Copyright (c) 2007-2024 THE THRASH METAL GUIDE


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

THALIDOMIDE (FRANCE)

Technical, dark death/thrash with death metal, Kelly Schaefer (Atheist)-like vocals; exquisitely performed; The band is pretty much in a league of their own: if you can imagine a thrashy version of Atheist's "Unquestionable Presence"... "Les Maitres De Lillusion" begins as a doom metal track, but later the faster technical riffs tell a different story, and when the singer enters the scene with his tormented unholy snarls, one knows that this will be a much less ordinary trip; that same song twists and turns without leaving the slow-ish tempo introducing a handful of complex guitars relieving the listener with a more conventional, melodic outro. "Les Clones Programmes" starts in the same way, but before you get a headache switches onto faster straight thrash/death metal; a tendency further carried by the superb speedy technical death/thrasher "Le Regne De Linnommable" which might scare you with the two sudden short blast-beat sections. And finally one pure exercise in doom metal, with a twist: "Les Fleaux De Lobscurantisme", followed by the slightly faster "Last Breath". The technical exuberance reaches its culmination on the fine aggressive "Atheist-meets Morbid Angel" number "Survivre Par Le Sang", and the vortex-like technical thrash number "Laboratories Of Death". The closing track "Le Paradis Du Mal" is only a bit more relaxed, more melodic, progressive opus, with a cool speedy middle part, and a very sudden twisted super-technical ending. Unfortunately, this great album will not have a follow-up since the band are no more, but some of the members are now seen in the black metal formation Necrosphera.
The "Spread the Misfortune" demo is a rough around the edges blend of thrash and death metal which doesn't have the strong technical bite yet also suffering from the muddy sound quality; an inspired, albeit a fairly inauspicious start for the band. However, just two years later the guys look well equipped to take on the French underground metal scene; the "Death... Starvation... Plague and War" demo is standout technical thrash/death and a great precursor to the work done on the full-length. The opener "Ethnic Purification" (the demo starts and ends with two short acoustic instrumentals) sounds like an undeserving leftover from Atheist's "Unquestionable Presence", a twisted shredder with a cool abstract mid-break which sets the tone for this mind-scratching masterpiece. "Desintegration" is a more elaborate longer composition contrasting with the surrounding it short puzzling blitzkriegers among which "Power of Sects" is the most aggressive cut, a deathly brutalizer which is followed by the outstanding "Ecological Disaster", a constantly overlapping hecticer with stunning overlapping riff-patterns which stay around for the closing "Blasphemy of the Christian Inquisition", another immaculate display of top-notch musicianship with a nice melodic lead section. This effort sounds at times even better than the debut and after all these years remains the only piece of music to capture the calculated twisted magick of the aforementioned Atheist album. It's a real pity that this very talented formation didn't last longer... an absolute must-check for every fan of technical/progressive metal.

Spread the Misfortune Demo, 1993
Death... Starvation... Plague and War Demo, 1995
Le Paradis Du Mal Full-length, 2003

Official Site

THANATIC EYES (FRANCE)

These French pull out modern thrash/post-thrash/metalcore which is a bit noisy, but the proficiency of the leads can't be ignored, neither the riffs' sharpness; those same riffs seldom leave the mid-paced parametres and may not be able to fully satisfy the thrash metal fan who may get tired of the frequent breakdowns and of the annoying shouty vocals.

The Suffering Mechanism Full-Length, 2014

THANATOPSIS (USA, CA)

Based on the full-length, which contains a few tracks from the band's 90's demo days, this act provide quite cool modern progressive thrash/death which juggles through short simplistic headbangers ("Embodiment"), eventful semi-technical shredders ("Consequence"), and dense thick technicallers ("Malfated") without much effort, the elusive atmospherics on "Initiation" another effective ingredient. The speedy volatile "Your Demise" is close to being the highlight here, a diverse roller-coaster with loads of time and tempo changes, its entangled layout also reflected in the cool dramatic accumulations of "Suffersystem". The vocalist is an intelligible deathster who never strains his vocal cords, but still can't match the stylish musical approach. The guys were known for a bit in the early-90's as Existence (self-titled demo, 1992), the style quite similar to the exhibition here.
The EP is a first-rate effort, again treading progressive thrash/death waters, quite reminiscent of Sacrosanct's "Recesses for the Depraved". The mid-paced urgency of "Embodiment" creates plenty of dark creepy atmosphere, the latter redefined on the pretty effective doom/thrash hybrid "Redefinition", a hypnotic proposition with a nice balladic interlude and intelligent jumpy, also quite technical, accumulations including the twisted speedy exit. "Transmortality" is a supreme morose twister where feverish staccato rhythms interlace with lofty stomping walkabouts, not to mnetion the absolutely ravishing speedy technical sweep in the second half. There's nothing unjust about "Unjust", the band's staple heavy approach tussling with thick intricate rifforamas every step of the way, the resultant duel also tolerating a couple of arresting twisted melodies which erupt into a fountain of dazzling musicianship at the end. "Bitterness" goes straight for the moderately speedy accumulations, and is an overall standout technical thrasher with deep subversive atmospheric undercurrents, a sheer example of thick dense, also fairly entangled thrashing without any fast-paced extremities. The vocals are no different from the future delivery, deep deathy semi-guttural semi-recitals, comprehensive authoritative inclusions with a shade of pathos.
The "Sentencing Without Bliss" demo is another stellar work of progressive thrash (largely), also coming with a surprisingly clear sound quality and a more expressive bass bottom the latter particularly striking on the slow-building marvel "I Deny", a cunning shape-shifter with an unheralded speedy epilogue. Mentioning speed, there's plenty of it on the brisk technicaller "Purgery", "Democracy for Brains" flirting with more moderate doom configurations, creepy barely obtrusive riffs which hypnotize the listener, especially with the several virtuoso bass-guided sections. "Sanctimonius Stratagem" is a pile of bewitching dazzling leads initially, and later on the band just stupefy the fanbase with astounding time and tempo-signatures, distantly recalling Death's "Human" and Sadus "Visions of Misery", the dense mind-opening rifforamas serving as the building blocks for the progressive masterpiece "Factors of Domination", a multi-layered saga that tussles through myriad time and tempo shifts those also provided with a slightly modified physiognomy on the equally as brilliant "Beyond Obscurity", a puzzle of fascinating overlapping rhythms and melodies. The traditionally forceful semi-shouty death metal vocals are this time intercepted by more hysterical near-black metal screeches. The US underground couldn't have possibly sunk without a trace with gems like this making it shine brighter than the spotlight even.

Sentencing Without Bliss Demo, 1993
Within a Consciousness Unborn EP, 1995
Your Demise EP, 2016
Initiation Full-length, 2020

Official Site

THANATOPSIS (USA, IN)

A 4-song demo of brutal thrash/death metal; the music will remind you of Hellwitch although Thanatopsis aren't as technical, but in terms of aggression and speed they could equal almost any other band from those times. All tracks, except one, are long, in the 8-min range, but there aren't too many time changes or technical structures within them; this is sheer thrash/death aggression.

A View of Death Demo, 1990

THANATOS (FRANCE)

Based on the self-titled demo, this band play classic thrash/death that straddles between intriguing semi-technical extrapolations ("A Snare and a Delusion") and slow-burning brooding mid-pacers ("Alchemist of Pain"), the nervy hectic "Suicide" stirring the biggest drama alongside the diverse doom-laden pummeling of "Black Vomit", "Les Thrashers Aiment La Bière" being a diversion towards frolic crossover realms, the very guttural death metal singer replaced by catchy sing-along choruses.

A Snare and a Delusion Demo, 1995
Thanatos Demo, 1996
Ether EP, 2009

Official Site

THANATOS (HOLLAND)

One of the oldest Dutch metal bands; the band's debut is fairly good aggressive thrash metal with cool technical touches; the music is quite fast and intense, and very seldom takes a break from the merciless, but stylish bashing (the exception is the heavy technical closer which precedes Death's future more complex style although it's only 2-min long (the expert musicians don't need too much to impress).
"Realm of Ecstasy" moves more into the death metal realm, rather than the ecstasy one (pun intended). The guitar work is even more technical and faster bringing to mind masters like Death, Invocator, Massacra; the end again is preserved for the slowest tracks: the short technical "Reincarnation" and the doom metal hymn "Terminal Breath".

"Angelic Encounters" elaborates on both the aggression and technicality, and especially the latter is quite striking with a cool backward play in the vein of Morbid Angel which seem to be the main influence on this album although thrash hasn't disappeared completely, and some good tracks are exactly that, pure moshing thrash: "The Devil's Concubine", "Speed Kills".
"Undead, Unholy, Divine" brings back the more thrashy patterns from the debut, and is arguably the band's finest hour. This album is full of great thrashing: from the sheer headbanging delights ("Undead, Inholy, Divine") to heavy late 80's Slayer-esque ones (Eraser"), to brutal thrash/death metal mixtures ("Servants of Hatred"). Again the guys pay tribute to the large doom/death scene in their homeland with "The Sign of Sadako".
Thanatos are back after a long 5-year break, and "Justified Genocide" doesn't disappoint: it's quite aggressive death/thrash, not a distant departure from the band's previous output. The guys play fast and tight, adding the casual blast-beat wherever needed, and the music kind of sticks to the death metal patterns more this time. No complaints at all since there's energy and power aplenty here, especially with bombs like "The Netherworld" and "Dawn of Eternity" exploding around, reminding you so much of the early late 80's/early 90's death metal scene. "Apostles of Damnation" is the obligatory for the band doomy interlude, heavy as hell, this time coming at the very end, but you will all wake up on the short ultra-brutal grinding "Upwards Spiritual Evolution" which is the band's most outrageous "creation" so far, and a very shocking ending to this otherwise cool album.
"Global Purification": the veterans are back on the scene with this ultra-energetic effort which again sees them blending thrash and death in their staple blitzkrieg manner. The "carnage" carries on all the way through, the stops from the "bullet train" being very few (the more lyrical, melodic "Nothing Left" comes to mind), and for at least half the time this album is pure unadulterated death metal: check out the furious "Infestation Of The Soul", or the short rippers "Queen Of Gore" & "World Jihad". "The Demonized Minority" is a cool more technical piece, and "Blood Will Be Spilled" will beat you back to pure with its raging proto-blasting riffs. There are no surprises here whatsoever, but fans of the band should salivate all over and headbang to oblivion.
"Violent Death Rituals" caries on with the thrash/death assault so well epitomized on the band's recordings. Sniffs ("Unholy Predators") of fuller-blooded death are quickly mortified by swathes of stylish thrashiness ("The Outer Darkness"), with attempts at more technical playing ("Burn the Books of Hate"). Blazing proficient leads ("Always Ends in Blood") carve nearly every composition, but expect a few more overtly brutal outbursts ("Corporate Indoctrination") as well, the more atmospheric excursions on the closing "As the Cannons Fade" a welcome respite and a somewhat fitting epitaph to an otherwise hyper-active opus.

Emerging From The Netherworlds Full-length, 1990
Realm Of Ecstacy Full-length, 1992
Angelic Encounters Full-length, 2000
Beyond Terror EP, 2002
Undead, Unholy, Divine Full-length, 2004
The Burning Of Sodom/...And Jesus Wept EP, 2006
Justified Genocide Full-Length, 2009
Global Purification Full-Length, 2014
Violent Death Rituals Full-length, 2020

Official Site

THANATOS (POLAND)

Based on the "Out of Sanity" demo, this band specializes in brutal very fast thrash/death metal bordering on grindcore. Considering the ferocity of this recording and other similar ones coming from Poland (Smirnoff, etc.), it looks as though the Polish metal scene was the first in Europe to answer to the demands for more aggressive than thrash metal music.

The debut demo is a similar wild affair the guys death/thrashing brutally their efforts ultimately hampered by the awful sound quality. Otherwise this is fast aggressive thrash/death ala Morbid Saint and Dark Angel's "Darkness Descends" mixed with compulsive outbursts of proto-grind. There are sparse more sensible moments, like the odd more stylish solo or the casual more controlled performance ("Antychryst", the Slayer cover of "Black Magic" at the end) which fit better the vicious semi-declamatory singer who tries to really emulate Tom Araya on the Slayer cover, and almost succeeds.

Deo Optimo Maximo Demo, 1989
Out of Sanity Demo, 1989

THANATOS INC (GREECE)

The guitarist Nigel Foxxe formed this band right after he left Flames. The style here is less frantic, sounding more like a mixture of power and thrash, clinging towards the other side of the Atlantic ocean; quite well done: fans of Attacker, early Hexx, early Laaz Rockit, beware. To avoid disputes with the Dutch band Thanatos, Nigel Foxxe changed the band's name to Nigel Foxxe Inc. some time later.

Life Ltd. Full-length, 1987

THANATOTIC DESIRE (USA)

Based on "With Murder in Mind", this act play typical modern thrash/death the riff downpour carved by really cool melodic lead sections. "Mansion of Murder" is a surprisingly nice touch, a more complex progressiver with a raging finale; and "The Devil Wont Let Me Die" tries to provide a similar kind of entertainment only that it retains the speed as a dominant tool, turning into the highlight with some of the most interesting riff-configurations on the album.

Deathwish Full-length, 2011
Silence to Violence EP, 2012
With Murder in Mind Full-length, 2017

Official Site

THANAX (CHILE)

The debut: this Chilean outfit pull out competent intense retro thrash with shades of crossover. The guys don't rely on speed too much and crush admirably with heavy seismic riffs recalling Rumble Militia also in the strong bass department. The music is fairly energetic also spiced with the casual merry punk reference ("La Solucion") and the stylish allusion to funk (sections from "El Negocio De La Muerte"). Still, at least on half of the tracks the band pull no punches thrashing with force ("Sobrevivir", the death metal-laced explosion "La Broma Asesina") the delivery suffering a bit from the thin lead guitar work and the dispassionate hardcore vocals.
"Muerto" is a faithful continuation of the band's career the band thrashing with enthusiasm and gusto their efforts again marred by the not very clear production which makes the guitars sound like drills here and there. The romantic side of the guys shows up here and there, on the longer numbers which are more melodic, but watch out for unbridled hardcore outbreaks (Muertos pt II") which would be a rude awakening for the sleepy souls who will be thoroughly entertained on the cool diverse instrumental "Thanatophobia" near the end. The vocals are a bit more attached this time, but it's obvious that the guy behind the mike still needs more time spent in the studio.

