rage EP, 2011


Classic thrash/crossover, well done, with sharp direct tracks; at from the all-out thrashers ("Confused") one could hear slower mid-paced ones ("Alcoholic") as well as the odd more laid-back groovy number ("No Hope"), which is also served with more upbeat moments. "Don't Piss Me Off" is an interesting technical song showing the band capable of pulling out more serious music.

Premeditated Full-length, 2008

My Space


Based on the "Zom-Beez" demo, this comically-titled band plays some serious thrash/crossover which is intense and fast with biting guitars and a very clear sound quality. I see quite a few of you out there jumping compulsively on the instant moshing hit "Livin' to Thrash, Thrashin' to Live (Geezer Mosh)" to thrash everything around: this is indeed thrash/mosh till death! The singer is another good asset with his expressive semi-declamatory delivery spitting his antics in a vicious, but also melodic, way.
The "Smash" demo is another 3-tracker, and offers another short assault on the senses, fast'n furious thrash which this time comes with a noisy guitar sound and a nice cover of Exodus' "Faster Than You'll Ever Live to Be" from "Fabulous Disaster". "Dude, I'm Wearing My Glasses!" betrays the band's crossover inclinations, but all this is done with a lot of intensity with a clear aim at the headbanging side of the fanbase.
The 2012 EP is another fairly intense affair the band thrashing with no remorse shooting short painful "bullets" the latter boasting the odd cool short screamy lead section. This is seriously neck-spraining and ear-splitting the latter thanks to the piercing drilling sound of the guitars which may get on your nerves even on a small effort like this.
The full-length, apart from winning the "Best Album Title Award of the Year", retains all the rage and fury from the earlier short efforts "shooting" short extreme pieces with an accentuated hardcore intensity at least half of them not lasting for more than 1.5-min. There's nothing complicated here, just pure direct bash splitting the eardrums in the good old school manner.

Smash Demo, 2010
Christ-Smash Demo, 2010
Zom-Beez Demo, 2011
Horrific Halloween Double Creature Feature Split, 2011
The EP EP, 2012
In Buffet There Is No Law! EP, 2013
The Full Length Full-length, 2015

Official Site


These young Spaniards pull out sharp cutting classic thrash bordering at times (the title-track) on proto-death, and generally keeping the tempo up the whole time, occasionally adding the more technical hook ("God of Hate"). Aggression pours from all sides, especially on relentless headbangers like "Nuclear Holocaust" and the appropriately-titled "Violent Moshpit" the latter switching to brutal blast-beats at some point, not to mention the first-rate lead guitar work which is short and to-the-point, but clearly has a certain virtuoso edge. The singer keeps a mid-ranged semi-clean tember which is nothing exceptional, but keeps on par with the very intense musical delivery.

Eternal Punishment Full-Length, 2014



A decent blend of classic and modern power/thrash metal in mid-pace with progressive overtones; sudden technical outburts ("Patriot"; the excellent abstract Voivod-esque "Proshai Nabsegda") make this effort even more confusing since they are far superior to the much more peaceful rest. The listener will inevily wake up on the vigorous galloping speedster "Vremya Nas Zovet" near the end which is a nice reminder of the American 80's scene's heydays. The overall style actually recalls the Russian legends Black Obelisk who in a similar vein delivered competent progressive heavy/power metal with the occasional more intense thrashy passage.

Vek Chumui Full-Length, 2009


An alternative form of post-thrash with dry mechanical riffage and bad vocals which go into quite a few directions. The tempo is not energetic at all ("Embrace the Impact" is the sole exception) being quite jumpy and hectic without being interesting, and the softer balladic side of their music is much more attractive ("Screaming Through Actions").

Loaded Language Full-Length, 2003


Rough bashing thrashcore which is a pretty intense affair with short explosive tracks following in a quick succession the more moderate material bordering on sincere punk, but both sides seem to work well despite the really messy sound qality. The singer is a mean punker with a cool high-strung semi-shouty tone suiting perfectly the merry unpretentious music.