No Sirvo Para Esto! Full-Length, 2010
Muertos Full-Length, 2012

THANE (USA)

The musician called Brian Thane Chaffee is in charge here, and that same musician is responsible for some of the more technical sounds to grace our ears: he was a member and a mainman in Belial and Technakill, and was a prominent participant in the technical thrash metal wizards Unleashed Power. This is his last appearance on the scene, and based on "Hardball", the man opens another venue for his infatuation with technical metal. The songs boast a thick heavy guitar supplement which is definitely modern, but the crunchy guitars are technically-charged recalling Unleashed Power, above all, marching onwards in a formidable mid-pace with sudden switches to a faster play ("Atlas"). The technical prowess isn't that big and doesn't quite reach the most exuberant labyrinthine structures of Unleashed Power, surrendering to groove ("Sample The Masses") here and there. Brian sings in a mid-ranged leveled clean tone which shines the brightest on the cool closing ballad "The Search". This may seem like his least likely ""child", but one would always be curious to track down those early demos and look for obscure displays of technical genius.

Little Wars Demo, 1993
Demo Demo, 1993
Hardball Demo, 1996

THANOS (GREECE)

This act serve variegated old school heavy/power/thrash the guys alternating pummeling bashers ("Evil Within") with quieter introspective compositions (the title-track), the latter side only hinted at as the high velocity unleashed on "War Is Coming" is hard to bypass, although both the soporifically balladic "Failed" and the meek bluesy filer "Shadow in Your Heart" try hard to turn the tables towards the laid-back dimensions, the attached composed clean singer clearly facilitating this process.

World Falls Apart Full-Length, 2023

Official Site

THARES (USA)

A classic power/speed/thrash conglomerate led by a female throat; really cool stuff which doesn't exude a lot of intensity but wins the listener with its composed mid-paced aura, the thrashing urgency of "Darkness" later matched by the dynamic bounces of "Judas" and the roaring rhythm-section of "Angry Machine" where some male vocals show up to disturb the female hegemony behind the mike.

All In Your Mind Full-Length, 2020

Official Site

THARGOS (GERMANY)

Very good old school thrash metal with a few black-ish passages, similar to Sodom and Destruction; fans of the classic period of thrash will rejoice. The debut is the more aggressive work, staying closer to black metal, but "Salem City" is a fine piece of cool 80's thrash metal. The lead work is excellent, maybe a bit more melodic for the style, but gives the songs a certain distinctive edge. The jumpy energetic opener "The Kill" is a great beginning, followed by a calmer slower track: "Processing Unit". "Silent Service" is a blasting speed/thrasher which strangely reminds of the Headhunter debut and, of course, early Destruction. "Nachtfaller" is an awesome intense thrasher with great melodic hooks and leads. "Hellraiser" is a kind of a break: slower with a touch of power metal. "Worship Me" is one of the most furious black/thrashers of recent times: a 2.5-min ball of fury, which will leave you exhausted, as well as "Luzifer", another vicious speedy number. The album closer is a softer thrash/crossover track, bringing to mind the calmer mid 90's Sodom, finished with a lengthy, but quite fascinating, dreamy acoustic passage. The singer does a good job with his horrifying Schmier-like delivery.

Killfukk Full-length, 2003
Salem City Full-length, 2006

Official Site

THARITHIMAS (BRAZIL)

Based on the live, this is some noise which could pass for thrash, or even death metal, or possibly black, but this mess is so impenetrable that after the 3rd song the fan may just move to something else. The leads are the sole element which could be distinguished with more ease. It would be next to impossible to recognize the cover version of Celtic Frost's "Dethroned Emperor" at the end except at the chorus if you manage to hear the deep throaty vocals.

Demo Demo, 1986
Live at Black Devastation Festival Demo, 1987

THARSIS THEY (USA)

This is melodic modern thrash with jumpy, mathy tendencies. There's a certain hardcore aesthetics present as well as several chaotic arrangements where apparently something more complex has been stirred, but the mish-mash gets even bigger later on with metalcore and djent thrown in, and the listener may give up following the newly woven threads at some stage. Concoctions of the kind have become quite popular nowadays, but here the transitions from one time-change to another are too abrupt for one to fully grasp this effort after just one listen. Needless to say, the vocalist is the staple for the genre high-strung shouter with quarrelsome qualities.

Ominous Silence Full-Length, 2011

THARTARUS (SINGAPORE)

There's no end to obscurities coming from the Far East; this one in particular is not the brightest "diamond" of them all presenting semi-amateurish black/death/thrash which tries to be both bashing in the spirit of early Bathory, and more complex in the spirit of Burzum and Celtic Frost. The final result is not convincing at all the few original ideas buried in the very bad sound quality and the awful declamatory death metal vocals which don't sing, but make enough noise to deafen the instruments when in action. The songs are quite long (5-9min), but the really engaging passages are very few, if any, the awful sound merging them together into one chaotic melee.

Catholic Traitor Demo, 1991

THE 11TH COMMANDMENT (SERBIA)

Based on "Food for Worms", this band play modern laid-back thrash with brutal death metal vocals; the music approach is quite sleepy as the band prefer the more atmospheric/gothic way of execution touching doom metal on the imposing elegiac closer "Left to Rot (Prayer)"; very seldom adhering to any more aggressive, faster-paced escapades.

What I've Become EP, 2014
Food for Worms Full-length, 2017

Official Site

THE 3RD ATTEMPT (NORWAY)

This is a side-project of the Carpathian Forest guys so expect black metallisms along the way. Not surprisingly the music on offer is a mix of black and thrash as thrash is more on the corey, crusty side with heavy shadows of Celtic Frost sharing the same penchant for heavy, mostly mid-paced delivery. The title-track is vintage funeral doom, but "Beast Within" comes in as an immediate compensation with its brutal raging riffs, a potent blend of death and black metal. "Sons Of The Winter" is a very cool epicer in the vein of mid-period Bathory and may pass for the highlight here alongside the excellent dark shredder "Nekrogrammaton" which inevitably features a portion of brutal hyper-blasts. The ending is a tribute to Barathrum and Khold with two creepy dirgers competing with each other as to who will produce the most depressing passages. This isn't bad at all actually, and the guys may consider turning this venture into a more lasting presence on the scene.

Born In Thorns Full-Length, 2015

THE A.G.'S (USA)

Melodic thrash/crossover with strong punk overtones; this is too soft and may not be very attractive to the hard-boiled thrashers.

Cirkus Berzerkus Full-Length, 1991

THE ABIOTX (USA)

The EP: this power trio specializes in retro thrash/crossover with simplistic riffs, short tracks, fast tempos, rending shouty vocals, all this performed with a lot of energy, but with very little imagination. The full-length is another pretty energetic offering full of ripping crossover rhythms, which serve a generally merry mood, branching out in a more intense speed/thrashing direction ("Breaking Point") on occasion. "Hierarchy Of The Demons" is an ambitious, albeit flawed, all-instrumental attempt at mixing their staple direct approach with more serious riffs ala late-80's Metallica which major defect is the noisy guitar background. "Horror Begets Horror" is another more serious thrashterpiece, a sure-handed headbanger well supported by the forceful semi-death metal vocals which don't carry a lot of melody, but support well the intense musical approach.

Humanity EP, 2003
Straight To Hell Full-length, 2011

My Space

THE ABSENCE (USA)

These Americans could easily put to shame the majority of the contemporary Swedish death/thrash metal bands who desperately try to be the new In Flames or Dark Tranquillity. This is a blend of Gothenburg death metal and thrash done in a very impressive way. This band actually comes closer than any other band to the sound of At The Gates' "Slaughter Of The Soul", but with a thrashier edge. "Riders Of The Plague" is even better than their debut with a more complex, darker and heavier sound, plus an increased amount of thrash, cemented with a nice cover version of Testament's early hit "Into The Pit". With the presence of The Absence on the modern metal scene, the Scandinavian bands will have a very strong competition, and why not even an example to follow?

The Absence EP, 2004
From Your Grave Full-length, 2005
Riders Of The Plague Full-length, 2007

Official Site

THE ACCURSED (USA)

This is an entertainment of the intense lashing variety and as such should keep many fans happy. This outfit indulge in melodic, almost classically-inclined guitar-wise, thrash/death which clings towards escalating dramatic structures preferring to develop in a steam-rolling mid-pace assisted by very good melodic guitar work, both in the riff and lead department. "Seasons of the Scythe" is a very cool speedy cut reminiscent of Dissection, but don't expect two in a row here the next "Fire of 1000 Cries" being a nice semi-ballad with attempts at clean singing which replaces for a while the main gruff forceful death metal vocals. More brutal music follows suit with the short explosive cut "I Am Famine" which also pulls it out in the technical department in a smashing Pestilence-like fashion. The two sides start alternating in the second half with another short technical piece added near the end ("Slaughter the Gods") the final wrap thrown by the melodically exuberant "The Black Thrash" which is mostly thrash in mid-pace without any borrowings from black metal.

Seasons of the Scythe Full-length, 2005

My Space

THE ACCUSED (USA)

One of the first thrash/crossover bands, and one of the most uncompromising ones, characterized by unique squealing vocals and fast, intense delivery. All their albums come recommended for fans of said genre. The debut is the rawest, least developed affair, full of short explosive belligerent cuts, with both punk and hardcore standing vigilant on the side, ready to interfere at any possible moment. The sophomore smoothes out the edges, but just a bit, and in spirit isn't very far from the first instalment. "Martha Splatterhead's Maddest Stories Ever" takes a step towards a marginally more serious song-writing, but the rough riff-patterns and the not very compromising attitude remain for the large part. "Grinning Like an Undertaker" is a major step up in nearly every department, a more carefully-assembled, also more thrash-prone offering which made the audience take these heretofore hooligans more seriously. "Splatter Rock" deepens this tendency by also adding less intense, not necessarily metaclad elements for another worthy ride, passing in some circles for arguably the band's finest hour.
The band returned in 2005, continuing the story about their favourite Martha Splatterhead, first with "Oh Martha!", which is more laid-back and prone to compromises, and later with "The Curse of Martha Splatterhead" which is heads-down aggressive thrash/crossover surpassing their earlier efforts on quite a few times in terms of intensity. The songs expectedly develop in a fast pace with loads of jumpy hectic riffs, chaotic screaming leads, and the odd doom-laden heavy section. Some explosive brutal "surprises" are not spared, either: the very fast "Scotty Came Back", the straight retro thrasher "By The Hook", the heavy steam-roller "Martha's Disciples". The traditional more melodic track comes at the end: "Splatter Rock I" which is really long (3.5-min!) and clings more towards doom rather than rock.

Martha Splatterhead EP, 1985
The Return of... Martha Splatterhead Full-length, 1986
More Fun Than An Open Casket Funeral Full-length, 1987
Hymns for the Deranged EP, 1988
Martha Splatterhead's Maddest Stories Ever Told Full-length, 1988
Grinning Like an Undertaker Full-length, 1990
Straight Razor EP, 1991
Splatter Rock Full-length, 1992
Oh Martha! Full-length, 2005
Why Even Try? EP, 2007
The Curse of Martha Splatterhead Full-length, 2009

Official Site

THE ACCUSED AD (USA)

This is an extension of the The Accused, naturally (see the review above), a formation formed by two ex-members of that act, then guitarist/bassist Alex "Maggot Brain" Sibbald and the singer Blaine "Fart" Cook. The style is pretty much the same, but is a more relaxed friendlier version of the good old thrash/crossover, the corrosive frantic rhythms of "Hate Your Friends" restlessly shaking hands with the volatile, more rock-ish frame of "Dirt Merchant". There's less thrash here overall compared to the The Accused recordings, but one should be able to recognize the veterans under this frolic, goofy disguise.

The Ghoul in the Mirror Full-length, 2019

Official Site

THE ADDICATION (FINLAND)

Based on the full-length, this band provide quite cool classic speed/thrash along the lines of Paradox and Manticora so expect a few more intricate arrangements although the focus is clearly on hard-hitting riffs intercepted by soaring melodies and the casual allusion to the ballad ("Rust"). In the second half the songs become a bit slower clinging at times towards power metal, but the riffage there is still suitably heavy along with the very good emotional clean vocals who still may become more adventurous and higher-pitched on future works.

The Addication EP, 2010
Burned Down EP, 2011
The Addication Full-length, 2012

Official Site

THE AFFECTED (CANADA)

A cool 4-track demo which bears resemblances to a few 80's acts: Overkill, Anthrax, Mordred, Blind Illusion (in the more off-beat moments), etc. The tempo is mid-paced, but the style is quite choppy, and there are really interesting jazz/funky passages emphasized by great bass work and original technical riffs.

The Affected Demo, 1989

My Space

THE ALKYLI PROJECT (USA)

Based on "Bloodworld", this outfit which is run by just one musician, the name Wil Bane, produces pounding heavy modern post-thrash accompanied by threatening death metal vocals; expect an array of seismic earthshaking rhythms to befall you from all sides, the more playful grooves of “Evil Twin of Man”aptly backed-up by the stoner/doom quirks of “Void Mother”. “In the Darkest Light” is a soulful ballad, but “Hell by God” is a more dramatic energizer which light example is later followed by the speedy delight “Time is a Disease” and the varied but quite intense closer “Beneath the Fire that Burns Our Eyes”, a full-blooded thrashorama with a few quiet stopovers.

Of Blood and Bone EP, 2020
The Secret Gods Full-length, 2021
Rage EP, 2022
Hellweaver EP, 2023
Bloodworld Full-Length, 2023

THE ALLIANCE (GERMANY)

This is the last temptation for the guys who were earlier known as Mystic Alliance, where the style was more power metal-prone. The music on offer here is crunchy modern post-thrash which squashes all over, and the few sparkles of technicality ("Lost") should have been more as they give a much more attractive colour to this otherwise fairly monotonous album. The delivery can be labeled as at least semi-groovy since the band try to escape the 90's cliches successfully even notching it up a bit on the more vivid "S.K.A.I.D." and the playful speed metal joy "Those Whom The Godz Love Die Young". Later on "I Say War" crushes with more power and with a more classic "sting" giving rise to several more dynamic cuts towards the end which comes in the form of a cool cover of Heathen's "Death by Hanging" from the Americans' debut where even the former Heathen guitarist Doug Piercy adds a few stylish licks as a guest musician. It's a really weak effort having in mind that the musicians had a very audacious start in the early-90's as one of the most impressive technical/progressive thrash metal heroes on German ground (and not only) under the name Tokkata.

Time Full-Length, 1997

THE ALMIGHTY EXCRUCIATING PAIN (CANADA)

This is modern thrash which contains some of the clever technicality of the representatives from their motherland although for most of the time this is right as rain stuff with numerous catchy melodic hooks and shouty death metal vocals with a slight hysterical "sting". Things go towards mid-period Death on the energizer "Don't Worry, The Worst Is Yet To Come" which is a short headbanging piece with good technical riffs. "Taco Song" is a cool acoustic ballad with flamenco overtones, splitting the more direct material at the end from the more technical one.

E.P.E.P EP, 2011

THE ANSWER (USA)

This is the same band a year earlier known as Eldritch Rite. This demo contains all the songs from the excellent Eldritch Rite demo, plus 4 new live tracks where the sound quality, mostly the very thin screamy guitar sound, is so bad that nothing can be distinguished, which is a pity since the guys were really good at what they were doing. Two live cover versions are added as well: Metallica's "Escape" and Metal Church's "Metal Church", but the awful sound takes away considerably from the joy.

Demo Demo, 1987

THE APOCRYPHAL ORDER (FAROE ISLANDS)

4 songs of decent modern progressive speed/thrash metal which sits somewhere between Manticora and Vektor if we exclude a couple of more intense death metal inclusions. "Beyond The Depraved Scope Of Salvation" opens this small effort in an ambitious multi-layered way with fast rhythms and complex, almost surreal, passages. "Deteriorate To Gain" is more laid-back sticking to less elaborate mid-paced sections, but "Blood Shall Be Raining" comes with energetic arrangements of the more operatic kind not far from Bal-Sagoth on the most flamboyant moments. "Through My Eyes" is another more peaceful composition of the semi-jumpy type seeing the guys still testing the soil as though keeping the more interesting material for the eventual full-length without pulling all the stops technicality-wise at this early stage.

The Apocryphal Order EP, 2010

THE ARCANE ORDER (DENMARK)

The debut: this act, whose line-up reads like "who's who" of Danish extreme metal featuring members of Invocator, Autumn Leaves, Scavenger, Submission, Koldborn, etc. specialize in modern thrash/death metal which comes with its own face avoiding the melo-death traps of their Swedish neighbours for most of the time. The "assault" starts immediately with the raging opener "Infinite Ghost Anathema" and never lets up although more laid-back mid-pacers ("In a Hail of Deadly Bullets") are by all means provided. A bullet after bullet come shot with the utmost precision the musicians operating like a well polished machine the shouty rending vocals probably the only more ordinary, not very impressive, ingredient. "Flames of Liberation" is a nice stylish technicaller served near the end to show the band's bigger potential which is also restated on the excellent shredding closer "The Sanity Insane" which loses some points due to the awkward clean vocal insertion.
"In the Wake of Collisions" is more death metal-oriented and more atmospheric, but this isn't a pullback the shredding urgency of cuts like "Between Reason and Hubris" and "The Serpent Tower" making up for the several mellower deviations. The band haven't emphasized on the technicality and the overall delivery is more orthodox excluding the interesting dramatic crescendos on "The Reaping Reverence", and partially the swirling mechanistic riff-patterns on "Sanctity of Allegiance". The doomy officiancy of the closing "Horizons Buried" may be a sign of new horizons to be explored in the future...
"Cult of None": the album surprisingly begins with the 10-min progressiver "Reviver", but this big ambition shown from the get-go doesn't take the upper hand, fortunately, since right after it it becomes business as usual for the Danish gang with the ripping mechanizer "Exo Reign". The rest of the material is quite lengthy (6-8min), but there's no slouching the guys death/thrashing in a familiar manner maybe adding more progressive touches coming close to the stylish futuristic exploits of Darkane ("Waves of Trance"). "Hesperian" is another heavy officiant dramatizer, but the good melodic leads save it as well as the imposing closer "Sun Grave" which shows the band at their more operatic and diverse regardless of the strong feeling of deja-vu hanging in the air (remember the previous album closer).
“Distortions from Cosmogony” throws in some bombastic hyper-blasting black metal for a change, and the final outcome is strictly on the hyper-active side, the encompassing progressive structures of pieces like “Starvations for Elysium” and “Favors for Significance” siding more readily with the larger-than-life vistas of acts Like Emperor and Dimmu Borgir. The thrash and death metal maniacs will probably savour the more tamed shredding on the still pretty contrived “Ideals of Wretched Kingdoms”, whereas the rest is definitely for their black-devoted counterparts.

The Machinery of Oblivion Full-length, 2006
In the Wake of Collisions Full-length, 2008
Cult of None Full-length, 2015
Distortions from Cosmogony Full-length, 2023

Official Site

THE ARCHITECT OF NIGHTMARES (MEXICO)

The debut: diverse modern power/thrash with slight semi-technical overtones; stylish melodic embellishments ("Crucifiction of Thoughts") are served regularly at times killing the aggressive inertia ("Room 333"). The second half is entirely dedicated to the power metal field with very few intense moments the sole exception being the speed/thrash crescendos on the closing "Witch Hunt". The singer is a subdued deathster whose sinister semi-whispers are an effective appendage.
"Fearing the Unknown" is a better offering, more aggressive and more homogenous, with dark atmospheric mid-tempo hymns ("The Lust In Your Blood") taking turns with bouncy dynamic shredders ("Entourage in Flames"), the maddening "No God, No Salvation" nicely consoled by the melo-death meanderings of the cool hospitable anthem "Abroad to Eternity". The final "Forbidden Ritual" goes for a more complex, more variegated approach, a cool prog-thrasher with echoes of Arch Enemy.

Consummating Divinity Full-length, 2017
Fearing the Unknown Full-length, 2021

Official Site

THE ARKITECHT (MEXICO)

Not so bad progressive metal with elements of power and thrash which starts in an ultimate calm sleepy fashion with the tender, but very cool, ballad "Blackout". Don't leave, folks, stay with the band, although at least the beginning of the next "The 20th Century Feast And The Millennium Hangover" will not fascinate you with its quiet balladic rhythm, but soon things get more interesting with the addition of more complex structures and jumpy thrashy rhythms. Well, the continuation is below par: "Through Broken Glass" is your average ballad, and "Elation" is a total waste of time being a bland pop-metal oddity. "Children Of The Gods" and "Hyperstructure" follow suit to provide the necessary more aggressive edge, along with twisting meandering passages, but the guys get really carried away on the closing "Face Thief", which lasts for more than half hour, beating feats in the genre in terms of length by much more renowned names; not really engaging, abandoning the more intense patterns, and losing the plot several times, but one shouldn't wonder why... some of the band members are also busy with the death metal cohort War Kabinett.
"Heart Failure" is sustained in a mellower less striking vein, if we exclude the more prominently featured clan vocals, "Half Star Cowboy" bringing the agro-tunes of mid-period Pantera (check the title as well) with all the groovy passion that can be summoned. The rest is nothing special really, with bluesy boredoms ("Drive") shaking hands with semi-balladic sing-alongers ("Heritage") and a tad more interesting progressive sagas ("When You Try to Leave Me"), the band sticking to their larger-than-life approach without generating too many positive results in the long run.

Hyperstructue Full-Length, 2008
Heart Failure Full-length, 2022

Official Site

THE ARRS (FRANCE)

Based on "Trinite", this band plays modern thrash metal, not too far from another French act, Lyzanxia (their later period), with nods to the Swedish school: The Haunted, Terror 2000, etc. "Heros Assassin" is a faithful companion piece to its predecessor, thrashing both with melody and sharpness, but this is too common nowadays to make many heads turn.

Et la douleur est la Mome Full-length, 2005
Trinite Full-length, 2007
Heros Assassin Full-Length, 2009

My Space

THE ART OF THE LEGENDARY TISHVAISINGS (GERMANY)

The full-length: after the intro (which is dedicated to the cult Italian film director Dario Argento, and is actually a reworked guitar version of the main theme from his best film "Suspiria" written by the eclectic progressive rock act Goblin), we are hit with a nice slab of vintage old school thrash. "Gotta Bad Taste" starts the album in a heavy, stomping manner ala early Celtic Frost, but later the music picks up more speed, as well as technicality, and the style comes really close to Destruction's more technical period (1987-1990): check out the fine "Gore- Shriek of a Hunch back". The leads are of the melodic type and nicely contrast with the sharp riffage. The tempo slows down for the last song "Outburst" which, despite its sinister title, is the softest track, an atmospheric doom/power/thrasher finished with the same opening tune from the intro; a good album which never enjoyed a follow-up. The guys later chose the industrial path to follow with their new formation Think About Mutation, and became one of the leaders of the European industrial scene with frequent nods to this genre's metallic side.

The "Trief" EP is another pretty capable offering the guys already thrashing with conviction on the sharp "razor" "Headless" producing the odd more intense, and much shorter, hardcore-ish break ("Hellraiser"). "Twenty Problems" is an excellent twisted thrasher which will make your day with both direct and more puzzling riffs packed into a bit more than 2.5-min, before the final "Dirty Deal" elaborates on the darker doom side of the band's approach which found a fuller realisation on the full-length.

Trief EP, 1990
Catharsis Full-Length, 1991

THE ARTIFICE (SWITZERLAND)

With every new act coming out of Switzerland, one secretly hopes that this would be the next Coroner, or Celtic Frost. Well, those two acts would hardly be repeated, but one should also be open to new outfits, especially when they sound as inspired and technical as the band here. The opening "Jihad" is a most curious composition developing as an orthodox melo-thrash/death metal piece until the swirling mid-passage which is indeed vintage Coroner with some of the finest stop-and-go rhythms epitomized recently. The listener would be immediately braced for more niceties of the kind, and those eventually keep coming, albeit in small dozes first on the quirky mid-pacer "Ballet of the Bane", then on the excellent semi-balladic twister "Tribunal". "Inexorable" is a marvellous technical speedster with echoes of Paralysis and Expulsion "Soft Target" only a tad "softer" thrashing far'n wide with more sterile, mechanical guitars. Watch out for "Extralegal Execution", the highlight here, a superb hectic technicaller which alone makes this album a recommended listen; fast raging passages take turns with surreal, spacey ones. All the way to the frantic closer "Concrete Cathedral" which in the 2nd half "flirts" with a jokey bluesy tunes the latter still working fine as a finishing touch. This new act may not be the next Coroner or Celtic Frost, but is by all means a very promising young formation who are going to play a major role on the European metal scene in the years to come.

The Artifice Full-Length, 2016

Official Site

THE ASSAULT (BRAZIL)

The debut: ripping old school thrash with good high-strung vocals ala Katon de la Pena (Hirax). The music isn't bad, but the guitar sound is a bit thin favouring the more aggressive, shorter numbers ("Jump of Death (D-Day)"). In the 2nd half the approach becomes a bit milder with the crossover hymn "Losing Faith", the pounding proto-groover "Cover Me", and other similar not as invigorating pieces.
"Abyss" is a huge disappointment, awful grungy post-thrash which is unlistenable even if intended as a joke. The guys flirt with alternative, funk, hardcore, blues, and other unnecessary gimmicks. Skip with passion...

Prelude to War Full-Length, 2015
Abyss Full-Length, 2016

Official Site

THE ATMOSFEAR (GERMANY)

Based on "Millenium of Thorns", this band offer modern death/thrash metal which is mid to up-tempo with a sudden adherence to aggressive blasting sections. The guitar work is cool and melodic, and nice acoustic passages are scattered throughout, but this has been done on many other works of recent times.
"The World Is Grey" is another modern thrash/death metal affair of the more varied type with "atmosfear" and melody married under restrained riffy barrage which is mostly mid-paced spiced with the odd more aggressive outburst. The more hectic, less predictable, decisions on the closing "Sodomized" may bring this effort towards the more progressive works of the time, but generally this is more in the pedestrian workmanlike camp.

Shadow In Your Dreams Full-length, 1998
Feelings - Urgency Of Dark Emotions EP, 1999
Millenium Of Thorns Full-length, 2000
Lose The Pain Full-length, 2004
Lost Pain Full-length, 2005
The World Is Grey Full-Length, 2010

Official Site

THE AUTUMN OFFERING (USA)

Based on "Fear Will Cast No Shadow", this is typical modern thrash, despite the hopes raised by the presence of two members of the progressive death metallers Cadaveryne. The music is energetic and professionally done, but the duels between the melodic and the gruff vocals, the atmospheric breaks, the melodic guitar lines, the obligatory semi-ballad ("Silence And Goodbye"), the more aggressive death metal implements ("Your Time Is Mine"), have been used thousands of times by many other acts.

Summer EP, 2002
Demo Demo, 2003
Revelations of the Unsung Full-length, 2004
Embrace The Gutter Full-length, 2006
Fear Will Cast No Shadow Full-length, 2007

My Space

THE BAND REPENT (USA)

Based on the full-length, this act offer modern thrash which never breaks the long-since-established canons, the roaring shouty death metal vocalist leading a familiar-sounding fiesta with the staple mid-paced fist-pumpers ("Unhinged") and the up-tempo energizers ("The Faceless"), the only genuinely speedy occurrence being the short pulverizing "Flesh Eater".

Written in Blood EP, 2021
The Reckoning Full-length, 2023

Official Site

THE BARRELS (JAPAN)

This Japanese trio provide pretty decent melodic thrash/death with covert shades of metalcore, an energetic bursting offering which isn't very far from the pure old school thrash patterns ("I'm Alive") at times, the epic "Ride the Sky" also sustained in an all-out hyper-active fashion, the more technical/progressive "Message" spreading another cool message, the vocal participation restricted to clean semi-passionate tirades, a typical singing style for the Japanese side of the spectre.

Stronger Than All Full-length, 2021

Official Site

THE BATALLION (NORWAY)

Cool old school black/thrash metal of the mid-paced variety, similar to the Swedes Bewitched plus dark heavy riffage reminiscent of Celtic Frost ("Hate"). "Stronghold of Men" is an elaboration on the EP providing virtually the same style. The Celtic Frost influence is more strongly felt, but on the other hand some songs are faster ("Detonate"; the explosive "Victims", which still finds time to "court" the great Swiss with a slower section in the middle; the smashing riff-fest "March Of The Veterans", which middle doom break is simply brilliant, graced by sparse, but very cool leads), with nice catchy riffs. The guitars often aim at more melodic hooks which work very well ("Hate at last Sight", "Tension in the Stronghold"). Black metal here is almost nowhere to be heard, except on the closing "Last Dawn", which is lighter, early Venom-influenced.
"Head Up High" is in a similar vein, but the speed has gone one more level up, at least in the beginning, now early Bathory coming to mind more than now and then, with black metal brought back well on the twisted hammer "Within the Frame of the Graveyard", although some may mourn the disappearance of the heavy stomping Celtic Frost-like passages. "Thick Skinned and Weatherbitten" is a somewhat unnecessary filler settling for soft heavy metal, but "Each Man For Himself" will make you forget about it nailing you down big time with the fastest riffs on the album. More heavy/power metal of the epic type arrives with "Undertakers" reminiscent of Falconer, and the alternation between fast and slow numbers goes on until the end to leave a certain aftertaste after the promising beginning. Some of the guys play more intense death metal in Deathcon.