Speaking Of Death... What Are You Doing Tonight? Demo, 1987


This very obscure band offer standout fast-paced thrash sounding like a mix between Slayer's "Reign in Blood" and early Destruction. At times the speed comes too much ("Total Flegma", "Fuckin Oberek"), pulling the sound into an undesirable hardcore direction, but here the guys' sense of humour finds a wonderful expression in some nice melodic guitars, based on children's cartoons themes. "Apokalipsa" will catch you absolutely unpreed with its ultra-brutal sound, a vicious mix of death and black metal, preceding the future death and black metal scene with a few years. The vocals are very effective sinister semi-whispers serving more as a background, rather than put in the front.

Nicht Zu Schnell Demo, 1988


Based on the first demo, this band offer very aggressive blasting death/thrash ("Zemsta", the pure black/death metal madness "Apokalipsa") metal mixed with ultra-heavy slower tracks ("Total Flegma"). The faster material is the predominant one, and this vicious brutal recording could easily pass for the most brutal underground work in the whole of Europe at the time: a surprisingly forceful ball of fury and aggression. Reportedly on future releases the guys softened the course quite a lot (which is really sad, if it's true) moving to ordinary thrash/crossover.

Nicht Zu Schnell Demo, 1988
O.K. !? Demo, 1989
Fuck me Tender Demo, 1990
Bljon Der Demo, 1995

Official Site


A blend of retro thrash, crossover and a little bit of death/post-death the guys moshing with gusto ("No God"), but making sure to provide the requisite more melodic undercurrents ("Men of Mayhem") with death metal ("Step Ahead") appropriately brutalizing the environment here and there, also suiting the intense forceful deathy singer who occupies quite a bit of space.

BoozeFellas Full-length, 2011
Mayhem Full-length, 2017

Official Site


An interesting mix of the fashionable at the time groovy post-thrash and brisk intense retro thrash with a Slayer flavour; both approaches are well blended together intercepting each other at the most appropriate time, the classic influences maybe a bit more accentuated on, some of them being pure bashing extreme thrash/proto-death ("Indestructible", "Guilty Until Proven Innocence") leaving the Slayer influences far behind. Expect hard-hitting relentless music with a downpour of sharp fast riffs accompanied by gruff, but intelligible, semi-clean vocals and memorable shouty choruses ala Anthrax.

Beginning to End EP, 1992
Awakened State Full-length, 1995


These Italian "snails" play naive playful thrash with more serious Bay-Areasque arrangements at times. On the longer material ("Stream Of Consciousness") the music captures the calculated technicality of Metallica and Heathen, but the silly shouty choruses diminish the values of this recording. The bad sound quality is another detriment, but overall this effort kind of deserves its very obscure status.

States of Human Regression Demo, 1990


This is the first act where Mike Howe started singing before movig onto much bigger glories first with Heretic, then with Metal Church. Based on the demo which is without him, this act indulge in classic power/thrash which is noisier and not as aptly concocted as the one of the other two mentioned outfits, but has its raw charm with the frolic speedster "Do Or Die" and the very good cover of Judas Priest's "Hell Bent For Leather" at the end partly ruined by the not very lyrical, mean-ish semi-clean vocals.

Demo Demo, 1988
Stay Home Full-length, 1990


An uneven mix of classic and modern thrash staying truer to the crossover patterns on at least half of the tracks which doesn't give many chances to the more clever guitar riffs to develop. Still, on the longer compositions there is more to be heard in terms of musicianship and more elaborate song-structures if we exclude the very thin leads and the gruff low, not very comprehensible, death metal vocals. Some of the guys involved here give a southern/sludgy twist to the modern thrash metal formula with their other band Death Lot Lizard whereas others concentrate on pure classic death metal with Incinerate Infection.