The Batallion EP, 2007
Stronghold of Men Full-length, 2008
Head Up High Full-length, 2010

My Space

THE BEAST (USA)

This obscure act have done a job no worse than much more famous colleagues of theirs from the American scene, playing speed/thrash of the more melodic type, along the lines of the Liege Lord debut, Destructor, Exciter, and Gord Kirchin's project after Piledriver Dogs With Jobs . Their debut is the rawer effort, with a crossover shade, with all the songs being up-tempo and kind of samey, with the only exception the strange, but cool semi-instrumental doom cut "World in Flames".
"Carnival of Souls", named after the cult horror film, is a bit more intense and thrashier, but the approach is the same: fast-paced one-dimensional guitars, this time also recalling Motorhead, with another slower song offered, but much less impressive than the previous one: "Sex Club", containing boring dragging hard'n heavy metal.

The Beast...Has Arrived Full-length, 1985
Carnival of Souls Full-length, 1988

Vibrations of Doom

THE BEDLAM (HUNGARY)

Based on the "General Rejection", these lads play pretty cool progressive/technical thrash with frequent speedy escapades from the more complicated main plot. The shadow of the Bay-Area can be felt ("Face Of Distress") here and there, and "The Mourning After" is a precursor to the elaborate approach of Heathen's 'Victims of deception". The singer has a thin clean voice which can be annoying at times since it doesn't have the power and depth which would have been fine for this kind of music.
The "Dreamland in Misery" demo is another 3-songer which shows the guys moving up the complexity scale with longer more eventful compositions which miss the thrash idea (the title-track) at some stage, but compensating almost immediately ("Suicidal Meditaion") with a portion of sharp hard-hitting guitars. "Accurate Contradiction" is another semi-balladic relaxer kind of preparing the fans for the ensuing full-length.
The full-length is one of the better transitional albums of the 90's the guys now incorporating the modern trends without losing their initial approach. "Seed" is a heavy doom creeper, and this side is also heard on a couple of other songs later before the full-blooded ballad "Secrets" spoils the mood a bit the abrasive guitar edge not very fitting to it. The final string of pieces recall The Black Album to some extent, and the band start sounding more ordinary and less inspired. Still, this effort should please the 90's audience in a way similar to Forbidden's "Distortion", Kreator's "Renewal", and Anthrax's "The Sound of White Noise".

Reality of Present Demo, 1988
General Rejection Demo, 1989
Dreamland in Misery Demo, 1990
Inside Ash Full-length, 1994

My Space

THE BENDAL INTERLUDE (UK)

Based on the debut EP, This is mostly stoner/doom with the odd more intense post-thrash break; mid-paced to slow-ish stuff with shouty semi-death metal vocals and a heavy rhythm section. Some of the musicians play more intense retro thrash/crossover with Short Sharp Shock.
The full-length is an elaboration on the EP's so expect stomping volcanic riffs often bordering on blues and ballad with only a handful of more dynamic sections scattered throughout.

The Bendal Interlude EP, 2010
Odourama EP, 2012
Reign of the Unblinking Eye Full-length, 2016

Official Site

THE BISCUIT MERCHANT (USA)

Modern thrash/death that is high on the fast-paced shenanigans ("Believe"), but there's some sophisticated lead guitar work at play ("Leviathan's Embrace"), too, and when one adds the presence of the laid-back epicer "Wrath of the Watcher", the situation might just as well get not very predictable, the good emotional clean vocals popping up on that composition severely contrasting with the prevalent harsh shouty death metal ones. Elsewhere such surprises aren't encountered, but pay attention to the all-instrumental choppy extravaganza "Visible Scars" and the contrived dystopian melo-deathster "Exit Strategies".

Visible Scars Full-Length, 2024

Official Site

THE BLACK CALCULUS (USA)

Interesting, quite diverse as well, old school power/thrash which possesses both an epic flair ("Victory Is Life") and an aggressive speedy veneer ("Gag Reflex"), "Canopus" being a more serious exercise in heavy varied power/thrash with a wide vocal variety, form death metal growls to cool female inclusions; and "Aneurysm in the Pit" is a short twisted semi-technicaller.

The Milwaukee Metal Fest Demo, 1998

THE BLACK HOUSE (GREECE)

Based on the demo, classic thrash with a covert hardcore edge; the vocals are deep cavernous, with a slight death metal reverberation, and the music is energetic, "After the Invasion" unleashing a pleiad of additive melodic motifs, the highlight here with the more power/thrash-based "You Are a Human" a close second.

Black House's Vol. 1 Demo, 1991
The Black House Full-length, 1994

THE BLACK MORIAH (USA)

This 3-song EP is truly dedicated to the underground old school black/thrash metal idea. Still, it doesn't immediately scream "early Bathory!" opting instead for a clearer guitar sound with an early-Slayer vibe. Fast and slow sections are capably blended except on the final "Watch My Town Burn" which is a purer black metal composition with a lot of atmospheric moments and a few pretty good guitar-driven breaks "haunted" by the surprisingly cool melodic leads. The singer is a typical blacky raven who accompanies the music well but doesn't take too much space. This is a good beginning which shows promise and hopefully the guys would be able to capitalize on it.
The full-length unexpectedly contains all the material from the pilot demo, but apart from that we have 8 brand new tracks to enjoy, and they don't disappoint with their brisk old school atmosphere and dedicated musicianship which doesn't shine with anything too original, but will keep the listener entertained, especially when the guys add those catchy death metal sweeps ("These Thirsty Gallows (Never Run Dry)") from time to time. At other times the fans will savour creepy doom rhythms ala Khold ("Servant of The Devourer") served with a more dynamic thrashy flavour; or will wonder at the speed/thrash valour of cuts like "Chained and Confined". Even the operatic hyper-blasting aesthetics of the final "Here's to Your Endtime" sound attractive and appropriate to the ears: the band provide a "cocktail" worth tasting by a wide gamut of metal fans.
“Desert Hymns & Funeral Grins” is a decent fare with some really potent complex pieces (“Slain Children-Roaring Arrows-A Blood Atonement”) offered, the lofty entangled musicianship remaining even for the shorter numbers (the twisted melodic delight “Endless Prairie”), the guys moshing with moderation, the short semi-brutalizer “The Devil's Grin” and the black-tinged ball of fury “Buy Me a Blade” the only openly rowdy showings, the atmospheric operatic odyssey “Blessed by Buzzards” providing the requisite respite, bonding well with the elegiac doom metal hymn “Carry Me Home”.

Casket Prospects Promo Demo, 2012
Casket Prospects Full-Length, 2012
Road Agents of the Blast Furnace Full-length, 2019
Desert Hymns & Funeral Grins Full-length, 2023

Official Site

THE BLACK NASTY (USA)

Light-hearted thrash/crossover, featuring one of The Accused members; the music here is more melodic, less frantic, with shades of stoner/doom, and sincere punk moments ("C'Mon C'Mon").

The Black Nasty Full-Length, 1995

THE BLACK STYMPHALIAN (USA)

The "Digression" EP: a cool mix of modern and classic thrash metal, done by just one musician whose name is Jaymz Stephenson, with technical pretensions the latter coming close to the flamboyance of "Alice in Hell": check out the jumpy hectic riffs on the opening "Deadlock (The Fall of Angels)". "Falling into Darkness" goes well beyond that being an ambitious progressive 9-min opus, a really good take on an elaborate sophisticated diverse technical play. The coming of the much more immediate speed/thrasher "Embrace the Decay" is more than welcome, but "Where The Strong Become Weak" is another exercise in more thoughtful music relying this time more on atmosphere rather than sharp technical riffage clinging towards doom/gothic at times. The final "The Watcher" may be a pullback, though, a balladic dreamy track which gains from the shift in vocals: the brutal death metal ones are replaced by very good deep clean chants; a fast choppy break comes in the second half partially saving the day.

The "Khaos Sigma" EP will sweep you from the very beginning with the maddening headbanger "Chaoskampf" which immediate hard-hitting riffs are replaced by more spacey, discordant ones on the more complex "Martyr No More". Then comes "Rules of Engagement" which is another ripping piece with brutal remorseless guitars, before "March of a Blackened Christ" acquires a more pensive character which is partially shared by the closing mechanizer "The Awakening", a stylish technical opus with echoes of Altered Aeon and Biomechanical. The guy has already proven that he is quite a capable musician and it's probably time to surprise his fans with a full-length release not far from now.

Digression EP, 2010
Khaos Sigma EP, 2014

Facebook

THE BLACKENING (SPAIN)

This cohort provide fairly decent a classic/modern thrash compendium which can be quite moshing ("Wrath", "Eternal Storm"), the semi-technical shredder "Stultifera" a really intriguing occurrence, pairing well with the more laid-back progressive inferences on "So Tell Me". "Pull the Knife" is a smashing non-fussy headbanger, and "Digger" is a steady solid mid-pacer with sharp lashing guitars. More wild fun later with "Semblance", another scintillating speedy proposition, and with the entangled opus "Infamy", a really ambitious trip around the corners of the old school thrash nooks, the harsh semi-declamatory deathly vocals making the setting suitably threatening.

Stultifera (Heaven of Madness) Full-length, 2022

Official Site

THE BLAME (TURKEY)

This is modern thrash with power metal and post-thrash leanings. It's both energetic and laid-back at different times relying on melodic hooks to pull it through. Hard thrashing is a rarity, but still can be caught: the intense opener "Another Stolen Life", the short ripper "Sacred Souls", the excellent speed/thrashing closer "Made of Stone". The singer does a good job with his attached clean voice which has a shade of Bruce Dickinson at times.

Born Full-length, 2011

My Space

THE BLANK STANDARD (USA)

This is intense steam-rolling modern death/thrash the dominant squashing mid-pace marching victoriously all around with sparse more dynamic dissipations ("Hydra"), the headbanging winner "Lepers at the Gate" thrown in the middle a pleasant surprise, the progressive stomper "Heavy Death Murder Kill" another asset. The vocalist is a guttural brutal deathster, but his rendings are largely decipherable.

The Blank Standard Full-Length, 2018

Official Site

THE BLEEDING (UK)

Based on the full-length debut, this band deliver intense classic thrash the band sparing no energy on vigorous death metal-ish cuts like "Dreams Of Hatred", moshing out in a less restrained manner at times including on the Death cover of "Open Casket" at the end which is quite faithfully performed losing a bit from the subdued, not very audible vocals.
“Monokrator” is an explosive thrash/death affair, the guys moshing with badly disguised glee, the brutal blasts on “Chainsaw Deathcult” scaring the unprepared, the more bridled pounds of ‘Mutation Chamber” and the hardcore-ish accumulations of “Union of Horror” compensating for such unruly behavior, the Katter also reflected in the short black-ornate madness “On Wings of Tribulation” and the short crusty closer “Throes of Repulsion”.

Death Eternal EP, 2013
Rites of Absolution Full-length, 2017
Rise into Nothing EP, 2021
Monokrator Full-length, 2023

Official Site

THE BLOOD (USA)

This Swedish trio serve retro power/thrash which can be both epic and pleasant ("The Dreams of Wars to Come") and creepy and atmospheric ("A Dubious Dream"), the heroic battle-crier "Casual Murder" deftly complemented by the rowdier "Scream and Deliver" and the effective steam-roller drama "Always". The vocalist is a passable deep clean throat, his baritone sometimes lacking the requisite doze of passion.

We Couldn't Kill Less Full-Length, 2023

Youtube

THE BONELESS ONES (USA)

An early entry into the thrash/crossover genre with a noisy guitar sound and mid-ranged indifferent semi-clean vocals. Fast and slow antics alternate throughout to an amusing carefree effect with both hardcore and traditional metal elements roaming around, so don't expect too much pure thrash here, but a decent jolly moshing party is guaranteed.

Skate for the Devil Full-length 1986

THE BRAINDEAD (USA)

This band started as a pure punk band, but the thrash metal vogue of the 80's swept them away, and they joined "the army". Their style is similar to The Accused and Ludichrist: thrash/crossover which introduced more aggressive guitars during the 90's, influenced by the "powers of the day": Pantera, Machine Head, etc.

Lost Somewhere In The Horizon EP, 1989
God's Greatest Gift To Mankind EP, 1994
Red Full-length, 1999
Born Defiant Full-length, 2003

Official Site

THE BROOD (USA)

A melodic blend of semi-thrash/crossover and classic heavy metal; has its similarities to Suicidal Tendencies, but isn't anywhere near as distinguished. The bouncy light-hearted rhythms of the opening "Call of the Dog" would hardly stir any pogo anywhere, but the short stylish lead sections will surely impress, the nervy psychotic jolts on the funky "Born to Lose" not totally wasteful, the bluesy/stoner instrumental "Unglued" the first actual filler here. The leisurely-executed "Screaming for Life" is another mellow hymn, the latter kind of logically leading to the acoustic tender ballad "Hidden Fears". The second half finally serves something sincerely rowdy, the fast-paced lasher "Good vs. Evil" and the full-blooded thrashing madness "Stormin' the City", the wild hardcore closer "Going out in Style" doing some additional damage at the end. The vocalist is a cool clean mid-ranger who doesn't exude too much emotion, but is surely a decent company to the mellow unpretentious musical background.
Later the guys changed their name to Uncle Slam, and started playing some really cool thrash/crossover with a much sharper edge, the latter sustained for a string of three full-lengths, lasting all the way to the mid-90's.

The Brood Full-length, 1986

Vibrations of Doom

THE BRUTAL AFTERMATH (AUSTRALIA)

This band specialize in modern progressive thrash with lengthy sprawling compositions some of which are wholesome sagas ("...When There's Nothing Left to Kill", "Inception") lasting for over 10-min, the band mixing soulful balladic passages with speedy skirmishes, with a lot of melody roaming around, creating nearly Gothenburg school-like atmosphere at times. Rowdy headbangers like "The Raping of Your Rights" are more than welcome with their invigorating spirit and more immediate execution although the band are fonder of a less predictable approach, with more twists and turns than usual.

TBA Full-length, 2018

Official Site

THE BURDEN REMAINS (SWITZERLAND)

The full-length debut: with all the good acts from the old days gone (Celtic Frost, Coroner, Messiah, Apocalypse, Calhoun Conquer, Lunacy, ETC.), the Swiss scene seems the only one which doesn't take any part in the resurrection movement of recent years. Not many new bands, either, and that's why this one here should be given a chance. These newcomers, who were previously known as Cideraid, try to find the balance between the classic and modern sound, but at the same time they try something more complex, the latter attempts leaning more towards the modern side (the slightly dragging 9-min opus "Out of the Fire/Into the Flames"; the atmospheric operatic closer "The Burden of Truth"). The retro sound reigns supreme on the shorter material ("Ashes from the Skies"), but the dominant tone is mid-paced. The vocalist isn't bad with a clean voice which attains certain gruffer tones at times. The guys have a long way to go before they reach the high standards set by their aforementioned peers, but at least they seem to have the skills to at least try.
The EP adds another three pieces to the band's repertoire, but would hardly please the fanbase with its moderate gothic-infused approach which relies on slow to mid-paced rhythms and retouched guitars with elements of progressive and more operatic arrangements ala Hollenthon and Therion. It could be viewed as a rehearsal for the guys' moving to other territories for exploration since there isn't much here to relate the present material to the one on the full-length.
"Fragments" is a gothic/baroque post-thrash opera which speeds up ("Among The Shards") at times, but the operatic atmosphere is too strong to be overcome by the sparse adherences to scattered thrashing aggression. The band have definitely moved on, but their present "face" is too generic to make them stand out.
"Fluid" follows the same out-of-thrash path as its predecessor, the band dooming and gothic-ing with the darkest outfits out there, turning their art into an overblown atmospheric industrialized opera, with sparkles of mechanized deathly aggression ("Uuf- Oder Undergaa") trying to enliven the setting... to no avail as such an anti-climactic delivery simply doesn't need any energetic boosts.