Beware Of The Snake Full-length, 2010

My Space


Four tracks of decent classic/modern thrash metal which is atmospheric and mid-paced for most of the time sounding dry and sterile, but in a good way; "Maniac" is a good number speeding up a bit, thrashing hard at times. The awful rending vocals should be replaced, though: this guy sounds like being in constant agony with no relief whatsoever (maybe the singing causes him so much pain?). Cerebral Fix with a more mechanical drier edge could be a good reference point.

Murder Is Only Flesh Deep EP, 2008

My Space


A cool mix of classic and modern 90's power/thrash metal with a lot of dynamics varying the pace the whole time the dominant one being mid, but there will be a lot of jumping around on all-out moshers like "Antikrist" and "Sved". The crossover joy hasn't been neglected, either: the merry jumpy instrumental "Ded Ket" (could mean "dead cat"?!), and the closing "Bazileus" comes with interesting progressive arrangements. The singer ruins the picture a bit with his hoarse hardcore tone.

Sniffilis Full-length, 1994


Based on "Seducer Of Human Souls": the classic 80's sound of bands like Slayer, Sodom, Destruction, the Bay Area bands are brought to us for the upteenth time this millennium, this time mixed with old school Floridian death metal. The result is crushing, occasionally fast, music which will delight both thrash and death metal fans. At from the all out thrash assaults, the guys try something more technical, and although now these are only skles here and there, this could later bring better results.
"Plasmodium" is 4 songs of raging death/thrash, pretty fast stuff, but offering little outside the so often used Gothenburg formula, except maybe for "Darkness Descends" (which is not a Dark Angel cover) which comes with a more controlled technical delivery.

Your World is Doomed Full-length, 2004
Seducer Of Human Souls Full-length, 2006
Plasmodium EP, 2010

Official Site


Based on the first two demos ("Manifestations" is actually only one song and an intro, and is more speed metal-based), these guys come up with a fairly interesting brand of speed and thrash metal with a dark technical sound and good bass and guitar work both nicely displayed on the instrumental "Beginning of the End". This is music long on both atmosphere and musicianship with very interesting melodies and splendid "duels" between the guitars and the bass. The overall sound is close to the Mexicans Toxodeth, but here there is no trace of a show-off or a "one-man-rules-it-all" performance. The vocals are in the death metal camp, but they fit the dark ominous sound very well.
The "The Citadel" debut demo is just one song which is an intense diverse speed/thrasher with a pounding rhythm-section and very good technical leads; a really good start for the band who after a long string of good demos disappeared without realising their potential.
The "Manifestations" compilation is a weird affair containing a few tracks from the first two demos, but nothing from the "Ephexis" demo, and just 2 songs from the "Something Illusionary" one. Still, it features whole twelve compositions, reportedly most of them from the unreleased full-length "4 What It's Worth" scheduled for release in 1991 so apparently the guys were hiding those gems (and gems they are indeed) somewhere under a stone to resurface some 23 years later. There won't be any disappointed with this dark atmospheric slab of the good old school thrash which begins with the imposing dark shredding on "Death Rite At Sunset" with which the band took part in the Thrash Assault split with 9 other British bands in 1989, also featured on the "Obituary" demo. Indoctrinate" follows suit which is a dark hypnotic mid-paced sleeper with a few more inventive tecnical shreds. A duo of familiar from the demos songs follows before the title-track from the unreleased album hits with another portion of less dynamic, almost balladic, riffs accompanied by fine lead sections. "Feel Not, See Nothing" from the "Something Illusionary" demo is a heavy technical cut the technical tendencies further developed on the next "Circle Of Pain" which also introduces imposing bassisms. "Manifestations" from the debut demo is an excellent progressive number concentrating on the melodic hooks and the great melodic leads. "Beginning Of The End/Penance" carries on in the same vein speeding up a bit near the end to grow later into another track from the "Something Illusionary" demo, "Sacred Blade", before "No Death So Sad" wraps it up with a seamless bend of fast and slow sections in the spirit of Nocturnus with a breath-taking doom/balladic finish. The deep low-tuned death metal vocals are a perfect fit to the dark brooding music which could have been of some interest to doom and death metal fans as well with its frequently oppressing atmosphere and menacing rhythm-section.