Downfall of Man Full-length, 2011
The Bikini Blues-Sessions EP, 2012
Fragments Full-Length, 2014
Fluid Full-Length, 2020

Official Site

THE BURIAL

This is modern melodic thrash of the semi-atmospheric, up-tempo variety with one heavy, mid-paced surprise: "A Quick Way to A Short Death", a cool pensive number with a gothic flavour. The vocalist is a subdued low-tuned growler with a few semi-shouty tendencies expressed to a better, more comprehensive effect along with a sparse clean vocal participation on the closing cut "Foretold Tale".

You Were Dead In Your Transgressions Demo, 2005

THE BURNING (AUSTRALIA)

Based on "The Living Dead", this band play groovy modern thrash/post-thrash which emphasizes on the melody more leaving the more headbanging histrionics for a couple of cuts ("Witchcraft", the excellent short ripper "Voices Of The Dead") although it's the intriguing melodic variations on "Revenge From The Grave" and "Serpent" that will capture the imagination more alongside the atmospheric semi-balladic closer "Forever Burning" the latter partially ruined by the overshouty deathly vocals.

Demon Resurrection Full-length, 2005
The Living Dead Full-length, 2018

Official Site

THE BURNING (DENMARK)

Th debut: run-of-the-mill modern thrash metal which contains cool guitar work, and the tempo changes nicely featuring more aggressive thrashers ("Kill the Swine"), but otherwise this is quite generic with a considerable doze of groove involved as well. "Rewakening" adds more groove, and is decidedly slower, but in this case this blend of intense modern thrash metal and heavy stoner/groove isn't completely without merits although the band doesn't venture too boldly into faster territories; still numbers like "Live The Goat" and "Cloven Hoof" stir the water both graced by a couple of brutal proto-death metal riffage.
"Hail The Horde" treads the same waters, but is way less impressive since from beginning to end what one will hear is repetitive groovy patterns with heavy pounding guitars and a couple of more intriguing doomy passages ("Baptized in Bong Water") which should have been more.

Storm The Walls Full-length, 2007
Rewakening Full-Length, 2009
Hail The Horde Full-length, 2010

Official Site

THE BUTCHER (HOLLAND)

Intense simplistic thrashcore with both Madball and early Pro-Pain obvious references; the sound here is more modern perhaps and a bit more light-hearted the guys "shooting" fast direct cuts the longest one being just over 2-min. The guitars are pretty stripped-down, and some of the tracks offer milder mid-tempo sections and even the odd melodic lead (!?). The singer is suitably angry and semi-shouty, but holds a surprising melodic blend on quite a few times contrary to his hoarse drunken timbre.

Bad Blood Full-Length, 2007

THE C.O.A.S.T. (USA)

Energetic modern thrash with the Swedish school an obvious influence with aggression and melody coming together onto almost every song. Despite some interesting riffs springing up here and there, this isn't anything extraordinary, and the more brutal, immediate side of the music is the one which delivers the goods in a better way: "Tortured Eternity", the intense, death-laced "Never Again". The thing which may annoy is the used for the thousandth time duel between the rough death metal and the clean vocals. The lead guitar work is the highlight here, sometimes to the point of completely overshadowing the rest.

The C.O.A.S.T. Full-length, 2007

My Space

THE CADAVOR DOG (CANADA)

Based on "Return of the Dog", this band play retro thrash in fast unrelenting pace, with biting bullets like "Strike Anywhere" and "Shit for Brains" establishing the frenetic tempo covered, the screechy rending vocals the additional drama in the equation. The overall approach is quite comparable to the first Whiplash offering, with pure speed metal ("Kill 'Em") also materializing on more or less regular bases.

The Cadavor Dog EP, 2010
The Cadavor Dog Full-length, 2012
Tear Your Peace to Pieces Full-length, 2014
Return of the Dog Full-length, 2022

Official Site

THE CAGE IN YOUR HEAD (CANADA)

The debut: a black/thrash amalgam, created by just one musician, the name Darren Daneliuk; heavy stomping walkabouts ("Hourglass Eyes") take turns with hyper-active brutalizers (the title-track) at the beginning, the sprawling doom-prone lyricism of "We Have Decided That It's Time for You to Die" bordering on early Barathrum. The second half is a ponderous cumbersome slugfest, with catchy sing-alongers ("Rockin' in the Free World") added to the monotonous slow-motion melee which betrays both the black and the thrash idea, Daneliuk providing a shouty raven-like croak to assist the not very eventful soundscapes.
"Brother of Damien" comes with a hefty doze of doom/death, Darren also attempting something seismic and purely doomy on "Yes I Can" and the elegiac winner "The Dream Is Dead", the only genuinely aggressive moment being the closer "Turn It up or Burn It Down", an unbridled death metal madness with Darren shouting his lungs out to an apocalyptic effect.

A Light To Summon The Dark Full-Length, 2021
Trust Me Full-length, 2021
Brother of Damien Full-Length, 2021

Official Site

THE CARNIVAL (FINLAND)

Based on "Absoluuttinen Syntyma", these lads serve intense modern thrashcore that is reflected in both relatively welcoming stomps ("Veri Huutaa") and wild unfettered briefers ("Absoluuttinen Syntyma"), the sludgy dirge "Tuli Ja Aika" testing the shouty hardcore vocalist's skills with protracted agonizing wails. Cuts like "Noidat" and "Kuollut Kausi I" cling more towards the Impaled Nazarene's eye-gouging school of thought, but make sure you also acknowledge the ambient atmospheric serenity of "Lettolapsi".

Huonon Veren Oireet Full-length, 2012
Hengen Juhlaa EP, 2015
Absoluuttinen Syntyma Full-length, 2024

Facebook

THE CASKET CREW (USA)

Based on "Somber Ceremony", these guys play choppy crunchy modern thrash which drags a bit at some point the band using those unmelodic chugga-chugga riffs to no end which on the constantly repetitive mid-paced to slow background just don't sound attractive (the exception is the exiting section from the closer "Turmoil" where the guys thrash vehemently with passion for a change). There's some creepiness permeating the album (the doomy undercurrents on "Misery Company"), but it should have been spiced with something else. The singer is a semi-whispered death metal growler who isn't very clearly heard at times, and one gets the feeling that he doesn't really want to.
The debut is in the same vein maybe sounding a bit more classic at times (the more light-hearted shredder "Journey's End") but still holding onto the modern laws tight on steam-rolling groovers like "Embedded" and "Dead Is Thought to Be Dead". The singer tries to sing more here, but his antics are still not very audible sounding quite strained at times.

"Coercion" is a modern "animal" of the not very exciting, less energetic type slightly reminding of Voodoocult and Fetish 69 when it gets more industrialized. The situation livens up on "They Live, We Sleep", but there's too much treading on semi-balladic and doomy waters although "Dethanol" is a fairly good example of the latter genre. Still, kudos should be paid to the guys for trying to give the modern trends a more individualistic twist and avoiding thus annoying groovy infatuations.

Poor Man's Coffin Full-length, 2004
Somber Ceremony Full-length, 2010
Coercion Full-Length, 2014

Official Site

THE CATALYST (USA)

This act indulges in ordinary (according to their native province's standards) modern thrash/death which doesn't lack intensity, but is pretty derivative, sticking to the Dew-Scented and Maze of Torment formulas the whole time. "Anthem for the Fallen" shows a more serious attempt at thrashing with more elaborate arrangements and slower sections. The headbangers will be happy all over with crisp pieces like "Collapse Of Reason" and "Call from Within" despite the fact that they have heard those rhythms hundreds of times before.

Origins Full-length, 2011

Official Site

THE CH0SEN (HOLLAND)

Based on "Resistance Leading to Strength", this act provide simplistic retro black/thrash/crossover disrupted by heavy epic walkabouts ("I Say a Plague on Them"), this moment recalling mid-period Bathory, with touches of black ("YR (Strength of Purpose)") also added for largely good measure, the vicious hellish deathly singer raging behind the mike, trying to sing a bit more comprehensibly on the slower material ("Eternal hunger").

For the Glory of the Empire Full-length, 2004
Resistance Leading to Strength Full-length, 2022

THE CLARKTONES (USA)

This young act serve party rock'n post-thrash/punk which breaks at times the unpretentious atmosphere with the casual heavy stomper ("Jungle Robot"). This is a simplistic mish-mash, also featuring numerous nods to classic heavy metal and hard rock, assisted by drunken mean vocals which distantly resemble the early vocal histrionics of Lemmy.

Skid Mark Full-Length, 2015

THE CLAW (USA)

Based on the split, where the guys present themselves with three songs, this is retro thrash/death metal in the spirit of early Pestilence and No Return's "Contamination Rises". The guitars are fast and sharp adding the odd technical hook, and the singer is scary with his gruff shouty death metal tember.

The Claw EP, 2007
Tooth/The Claw Split, 2009

My Space

THE CLOCKWORK (SPAIN)

Decent modern thrash with very good expert leads and several nods to the retro sounds (the energetic headbanger "Make My Day"). The guitars cut painfully, and the tempos change appropriately the faster parametres (check out the maddening title-track at the end) more widely covered giving a capable boost to the proceedings which are also helped by the forceful shouty vocals.

Reborn Full-Length, 2014

THE COMPANY (GERMANY)

Based on "Frozen By Heat": this band play a mixture of Bay Area and modern 90's thrash, similar to what Testament tried to do with "Low". "Impostor" raises the hopes that this would be one of those rare works from the mid 90's which have preserved some of the classic flame burning, but the groovy numbers come up pretty soon ("Citizen Streetkid") for those hopes to reach very high. Later on both styles alternate, sometimes being mixed within one song (the title-track). In the second half the heavy groovy sound takes over almost completely, leaving room for just one more classic headbanger near the end: "Hate In Cold Eyes". The last song, though, "Leave'Em Alone" is a nice heavy semi-ballad.

The Company Full-length, 1995
Frozen By Heat Full-length, 1997
Awaking Under Dogs Full-length, 2002

Official Site

THE CONJURING (ARGENTINA)

Based on the full-length, this is a Slayer tribute made in South America. Nothing new, some would say, and they wouldn't be too far from the truth although the band put their hearts into it thrashing with power spicing the rigid formula with more flexible, semi-technical chops ("Total War"). In the vocal department the resemblance is simply striking whereas on the music side the delivery sometimes shifts into other fields (the atmospheric, quasi-doomy "Cross Addiction"), and generally in the second half the guys don't rely on speed too much the only genuine mosher there being the ripping "Faithless".

Reign in Terror EP, 2013
Tortured Spirits Full-length, 2016

Official Site

THE CORPSE (POLAND)

Based on the "Fight Against Rules" demo, this act serve rough dynamic retro thrash/crossover that is both pure unadulterated bash ("Wasz Swiat") and bouncier thrashier stuff ("Stres"), the mean death metal-ish singer trying not to shout too much, keeping to the more moderate semi-shouty realms. Some of the band members were also active with the thrashcore outfit Self-Made Bomb and the groovy post-thrashers Maggoth.

Curse of the Living Corpse Demo, 1985
Demo 1987 Demo, 1987
Fight Against Rules Demo, 1989
How to Die Full-length, 2015

Official Site

THE CORY SMOOT EXPERIMENT (USA)

Cory Smoot is a former member of the shock core/thrashers Gwar, and here he "experiments" in a more complex, almost progressive at times, manner with the style producing crunchy modern thrasherism which has both energy and heaviness in almost equal dozes the major flaw being the very short length of the songs (2-3min) which leave many of the ideas unfinished. Still, one can't possibly remain indifferent to the audacious headbanging vigour of "Mandatory Purgatory", or to the galloping dramatism of the closer "Countdown To Oblivion". Cory sings in a rough deathly fashion but his rendings are tolerable and comprehensive. The other annoyance may be the very noisy guitar sound which is accompanied by a constant buzzy background, intentionally or not.

When Worlds Collide Full-length, 2012

THE CRIPPLER (USA)

Quite intense retro thrash/death which rushes through the speakers with either malicious deathly veneer ("Mangled Bodies") or pulls out all the stops with twisted Carcass-esque semi-technicallers ("I Don't Want to Hurt You, I Just Want to Kill You"). There's also a nice melodic streak ("Suicide by Cop") that runs through the album, including a few explosive short ragers ("I Have a House Full of Guns"). The vocals are harsh semi-shouty death metal ones and are quite prominent throughout, also with a more pronounced shrieky timbre at times. Some of the musicians are also active with the death/thrashcorers Eat the Turnbuckle.

I'm Just Gonna Let Myself In Full-length, 2022

Official Site

THE CROSSROADS (POLAND)

Based on the debut, this band offer modern thrash which is both close to death metal and hardcore during various stages. In other words, there is a lot of dynamics and moshing around and the fans would be by all means pleased on headbangers like "Overzeal" and "Motocross", the latter a sure-handed crossoverer which try to balance the situation against the majority of shredding mid-pacers. The vocalist semi-shouts in a forceful attached tone and is a cool fit into the intense picture.

Hate You Full-length, 2010
Pariah Full-length, 2012

Official Site

THE CROWN (SWEDEN)

This band really made a name for themselves despite their short career. Their original name was Crown Of Thorns, but they had to give it up after legal claims made by a Christian metal band of the same name. The style is very fast/aggressive death/thrash metal of the modern type with occasional punk-ish tones and death'n roll elements, not too far from the music Entombed started to play on "Wolverine Blues": a very good, but a short-lived band. Their singer Johan Lindstrand after the split-up formed the band One Man Army And The Undead Quartet.