Manifestations Demo, 1988
Obituary Demo, 1988
The Citadel Demo, 1988
Ephexis Demo, 1989
Something Illusionary Demo, 1990
Manifestations Best Of Compilation, 2013


Modern thrash of the more melodic semi-groovy variety; the band insert quiet, atmospheric, gothic passages, and as a result we have quite a few tracks which sound like a thrashy mid-period Paradise Lost ("Narcissism", "Imponderabilia", "Underdog"). Unnecessary exercises in frantic hardcore ("?!?") are scattered throughout as well as awkward blends of fierce death metal and the aforementioned calmer moments. This is quite an uneven mix of several styles, not working very well together, and some refinement in the future would be good.

The End of Tolerance Full-Length, 2007


Based on the full-length, this band specialize in modernized Slayer-ish thrash, at least in the beginning, which looks at the Americans' more recent releases spicing the delivery with softer post-thrashy rhythms ("Pure Veil of Darkness") and gothic atmospherics the latter not very far from adise Lost. The aggressive thrashy nature of the album gradually disappears in the 2nd half to be replaced by mellow friendlier riffage which wakes up on the final cut "Real Deal", a hard-hitting thrasher with ripping guitars. The singer tries to emulate the more recent style acquired by Tom Araya, and does a good job at that.

Craving for Desire EP, 2007
Sichart Full-length, 2013

Official Site


This is prototypical classic thrash with a few jumpier sections, with shades of crossover and hardcore. The delivery can get quite wild ("Wall Of Silence") at times, but also watch out for more stylish, elaborate compositions ("Looking For Me") where the approach is mid-paced at best. The production quality is quite raw, but at least it doesn't obstruct the cool clean singer who leads the show with attached, semi-declamatory punkish antics.

Cry in Wonder Demo, 1991


A modern thrash/death affair which mixes the tempos trying to preserve a somewhat playful character throughout although the latter can't possibly "survive" on engaging progressivers like "The Scryer". "Blasphemy" hits the top with its brilliant melodic lead sections, and later on the band pull out a few more serious compositions as a finishing touch clearly showing a bigger ambition than the badly disguised Gothenburg sound provided for most of the time at this stage.

Hell Inherited I Full-Length, 2015

Official Site


Dark atmospheric modern thrash metal, rich in melody, but lacking in sharpness bringing the winds of power metal here and there. "The Last Fly" is a great balladic isntrumental standing proud beside the scary doomy shredder "Wolf", which is a cool heavy piece with nice Oriental implements. The singer doesn't impress much with his rough semi-death metal delivery playing a secondary role to the better music.

Soashyant Full-length, 2010

My Space


Based on "Outta Hell", these guys play jolly dynamic post-thrash which even manages to sound technical on the closing "Leave me Alone"; still, before this more intriguing moment the music seldom leaves the predicle groovy mode assisted, maybe not very deservedly, by the excellent diverse vocals which move from a forceful James Hetfield-like delivery to a deeper doomy one at the appropriate time.

Riven Full-length, 2008
Outta Hell Full-length, 2010

Official Site


Cool energetic retro thrash metal with nice headbanging pieces occasionally interrupted by the odd slower track: the melodic closing power metal number "Sobibor" or the doomy dragging "Danzando Con La Muerte" which kind of breaks the fine pace of the album although the guys have no problems recapturing it again, this time with a shade of crossover ("Furia Y Metal").
The trio is back with "Misantropia" which again mixes straight-forward speed/thrash with crossover elements the latter being more frequent than on the debut bringing a merry optimistic attitude on soaring speed metal anthems like "Pacto De Sangre" and "Mujer o Demonio (El Martillo De Las Brujas)". A darker, more aggressive sound comes forward on "Vencer o Morir" which is even graced by a few blast-beats before the optimism returns on full-throttle with "Requiem". "Dementor" is a really "demented" speedster, a very fast piece which is followed by 2 laid-back punk/crossover variations the final one being a rendition of a Ramones' track.

Furia Y Metal Full-length, 2006
Misantropia Full-Length, 2012

My Space


A very good demo of intense Bay Area thrash metal reminiscent of Vio-Lence and Exodus.

The First Execution Demo, 1990


Atmospheric dark thrash metal topped by very brutal low-tuned death metal vocals which don't quite suit the much more melodic music; this same music borrows readily from gothic and doom, and at times comes pretty close to Paradise Lost's magnum opus "Shades of God". "Guerra" is a surprising headbanging piece in the middle, but the rest never leaves the mid-pace and may depress you with its gloomy funereal atmosphere.
"Cenizas del Palacio" thrashes harder with a more open death metal edge even adhering to black metal hyper-blasts (the opening "Noche y Niebla"), and despite the more aggressive musical approach the keyboards have sneaked into the sound quite a bit. Actually, the mid-paced songs are very few (the operatic doomster "Lagrimas Del Pasado"; the atmospheric steam-roller opus "Lamentos"), the rest being intense thrash/death metal the way they used to play it in the early-90's. The "duel" between keyboards and guitars is appealing, though, and gives the album a characteristic orchestral flavour, recalling Nocturnus and early Therion.

Pasos en Sangre Full-length, 2003
Cenizas del Palacio Full-length, 2009

Official Site


Based on "Naluri Pembunuh", these guys provide "social black" retro thrash which is farily brisk and energetic. The guys know their craft and unleash fiery riffs all around the blitzktieg appraoch seldom interrupted by the casual ("Ras Tergilas") slower dragger. "Amplifikasi" reaches almost death metal-like dimensions, and "Hells Fuel" is the obligatory thrash/crossover relaxer. The vocalist is a gruff death metal semi-shouter who rends his throat without mercy.

Mankind Under Condemnation Full-length, 2011
Naluri Pembunuh Full-length. 2015

Official Site


This is quite cool intense thrash/crosover with short explosive tracks and fine melodic guitar work. "Chronomegalodon" is a prime headbanger akin to Slayer and Dark Angel, and the 2nd half contains mostly spontaneous outbursts of thrashcore, like "Extraterrestrial Armada" and "Weapons of Thrash Destruction" where the melodic riffs are still preserved, but this is moshing fun wiith one exception: the longer melo-death laced "Planetary Devastation(Kraken vs Chrono)" which hits the heights wiith the portion of melodic tunes flowing from all sides. This is a brisk refreshing release showing a seldom encountered, infectiously melodic, side of the thrash/crossover genre.

Live By The Slice! Full-Length, 2014


Based on the 1992 demo, these guys don't care about any modern trends, but go head-over-heels into classic thrash territory pulling out very good thrash in the tradition of later period Helstar ("Distant Thunder", in ticular). This band maybe rely more on slower, heavier, and less technical guitars. "Social Decay" jumps on the American power metal wagon, but is a great number with nice melodic vocal lines and an infectious chorus.

Demo Demo, 1992
Insights of Reality Demo, 1995
Bipolar Disorder Demo, 1996


This is intense thrash/proto-death which acquires more frivolous hardcore aesthetics at times ("Civil War", "Society"), but those awful brutal guttural vocals just don't fit the latter stretches. "Technology Kills" is an explosive, half a min grinder, and if we exclude those deviations, the rest is an aggressive slab of the good old thrash with a Slayer, Devastation vibe.