"Doomsday King" is a reunion album seeing the guys alive and well hungry for more damage done mostly in the classic thrash/death metal department; the "missing link" (to some this may be quite a pullback) is Johan Lindstrand himself who couldn't abandon his duties in his other projects, and has been replaced by Jonas Stalhammar (also Macabre End, God Macabre, Utumno, etc.). The guys waste no time, and the title track hits you straight in the face moshing out in a cool semi-classic manner spiced with cool Oriental hooks. The speed goes up a bit on the next two numbers, especially on the nice melo-speedster "Age Of Iron". Time for retrospection and relaxation on "The Tempter And The Bible Black" which is a laid-back doomy piece, before "Soul Slasher" continues the carnage on full-throttle. "Blood O.D." is a "bloody" violent proto-deathster, and "Through Eyes Of Oblivion" is intense aggressive thrash. The band leave the more complex longer compositions for the end; those songs mix fast and slow sections, the closer "He Who Rises In Might- From Darkness to Light" overdoing it a bit including furious blasting sections bordering on black metal. Still, this isn't enough to spoil the good impression from this comeback effort which sees the guys concentrating more on the retro side of the genre in contrast to their older more modern-sounding works.

"Death Is Not Dead": no, "death is not dead" as is evident from these veterans' new offering; neither is the thrash/death mixture they've been hammering for over 15 years now. The band fans will receive their expected portion of intense, up-tempo riffs served with a cool sense of melody where the Gothenburg school shows its teeth pretty wide. Curious allusions to "Karmina Burana" can be caught on "Iblis Bane" done in an impetuous speedy manner. "Eternal" is the obligatory mid-pacer, an epic battle rouser ala Amon Amarth; but on the rest "speed may kill you", like on "Speed Kills (Full Moon Ahead)", for example, indeed one of the fastest tracks on the album keeping the flame alive, the latter just about to burn out near the end on the several slower monotonous songs where the heaviness comes a bit too much.
"Cobra Speed Venom" contains no surprises the melo-thrash/death metal hybrid operating on full-throttle at times helped by more relaxed thrash/crossover rhythms ("Iron Crown"), at others by epic power/thrashy developments ("World War Machine"). "Necrohammer" is an admirable old school headbanger, and "My Grave Shall Stand" is an excellent atmospheric, elegiac all-instrumental doomster.
"Royal Destroyer" is a wilder less restrained affair, the band sounding more pissed than the last couple of opuses, the more abrasive guitar sound also reflecting the angrier stance which strictly favours death from the staple hybrid, regardless of "Motordeath"'s restless thrashing lustre. "Glorious Hades" is a doomy epicer a catchy hymn that has no allusion later as short explosive numbers ("Full Metal Justice", "Scandinavian Satan") take over, turning the scene into a battlefield, the pacifying qualities of the elegiac "We Drift On" the necessary calm after the storm.

Hell is Here Full-length, 1999
Deathrace King Full-length, 2000
Crowned In Terror Full-length, 2002
Possessed 13 Full-length, 2003
Doomsday King Full-length, 2010
Death Is Not Dead Full-length, 2015
Cobra Speed Venom Full-length, 2018
Royal Destroyer Full-length, 2021

My Space

THE CRUCIFIED (USA)

This band tried to keep crossover alive for a while during the 90's. Their guitarist Greg Minier had two side projects, one under his own name. The debut is a very good beginning for the band's career thrashing quite intensely most of the time, leaving little room for the crossover side of the music to show up: check out the raging opener "The Pit". "Die Hard" preserves the speed and intensity, but the guitars have a jollier, crossover edge. "Your Image" is a furious short hardcore outbreak after which the guys never let the aggression loose, and here comes another couple of thrashing delights: "Hellcorn", "Rise", "One Demon to Another", which reach almost a Slayer-like intensity. "Back to the Cross" is a pure Slayer worship after which comes a time for some more laid-back crossover: "Confidence", but only for a while since the guys are eager to thrash their hearts out which is what exactly happens on the raging "The Insult Circus" and "Threat". The closing "Crucial Moment" retains the speed, but gives way to more melodic riffs. This excellent work was another testimony that back in 1989 thrash was alive and well with no signs of wearing out or falling from grace.

"The Pillars of Humanity" is a worthy follow-up offering the same uncompromising attitude with fast-paced fierce thrashers. "Mindbender" slows down after the first three intense tracks, even offering a slight groovy twist, well conformed with the tastes of the time. "Path To Sorrow" is a surprising turn to a semi-balladic song-writing, but the guys haven't forgotten about their thrashy side, and "Fellowship Of Thieves" takes no prisoners. "Focus" is a lighter thrash/crossover piece followed by "The Strength" which, in order to justify its title, thrashes more aggressively once again. The title-track closes the album with heavier, slower and generally more melodic riffs which are more than welcome after the non-stop headbanging material provided earlier.

The Crucified Full-length, 1989
The Pillars of Humanity Full-length, 1991
Nailed/Take Up Your Cross Full-length, 1994

Official Site

THE CRUCIFIER (GREECE)

This is the same act known earlier as Crucifier; the guys slightly modified their moniker in order to avoid mix-ups with similarly-named outfits. The delivery, however, hasn't moved a bit and remains vigorous old school thrash to the bone with the German school "courted" the most this time as the opening "Within Insanity" can fit on any of the first two Destruction efforts. The mosh never stops here as then band shoot "a bullet" after "bullet" with the utmost intensity, seldom breaking the pattern with marginally more technical riffage ("Forgive and Don't Forget") or with more playful crossover rhythms ("Fake Truth").

Voices In My Head Full-length, 2017

Official Site

THE CRUDE BASTARD (CHILE)

A promising young act who offer good classic thrash which, despite the live performance, comes with a fairly clear sound quality, nodding to both Slayer and the Bay-Area. The singer has a good clean declamatory timbre, adding the gruffer deathly shout at times, both sides well mixed on the vigorous "Diabolic Eyes". "The Crude Bastard" is a dramatic galloper. "Dead Alive" starts as a death metal rage, only to calm down later to more moderate Bay-Area patterns. "Brutal Violation" isn't the most "brutal", but is the most technical composition here, a longer thought-out cut with very good guitar work, also quite melodic, changing tempos at will with echoes of Heathen's "Victim of Deception" and Forbbiden's "Twisted into Form".

The Dead Will Rise live EP, 2011

THE CRYPT (USA)

Based on “Istrebitel”, this band play heavy steam-roller classic thrash/death which less controlled blast-beating character on “Autel des Violees” is also displayed on the nice technical hecticer “Limnic Death”. Elsewhere we have the brief spastic wonder “Chaos, Hostility, and Murder”, the academic mid-tempo march “The Cryptifix”, and the macabre Celtic-Frost-esque piece of darkness “Lese-Majeste”, the semi-declamatory death metal vocalist staying the course with a not very accentuated brooding presence. Some of the band members are also involved with the melo-deathsters Darcade and the power/thrash formation Cryptic.

Embers of Limerance Full-Length, 2022
Iztrebitel Full-Length, 2023

Official Site

THE CURSE (BRAZIL)

Pretty decent thrash/proto-death of the old school; the band play fast'n tight reaching the extremes on shattering cuts like "Thousands Of Deaths" and "Death To Betrayers" which are pure aggression graced by a very clear sound quality and sharp cutting guitars. The singer is not so bad unleashing an attached semi-shouty timbre with quarrelsome shades.

The Curse EP, 2011

THE CURSE (CANADA)

This is a side project for the Slaughter members, who apparently at some stage wanted to play slow, twisted thrash along the lines of Hellhammer. And this is exactly what this badly produced demo delivers: crushing, amateurish thrash, sounding quite close to the legendary Swiss, but spiced with faster sections and decidedly more brutal, low-tuned death metal, vocals. High level of musicianship is, certainly, nowhere to be found, but even such a raw recording could have its charm, especially if you give it a listen nowadays.

Demo Demo, 1986

THE DAMN DIRTY APES (USA)

Based on the full-length debut, this formation specialize in playful modern post-thrashcore which is moderately up-paced ("I Don't Wanna B U") at its most intense; the rest is friendly uplifting punk/crossover with bits and pieces of more hard-hitting thrash ("Fermented") scattered around a bit nonchalantly. The singer tries to sing at times and pulls out a more attached performance with his intense semi-clean timbre which resembles Tom G. Warrior (check out the interesting epic galloper "Territorial Fistings", the highlight on the album).

The Apes of Wrath Full-length, 2011
Ape Diablo Full-length, 2014

Official Site

THE DAMNATION (GERMANY)

Based on "Evilution", this act plays a classic mix of thrash and death metal which is mostly of the heavy mid-paced type, but when the guys feel like thrashing, they take no prisoners: "Death Head", the proto-death, lashing title-track, etc. On the other side we have the fine steam-roller "Immortally Entombed" which comes decorated by great melodic hooks ala Bolt Thrower which are the closest target for worship (check also the brilliant doom riffs on the closing "The Crucifix"); the twisted death/doomster "Lunacy" with a pinch of Morbid Angel-esque technicality. This is a good effort which follows a well trodden path faithfully, but delivers also helped by the confident low-tuned death metal vocals.

Into the Pits of Hell Full-length, 2006
Evilution Full-length, 2009

Official Site

THE DAMNNATION (BRAZIL)

Three cute damsels have joined forces for the foundation of this classic power/thrash which (based on the full-length) is mostly a mid-paced affair that also courts the heavy metal realm ("Into the Sun") along the way, with atmospheric gothic-induced strollers ("Grief of Death") adding their share to the relatively relaxed mood, the latter only disrupted on the moshing violator "Slaves of Society" and on the closing breezer "The Greed". The girl behind the mike acquits herself with a shouty deathly timbre, not trying to actually sing too much despite the several mellower moments. Some of the beauties are also in team with more beauties in the old school death/thrash hybriders Sinaya, another all-female formation.

Parasite EP, 2020
Way of Perdition Full-length, 2022

Official Site

THE DAY OF THE BEAST (USA)

The debut: quite cool energetic speed/thrash ornate by several hyper-blast black metal passages; still, when the guys thrash, they leave their hearts there: "Beyond Choronzon", "Upon the Throne". The middle is occupied by a couple of slower, mid-tempo compositions which work almost as good: "The Crawling Chaos", and especially the aggressive, but not fast, death-like intensity on "Awakening of the Morningstar".

"Relentless Demonic Intrusion" is a more intense affair introducing death metal to the fore, hardening the approach quite a bit in a way not too far from Torture Squad and the last Thanatos (Holland) album, also suiting the brutal death metal vocals more. Expectedly, the tempo is fast with a sparse inclusion of short blasts, and this is the reason why the more varied, slower cuts work kind of better: the dramatic epicer "The Day Of The Beast" which brings a desirable shift from the dominant speedy delivery.
"The Ultimate Cremation Pyre" is the next in line "beast" unleashed by the band with thrash more prominently featured this time, making cuts like the title-track engaging raging sagas, and pieces like "Black Earth Coffins" and "Crowned in Maggots (Hell Is Not Enough)" short bursting headbangers. "Azhidahaka" is a more laid-back, more atmospheric composition, and "Phantasmal Crossroads" crosses the boundaries towards bombastic operatic black metal making this effort a really varied "beast".
"Indisputably Carnivorous" provides the next slab of muscular modern thrash, with less tamed death metal-ish strokes ("Corruptor/Infestor", "Disturbing Roars at Twilight") invading the aether, the more intricate title-track flirting with more possibilities. The semi-technical deathster "Annihilation Prayer" is another less ordinary proposition, the final "On Wyverns Wings to Oblivion" a nice reminder of the early In Flames feats.

The Day of the Beast Full-length, 2008
Relentless Demonic Intrusion Full-length, 2012
The Ultimate Cremation Pyre Full-Length, 2017
Indisputably Carnivorous Full-Length, 2021

Official Site

THE DEAD CORPS (CANADA)

Noisy abrasive modern thrash with overt industrial overtones; the shadow of the compatriots The Strapping Young Lad is instantly detectable, but watch out for a few more classic-prone escapades ("Die with Your Claws Red"), the hoarse semi-clean singer accommodating all stylistic meanderings, those sometimes served with a pinch of doom ("Trails of Darkness"), sometimes acquiring annoying grungy groovy proportions ("Turn and Burn").

All Ears Full-Length, 2021

Youtube

THE DEAD NORMALITY (NORWAY)

An act which strictly follows the patterns established in Sweden pulling out dynamic modern fast-paced death/thrash metal. This is also melodic stuff with plenty of catchy melodic hooks topped by gruff death metal vocals. This band is actually the continuation of the split-up Dead by Dawn where the guys played similar music having released one EP and one full-length a few years earlier.

Killing Reality EP, 2009

Official Site

THE DEAD XIII (NORWAY)

Modern groovy post-thrash with industrial overtones sitting somewhere between Fear Factory and the Swiss avantgardists Swamp Terrorists; the guys wisely abandon the dirge which usually comes with the style opting for more dynamic numbers ("Daemons", the title-track), and the dance potential of floor sweepers like "Be-Were" is hard to deny despite the constant presence of the guitars. The fun atmosphere is high all over this effort which is also favoured by the nice clear production and the harsh, but comprehensive death metal singer.

Catacombs Full-Length, 2015

THE DECEITFUL VESSEL (USA)

This is noisy modern post-thrash which mixes with more aggressive death metal cords to a chaotic and not very listenable effect trying to come close to the mechanical patterns of mid-period Meshuggah, but there's too much djent and post-core here for the album to truly take off. This is one-dimensional groovy music which is sustained in exactly the same fuzzy manner from beginning to end piling discordant riffage on top of each other creating noise rather than music in the long run. This band may start "a new era of cacophony", but hardly one of "destruction"...

A New Era Of Destruction Full-Length, 2012

THE DEFACED (SWEDEN)

Based on "Charlatans", this is a dynamic modern thrash/post-thrash affair, stitched by former and current members of the thrashers Darkane, with a more pronounced thrashy edge (the hammering title-track), but expect also meandering quasi-progressive tunes ("Bleeding Ore"), stomping doomy walkabouts ("Gilded Hands"), and sincere balladic outtakes ("Son of the Sun"). In the end the band have started sounding lie a more generic modern metal act without a certain stylistic direction followed.

Domination Commence Full-length, 2001
Karma in Black Full-length, 2003
Anomaly Full-length, 2008
Charlatans Full-length, 2022

Official Site

THE DENIERS (USA)

This duo, who may as well be brothers, specialize in old school thrash with echoes of the German movement, the approach quite intense with shades of death at times, the title-track a major headbanger with reverberations from early Destruction, "I.M.F." trying something more flexible and mellower with a sniff of power metal. Watch out for "Vaccines and Blue Pills", a short pulverizing outburst, and for "Love the Virus", a short brutal grindy cut which is a cover of the punkers Manny Fingerz, the hysterical screechy vocals more suitable for a black metal outfit.