Social Despair EP, 2007


Based on the full-length, this band play heavy thrash/crossover ala Hatrix. The usual amount of energy which goes with this kind of music isn't very well covered in the 1st half waiting for the arrival of the spasmodic "Don't Need You" and the thrashing delight "The Collapse" later on. "Year And A Day" is a friendly power metal hymn for which the badn don't seem to have the requsite musical skills to pull it through successfully.

Media Lies EP, 1991
Goin' the Distance Full-length, 1992

My Space


This band play friendly merry-go-round modern post-thrash which is too mild for most of the time also "flirtign" with stoner/doom and the garage rock of Monster Magnet. Some thrashier intensity ("Brake Light Failure") can by all means be encountered, but the aim to entertain the softer souls despite the singer's gruff semi-death metallish tenor.

The Wolf & The Lamb Full-length, 2016


One of the "holy three" of German thrash metal, Sodom's beginnings were unpromising and amateurish, going towards black metal; that's why "Persecution Mania" came as a surprise with its tight and catchy thrash metal sound. "Agent Orange" was a worthy follow-up, but the troublesome 90's saw the band throwing themselves into the opposite extremes from the intense, death metal-like sound on "Tapping The Vein" to the punk-ish spirit of "Till Death Do Us Unite". "Code Red" showed some light in the tunnel, and "M-16" almost brought down all competition on their knees, being a stellar album, arguably the band's magnum opus. Despite the more restrained and melodic sound on "Sodom", Sodom haven't said their final word yet.
"The Final Sign of Evil", as you can easily guess by the album-title, is a re-recording of the "In the Sign of Evil" EP, plus seven other songs which were never released before under any form, and were originally written for that same EP. The line-up who recorded this album is exactly the same who took part in the first one: Tom Angelripper, Chris Witchhunter and Grave Violator.
One of the band's founding members: Chris Witchhunter, passed away on September, 7th 2008, reportedly due to "decompensation of his organic system".
The band started the millennium in flying colours with the excellent "M-16", but Angelripper (or other reasons?)'s side-occupations put them on hold, before they appeared after a lengthy 5-year pause with the mild unimpressive self-titled effort. They tried to "apologize" with the re-recording of "The Sign of Evil", but this was hardly what the fans expected with a new material so sporadically released. It's the beginning of the new decade, and Sodom are back in the game with a new full-length, "In War and Pieces", with only Angelripper on board from the original line-up. The war themes are brought back, so shall we have another old school thrash roller-coaster? Well, to an extent, at least in the 1st half where the guys really try hard to sound as classic and intense as possible. "In War and Pieces" is a sure-handed opener mixing slower and faster ts to a positive effect. Then "Hellfire" comes thrashing down with force, before "Through Toxic Veins" slightly calms the situation down with a more laid-back galloping delivery. "Nothing Counts More Than Blood" carries on in the same vein with a few more energetic headbanging parts added before "Storm Raging Up" slows down in a heavy stomping manner with a nice speedy "apology" at the end. "Feigned Death Throes" is a slow semi-balladic sleeper, something new in the band's repertoire, but delivers with its hypnotic proto-doomy riffs. "Soul Contraband" is a more intense pounder with a few proto-modern sections and could be considered a filler. The acoustic intro on "God Bless You" may scare you provided that there were a couple of slower tracks previously, and indeed later on the song is not a very pleasant surprise with its melodic modern riffage and the clinging towards the semi-ballad again. Another sleepy filler follows suit, "The Art of Killing Poetry", and before the listener gets completely pulled back, comes "Knarrenheinz" to save the day moshing far'n wide reaching Slayer-esque extremes. The closing "Styptic asite", unfortunately, is another waste with its retouched guitars and anemic delivery exiting the album in a fairly unsatisfying fashion. By all means better than its predecessor, this album is hardly the best answer to the big competition which the guys face nowadays, and in order to not be left behind by both new and old names, Angelripper and Co. should put more effort into it next time.
"Epitome of Torture" is a more fitting entry into the veterans' r