Corona Avant-Garde EP, 2022

Official Site

THE DEPTHS (USA)

This act indulge in noisy chaotic modern thrash/death which is ultimately ruined by the fuzzy guitar sound and the hysterical shrieky vocals which, with a bigger stretch of the imagination, can pass for a Dany Filth (Cradle of Filth) emulation, but "raped" through an awful lot of synthesizers. The mess gets a bit under control on the early In Flames-worship "The Void in Which I Slumber" which is a more compelling listen with brutality and melody blended nicely together. The closer "Ravenous" starts as a pensive doomster, not a bad beginning, but later on the madness resumes with some of the wildest blast-beats incorporated.

Entheogen Demo, 2013

THE DESECRATORS

Fast, but melodic, thrash/crossover; feelgood stuff coming close to early Broken Bones and Lawnmower Deth. Still, the music lacks no speed although the approach is a bit one-dimensional featuring interesting short screamy leads. Worth of note is the 6-min thrashing opus "The Beyond Within" which is an achievement for this kind of music, a constantly energetic and fast composition boasting a nice melodic hook which is quite popular, but these ears have problems recalling the source. "Wedding Bells" is 2-min of pure thrashing madness ala Slayer and Vio-lence with the speed from it preserved for the exiting string of intense hardcore pieces. The singer is a bit punk-ish, but his clean indifferent delivery is just perfect for the music.

Speed up the Death Process Full-Length, 2009

THE DESOLATE (USA)

Based on the debut, this act specialize in a more atmospheric brand of modern thrash/death metal which isn't very fast-paced, but delivers with steady mid-paced riffs which produce some imposing epicers ("Spread the Plague"; the officious doom rhythms on "The Desolate") along the way. The closing title-track livens up with more vivid riffs those mixed with nice melodic lead guitars creating the most musically-proficient moments on the album. The singer is a mid-ranged death metal growler who doesn't show off a lot staying within the same confines the whole time.
"Gospel of the Wretched" is a more uneven effort the band moving from spasmodic blasts to quirky sterile passages without any transitional signs with quite a few elements on top of each other on almost each track making the songs a bit lengthy. That's why "Thrashed out Cold" comes as a big surprise in the middle serving pure moshing thrash for about 3-min consequently remaining the highlight the rest of the numbers continuing the messy overcomplicated delivery which hits the top on the very ambitious closing instrumental "Occam's Razor" which at least pulls some impressive melodic hooks the latter matching the proficient lead guitar work there both marred by the very noisy production.

Trapped in Twilight Full-length, 2010
Gospel of the Wretched Full-length, 2012

Official Site

THE DESTRO (USA)

Based on "Harmony of Discord", this act pulls out groovy thrash of the more dynamic variety, mid-paced to even up-tempo at times, accompanied by angry forceful death metal vocals. This is cool headbanging stuff with crushing energetic riffs, nicely switching from slower to faster moments the whole time, and despite the use of all the familiar "tools of the trade", leaves a positive impression in the end.

The Day of the Beast Full-length, 2008
As The Coil Unwinds Full-length, 2007
Harmony of Discord Full-length, 2009

My Space

THE DETRIMENTZ (USA)

Rough pristine thrash/crossover not far from mid-period D.R.I.; this is both mid-paced ("Your Time Has Come") and lashing ("Morbid World") stuff that also wins a few points from the attached shouty hardcore-ish vocals ala Kurt Brecht (D.R.I. again), the latter genre more overtly displayed on the raucous closer "Brainwashed Society".

Face Reality Demo, 1989

THE DEVASTATOR (USA)

Modern thrash/death metal, wild fast-paced stuff with several blasting sections and aspirations for more technical performance ala Suffocation ("The Anticipation of Death"). Still, the obsession with speed remains dominant although the more stylish breaks grace almost every song as the overall approach "courts" death metal more, including in the vocal department.

The Devastator EP, 2011

Official Site

THE DEVIL'S HEIR (USA)

Based on the full-length, this band play largely heavy modern thrash accentuated by steam-rolling behemoths ("Exsanguinate", "Devastator") which move the parade forward without much perturbation, the acceptable semi-clean vocals assisting the seismic soundscapes with reverberations to spare.

Extreme Noise Terror - The $4.99 EP, 2010
Initial Explosion EP, 2013
Rex Mortuus Full-length, 2020

Official Site

THE DEVIL'S REJECTS (NORWAY)

This outfit pull out decent classic doom/thrash which is expectedly built around heavy pounding rhythms, the hellish proto-black vocals creating more menace on the side. There's little wrong with dramatic stompers like "Castle Freak" and doom-oriented dirgers like "Death Walks at Midnight", but more speed would be beneficial in the long run as the mid-tempo drama kind of wears thin before the end with doom metal taking over again for the closing 8.5-min saga "Nude for Satan".

Blood Feast Full-length, 2020

Official Site

THE DISSENSION (USA)

Four songs of modern thrashcore with better shades of death metal; the guys pull out a few more intriguing riffs reflected in hectic jumpy arrangements ("Downfall") or more sprawling progressive structures ("Tyrant (Words Mean Nothing); the mechanical shredder at the end "Scourge of the Earth"). The vocalist is a scary death metal growler with a thin hardcore flavour, seldom interrupted by hysterical black-ish shrieks.

Imperium EP, 2011

THE DONNER PARTY (USA)

The debut EP: this is cool energetic thrash/crossover of the old school which comes in different tempos and relatively short compositions (2-3min). Things can be pleasantly melodic ("Hotel Guantanamo") at times, and generally the band don't aim at any aggressive heights just having a good time moshing in a carefree laid-back fashion. The singer is a perfect fit with his attached semi-shouty timbre never quarrelling in an incomprehensible aggro-manner.
The "Pizza Patrol" EP is more aggressive with more brutal thrashier guitars the band shooting short compact "bullets" in quick succession some of which (the title-track) are close to stripped-down hardcore while others ("Danger in Blue") are more carefully executed thrashers with a couple of light-hearted crossover ("Zone Out") crowd pleasers thrown in at the end.
"Cutting Class" follows the same direction, the one of sizzling lashing thrash/crossover rhythms, and this effort is chokeful of them, from the insistent pounding "Poser Stew" to the short ripping "Mung", to the sweeping blitzkrieg violator "Gross Encounters of the Nerd Kind"... everything has been arraigned here to please the moshers, including with the breezy hardcorer "Shit Show".

The Spawning EP, 2010
Chain Reaction EP, 2013
Pizza Patrol EP, 2017
Cutting Class Full-length, 2023

Official Site

THE DYING (BELGIUM)

Quite good, energetic modern thrash/death, occasionally spiced with classic riffs; the guys play fast and tight, without forgetting about the more melodic side of the genre, and cool melodic hooks could be heard on quite a few of the songs (check out the one on the excellent "Gotham"). "Serpent" is a heavy semi-balladic number with good crushing riffs, and another nice melodic tune; it speeds up later on for a while, showing the guys losing their patience with the slower pace. This is cool headbanging stuff which reaches heights like the mighty fast shredding monster "The Sadist Virus" and the smashing mid-paced steam roller "Jesus the Judas". The closer "Slaves of Tomorrow" is a peaceful melodic track, a bit underwhelming compared to the preceding raging ones.

Triumph of Tragedy Full-length, 2008

Official Site

THE DYING LIGHT (USA)

Based on "The Killing Plan", this band manage to combine Floridian death metal with thrash in quite an impressive way. The music is technical, recalling Morbid Angel and even Atheist at times with heavy stomping parts alternating with furious blast-beats. The guitar work is quite stylish, and although most of the time the sound is more death metal-based, the level of musicianship displayed here makes this band recommended to many metal fans.

"Survival Guide To The Apocalypse" is a good debut, again courting death metal more, but the guitar work is good all over. The music is constantly fast, and the songs are much shorter, not accentuating on the technical performance that much. "Warstrike" is a nice piece with slight progressive overtones, thrashing more than the rest, but offering slower doomy moments as well. "Seven" is a nice short technical death/thrasher after which the technical charge increases for the atmospheric mid-paced "The Idol Usurped". "Megalomania" is an all-out thrash attack where the singer tries some unholy shrieks ala Tom Araya ("Black Magic"), but quickly the guys show that they can manage much more aggressively than that with the following brutal death metal fury "In The Land Of The Dead". The closing "The First Waters" beats all, however, with the ultra-fast black metal sections, and is actually a full-blooded black metal number, showing a band still in a stage of honing their "weapons".

Survival Guide To The Apocalypse Full-length, 2002
The Killing Plan Full-length, 2005

Official Site

THE DYING SEED (FRANCE)

Modern post-thrash with stoner/doom metal implements; heavy brooding stuff clinging more towards the doom metal side, but "Lapidation Of The Weak" may make you jump around with its more vivid dynamic (also more melodic) riffs.

The Dying Seed EP, 2009

My Space

THE EAR SPLIT (INDIA)

This is modern death/thrash ala the Finns Gandalf and mid-period In Flames; well executed with crisp biting guitars and a very good sense of melody all over, which takes over on quite a few times to mixed results, since it retouches the sharp riffage and reduces the speed. Anyway, it's not completely without merits, and the guys definitely have the skills to show more in the future if they manage to keep away those bad clean vocals which stand on the way on the brutal death metal growls from time to time.

Contemporary Noise Pollution Demo, 2011

THE ELITE (USA)

Intense modern thrash with jumpy guitars and crushing riffs; when the music gets mellower ("New religion"), it sounds way more appealing with cool expressive tunes and clever semi-technical arrangements. Still, for most of the time the band just bash with ultra-heaviness bringing an abrasive industrial edge to both the music and the angry shouty vocals.

World War III EP, 2009

THE EMBODIED (SWEDEN)

These Swedes indulge in typical melodic modern thrash/death metal with which their homeland has been so famous. No attempts at any originality except for the presence of cool clean vocals which substitute for the gruff death metal ones typically associated with this style. The rhythms alternate with quite a few of them clinging towards the balladic so expect laid-back stuff as a whole, sitting somewhere between Dark Tranquillity's "Haven" and Gandalf's "Deadly Fairytales".

The Embodied Full-length, 2011

My Space

THE EMBODIMENT (HOLLAND)

Based on the full-length, these guys provide your average Gothenburg-styled thrash/death metal, which mixes fast with slow numbers, both sides presented equally, with the overall approach recalling Dark Tranquillity and early In Flames. Some of the musicians also take part in the brutal death metal formation Enraged.

Razor Cut Reality EP, 2002
Legeon Full-length, 2006

Official Site

THE ENCHANTED (UK)

Based on the "For Those Who Fall..." EP, this is death/thrash metal with a classic sound and nice technical touches ala Death ("Human"); the pace is mid to up-tempo with competent death metal growling vocals interrupted at times by weak cleaner ones.

Trust In Death And Rebirth Full-length, 2002
For Those Who Fall... EP, 2004

Official Site

THE ENCIRCLED (USA)

A really cool obscurity of choppy classic thrash with a lot of atmosphere sustained in a consistent mid-pace despite the short length of the songs. The riffs are seismic and thundering the melody not so widely covered except as scattered elusive passages. The production is quite good boosting the macabre semi-shouty death metal vocals which are quite good, by the way, co-existing well with the crushing rhythm-section.

Ascension Demo, 1993

THE END (SWEDEN)

Modern thrash/death metal, probably one of the earliest attempts from the Scandinavia to add some groove into this mix, but the show is completely "stolen" by the vigorous headbanger "With Pain" and the diverse black/death/thrash amalgam "Picture" which are quite aggressive even overshadowing the several attempts at a more stylish technical play on the closing "Legend". References to both Entombed and The Haunted could be made, and this act could have played a bigger role if the band members hadn't been involved in numerous other acts around the same time: the death metal outfit Eucharist and Armageddon (with whom they switched onto power metal more recently), the thrash metal act Croam, among others.

The End EP, 1996

Official Site

THE END (USA)

Three songs of classic American speed/power/thrash with echoes of The Exorcist and Pile Driver. "Pharaoh" ends in a great doom/Oriental way, a short excerpt which remains the highlight also because the not very impressive listless clean singer doesn't participate there. The bass work is particularly good moving ahead of the guitar performance which is marred by the fuzzy production although one can't possibly remain indifferent to the excellent melodic leads on "Granite". This is vivid dynamic music with a frequently changing pace which by all means sounded off-context and belated at the time of release.

The End Demo, 1993

THE END 666 (FRANCE)

A very wild mixture of thrash, black and hardcore; the music is very fast and aggressive with a strong industrial edge including the horrible synthesized vocals. Impaled Nazarene could be a close call, but these guys are more thrashy, although the approach is the same: relentless violent stuff with frequent blast-beats thrown in the most unexpected places. The guitar sound is very thin, and creates the impression that everything has been done hurriedly on a computer.

The "666 Verses" demo is a strange "animal" seeing the guys slowing down considerably, retaining the industrial edge, and now the screechy hysterical vocals simply miss the point since there's only one blasting track on which they can scream their lungs out. There's even ambient involved as well as depressive black/doom ala Beherit, even industrial landscapes ala Red Harvest and the Dissection frontman Jon Nodtveidt's (R.I.P.) side project De Infernali; thrash is nowhere to be found, but the black metal fans will definitely be delighted.

Shudder Demo, 2001
Speedcore Metal Hell Demo, 2002
The Ultra Violence Full-length, 2003
Terror Inside Full-length, 2005
Hate Corp. Split, 2006
Demo 2007 Demo, 2007
666 Verses Demo, 2007
Hellchrist Demo, 2009

Official Site

THE END A.D. (USA)

Classic energetic thrash/crossover quite close to the early works of Hirax on the speedier material; melodic attached vocals greatly help the proceedings which become friendlier and more welcoming ("Be Here Now", the semi-groovy crowd-pleaser "Bitch Magnet") on occasion, but watch out for the more serious power/thrashy construction of the closing monolithic stomper "I Wanna Be Alone".

Badlands Full-Length, 2019

Official Site

THE END OF 6000 YEARS (ITALY)

A prototypical modern thrash/death metal blend with shouty hoarse vocals and more brutal blast-beating sections added, as well as sections where the band slow down and the music starts smelling metalcore.

Isolation Full-length, 2008

Official Site

THE ENGINES OF ARMAGEDDON (UK)

Based on the "Obelisk" demo, this band plays heavy doom/thrash with epic overtones; "The Mysterious Case of Wardenclyffe Tower" features certain headbanging moments, but the other two compositions are much longer clinging towards the slower and the heavier eased by the deep semi-clean singer whose clean performance on the balladic passages is quite worth of note.

Demo Demo, 2005
The Engines Of Armageddon Full-length, 2009
Obelisk Demo, 2010

Official Site

THE EVEN ORDER (USA)

There's one man, the name Justin Schulze, behind this project which raises the flag of the Bay-Area (think early Metallica, above all) sky high also providing a fairly cool clean emotional timbre. Bashing punishing thrash emits from "Panic Attack" and "Savage" while "The World Inside" provides a soothing all-instrumental respite. Fillings will fall on the very aptly-titled "Fury", but progressive semi-balladisms are pretty much the name of the game on "The World Outside", Schulze diversifying his palette beyond the mere thrash metal spectre.

The Awakening Full-length, 2019

Official Site

THE EVIL DEAD (ARGENTINA)

The EP: under this entertaining title hide five jolly laid-back power/proto-thrashers with a strong Motorhead and Tank-esque shade. The songs are marred by the bad low-tuned death metal vocals which are surely the worst possible choice for this kind of jolly music. The riffage is uplifting and pretty soft, but the guys play with energy slowing down for the casual heavy metal break.

The full-length debut is another frolic merry-go-rounder with loads of jolly catchy melodies, from sing-along (and respectively jump) tunes to quite a few nods to classic heavy metal, doom/stoner (the longer compositions) and even sincere hard rock. This is not pure thrash by a long shot, and as such may not be recommended too highly to the hard-boiled fanbase.
"Earth Inferno" continues in the same optimistic vein so don't expect a lot of thrash here again, but several more progressive-sounding opuses like "Forlorn" and "Maranon" which are largely epic power metal hymns as the rest is marginally more intense with more nods towards the 90's power/speed metal movement.

Ex Nun on the Run EP, 2008
Pronounced the Evil Dead Full-Length, 2012
Earth Inferno Full-Length, 2017

My Space

THE EXALTED PILEDRIVER (CANADA)

The band name tells a lot: yes, this is the continuation of Piledriver with the omnipresent Gord Kirchin (also Dogs With Jobs) being the only member left from the old formation. Was the name change really necessary is not known; Kirchin himself is not willing to answer this question. The music is not exactly a direct follow-up to Piledriver's excellent "Stay Ugly"; it is slower and more melodic reminiscent more of the Dogs With Jobs opuses with the obligatory modern "updates". "Road Pigs" is a nice thrasher, though, which shows that Kirchin hasn't lost his knack of making headbanging music, and the best from his new act would probably come at some later stage.

The full-length is finally out, based around the four tracks from the demo/promo so expect more moderate power/thrash metal speeding up on occasion ("Last Day of the Weak"; the excellent speed metal killer "Volatile"; the energetic thrasher "Unsuck My Cock"). Gord Kirchin knows what he's doing, but this is hardly his best achievement: although the texts circle around sex, more balls should also be added to the music for the future to match them.

Metal Manifesto/Promo Demo, 2005
Metal Manifesto Full-Length, 2008

Official Site

THE EXPERIENCE (GERMANY)

The demo is a melodic mixture of power/thrash and gothic metal with keyboards and slow dreamy moments aplenty; might irritate the thrash metal fans a bit with its Crematory-influenced sound whose patience would probably be pushed to the limits with the 7-min acoustic ballad "Mental Solitude".
"Insight" is an interesting take on thrash metal with the gothic atmosphere from the demo still present. The guys concentrate on atmosphere and emotions again, and despite the presence of very cool lead guitars, the music isn't very sharp, and slows down to a balladic tempo quite often. The overall sound will remind you of a more aggressive version of the Finns Sentenced (their later period after "Amok") and To Die For. At least this time the ballad "Resign" is shorter (3.5min) although the 11-min epic closer compensates with its "Opeth-meets-Pink Floyd" sprawling non-metal melodies.
The full-length debut has no ties to thrash metal being a very mellow gothic/doom metal affair with a couple of faster power metal passages, but also too many balladic sections.

Mental Solitude Demo, 1995
Realusion Full-length, 1996
Insight Full-length, 1999
Cid: Reflections of a blue mind Full-length, 2001

THE EYE OF THE NORTH (NORWAY)

Based on the full-length, this one-man show, the laconic alias G, provide an intriguing, compelling blend of retro thrash and black, the raging also elusively technical character of the opening "Winds Of Death" spearheading a nice hybridization attempt with atmospheric brooders ("The Triumph of G") sitting comfortably next to ripping classic thrashers like "Nowhere To Run, the speed of light seriously challenged on the vitriolic "Airstrike". Black takes over on the less restrained bombastic "Blind Fury", with "Black Thrashing Onslaught" dexterously summing up the content of this opus, both title and style-wise, a vicious hyper-active representation which also sees G epitomizing an intense shouty raven-like vocal accompaniment.

Elitist's Sign (Promo) EP, 2020
Black Thrashing Onslaught Full-length, 2020

Official Site

THE FADING (ISRAEL)

Modern thrash/death with a slight technical twist; the music is energetic and brisk, and the band play with gusto and competence but is nothing sticking out of the contemporary thrash/death metal pack.

Chaos in Flesh EP, 2007

Official Site

THE FAITH HILLS HAVE EYES (USA)

Based on "The Riffth Element", this act pull out modern thrash which comes mixed with both metalcore and melo-death, the alternative vibes on "Obamas and the Papas" mixing well with the wild untamed shreds of "Dio de Janeiro... Larry King, the Punishment Due". There's undeniable diversity on display all over, including on the heavy groove-leaden "My Bong Water Is Blood", the harsh shouty/clean emotional vocal alternation also helping in this department, the jazzy minimalistic "Dali Parton" a playful wink at wider musical possibilities.

The Faith Hills Have Eyes Full-length, 2014
The Riffth Element Full-length, 2023

Official Site

THE FALLEN (USA)

Based on "Front Toward Enemy": this is modern post-thrash metal reminding of Prong's mid-period ("Beg To Differ", "Prove You Wrong") with touches of hardcore, but with a more aggressive attitude, moving into a Pantera-territory quite a few times.

The Tones In Which We Speak Full-length, 2000
Front Toward Enemy Full-length, 2002

Official Site

THE FALLEN SONS (GERMANY)

Doomy heavy thrash with crossover tendencies; the music at times sounds like a thrashy version of the German depressive doomsters End of Green.

Aggrieving Feeling Demo, 2006

Official Site

THE FAMILY (USA)

Based on the self-titled EP, these folks specialize in pretty cool crunchy old school thrash which shares traits with both the Bay-Area and Anthrax. "M.W.D." is a frolic optimistic mid-pacer, and "213" is moshing blitzkrieg thrash, the two sides alternating later with "Devil's Canyon" being another laid-back mid-tempo stroll, and "10050 Cielo Dr." is a very surprising turn towards virtuoso galloping all-instrumental speed/thrash, the highlight on this entertaining effort, which also features cool semi-clean mid-ranged vocals. Some of the musicians can also be seen with the heavy metal formations Demon Dogs and Midnight Idols.
The "Implements of Hell" EP is another noteworthy recording, exhibiting the same sentiments as before, the delivery more technical perhaps, with "Scot Free" being a choppy semi-technical mid-pacer; and "Sam I Am" trying something modern and proto-groovy but in a more intricate context. "Implements of Hell" is a consistently seismic mid-pacer with again less ordinary riff-patterns; and "Vigilante" is a more energetic headbanger with a couple of nice melodic hooks. The bass player display bigger proficiency on the fairly nice "Creepy Crawly", an elaborate prog-thrasher with a steady crunchy rhythm-section.

The Family EP, 1992
Implements of Hell EP, 1993

Official Site

THE FIERCE

A 3-song EP of groovy industrialized post-thrash, a bland and uninspired affair with elements of alternative and metalcore.

Project Seibzehn EP, 2010

THE FINAL DEMISE (USA)

Diverse thrash/crossover ranging from fast furious numbers to jolly punk-ish ones; so one can hear shades of early Prong, Lawnmower Deth, Rumble Militia, S.O.D., as well as a few grinding outbreaks. At least half of the songs are not very short and develop beyond the casual burst even graced by cool leads and pure thrashy breaks ala Anthrax ("World's Anti-Hero"). The singer is suitably semi-clean with shouty habits, but delivers well recalling Pete Lee (Lawnmower Deth).

Power of Suggestion Full-Length, 1992

THE FINAL HARVEST (FINLAND)

This band is another one where the modern drum guru of Finland Tuomas Saukkonen (also Dawn of Solace, Before the Dawn, Sinamore, etc.) displays his talents. He has a lot of work here, since the music is quite fast thrash/death metal, not bad, albeit ordinary with metalcore tendencies present here and there. Otherwise the guys try to keep the tempo fast most of the time except on the closing atmospheric mid-paced "The End" (it must have been "the final harvest"...).

The End Full-length, 2008

My Space

THE FINAL HOLOCAUST (NORWAY)

Fast bashing thrash/death which is severely hampered by the terribly messy sound quality. Otherwise the guys try, and fast ripping tunes ("Slayed to Death") follow in quick succession, "Ritualistic Mass Murder" racing with the speed of light under the constant cannonade of the vicious but not very clearly heard venomous death metal vocals. At present the band members play with the black metal formation Gravferd.

Horrific Tales from the Darkside Demo, 1998

Youtube

THE FLESH TRADING COMPANY (GERMANY)

This band plays modern thrash/death with a few more playful tunes thrown in. The overall approach is not miles away from early The Haunted or Maze of Torment except that the Germans slow down more often, and adhere to more melodic hooks, still thrashing with might ("Erlosung (Ein Traum vom Leben)") more than now and then. The singer is the staple subdued death metal husker who doesn't interfere a lot with the music, but is a capable addition nonetheless. Some of the band members are also involved in the power/thrash metal formation Brain Damage.
The full-length offers modern "zombificated" thrash which is more melodic this time with death metal barely touched on the few more aggressive tracks. The overall approach now resembles latter-day Kreator with a similar alternation between fast and slow compositions. "Obey The Crown" is a cool retro speedster which works well with the dominant more updated riffage which turns the closing title-track into a steam-rolling squasher with a faster-paced twist.

River Runs Red EP, 2012
Zombificated Full-length, 2014

Official Site

THE FORCE (PARAGUAY)

This act rose from the ashes of the thrash metal formation Overlord which managed to record two demos earlier. The demo: 4 tracks of energetic old school speed/thrash, already heard on the Overlord demos, with cool sharp, melodic riffs, not too far from early Whiplash; the South Americans care more about melody, and their music has shades of power metal as well ("Evil World"). On the other hand we have "Heathen's Attack", which is an explosive thrasher in the beginning before the more melodic hooks take over, alternating with the fast aggressive riffs.
"Possessed by Metal" uses the songs from the debut demo as a backbone adding another couple of energetic speed/thrashers ably supported by gruff, but intelligible, semi-clean vocals sounding like a mix between Schmier and Reinhard Kruse (S.D.I.). "Evil World" is a laid-back mid-tempo power/thrasher, a tendency slightly covered on the 7.5-min instrumental "Long Live the Metal Gods", which is a multi-layered composition mostly sustained in a solid galloping rhythm; but the rest is direct speedy music with sharp crispy riffs which also carry a nice shade of melody.

"Nations Under Attack" is an old school delight all the way and will make you jump with joy from the very first notes on the opening "The Barracks" which is a glorious speed/thrasher with optimistic tones with the following title-track another no-brainer for the headbangers with its solid sharp riffs. "Doomsday" carries on with the attack in a more sweeping speed metal fashion, and this is what one will encounter later on: fast uncompromising neckbreaking metal, like the song of the same title sums it up so well. "Nightlords" is the definitive speed metal hymn of the new millennium with great melodic leads. The closing "Stamped Of A Thousand Stallions" is a true revelation: a 9-min instrumental of immaculate speed/thrash metal moshing out the whole time with fabulous riffs and leads, an encyclopaedia of high quality metal for which alone this album is a must-buy. Well, after such a climactic effort the question is: "and now what?", and only time can tell how much further these guys can reach...
"Stormwarning": this album has the heavy duty to carry the torch from a nearly perfect effort, but the band just enjoy themselves here playing frolic unpretentious speed/thrash ala Vectom and Warrant without any particular highlights which is a safe bet, and would hardly disappoint anyone with its catchy melodic guitars. The saga comes at times with heavy pounding riffs ("Forbidden Grimoire"), but for most of the time this is uplifting merry-go-round stuff "Eternal Rage" the only reminder of the aggressive nature of the previous recordings.

Old School Metal Onslaught Demo, 2007
Possessed by Metal Full-length, 2008
Thirsty of Metal Split, 2010
Nations Under Attack Full-length, 2011
Stormwarning Full-Length, 2013

My Space

THE FORSAKEN (SWEDEN)

A cool band who play mostly melodic death metal of the Gothenburg school mixed with thrash and old school American death. The guys are proficient musicians, and occasionally manage to pull out great riffs, but as a whole the music is not that striking to classify them as anything more than just another modern thrash/death metal band.

"Beyond Redemption": the guys are back after a fairly long pause, but they are not intent on changing their blitzkrieg approach, and have even gotten one step up the aggression scale with an inclusion of several aggressive cuts which, needless to say, are pure death metal. The band shred like demented on the opening sweeping title-track before embarking on a more officious epic journey with a string of ensuing compositions where the delivery becomes even semi-technical. Later on the songs are mixtures of fast and slow riffs the latter taking the upper hand the faster parts at times going straight into blasting territories. As a whole there's little thrash to be heard here, if any at all, and as such this album would be more highly respected by the death metal fraternity.

Manifest Of Hate Full-length, 2001
Arts Of Desolation Full-length, 2002
Traces Of The Past Full-length, 2003
Beyond Redemption Full-Length, 2012

Official Site

THE FRANKS DAREDEVILS (CANADA)

"Requiem Aeternam Dona Eis Domine": modern metalcore-ish thrash which changes the pace quite often consequently sounding more interesting than the norm for this style especially when the guys unleash these wonderful technical death metal rhythms (check out "Searching For Redemption"). "Dead Inside" is an infectious thrasher and the rest isn't too far behind the cuts being generally short (2-3min) and to-the-point "The Revelation Of God" arguably the finest rager again coming up with a more accentuated deathly edge which also better fits the angry shouty death metal vocals.
"Dead Inside": the guys are on fire, and here they are again with a second full-length for 2016. The approach isn't radically different from the one on the debut, modern semi-technical thrash with the more brutal death metal-ish insertion and more dramatic accumulations ("Searching for Redemption"). The title-track is a catchy frolic thrasher, but "Buy, Work & Sleep" goes over the top with its aggressive blast-beating passages. Things don't look too bad in the second half with the galloping shredder "God May Love Stupidity" and the lightning speed technicaller "The Revelation of God", but the band ruin it all with the inclusion of two noisy industrial tracks as bonuses at the end.

Requiem Aeternam Dona Eis Domine Full-Length, 2016
Dead Inside Full-Length, 2016

Official Site

THE FUCKING WRATH (USA)

Based on the EP, this band plays a heavy mix of thrash metal and stoner/doom which doesn't always shy away from the odd hardcore outbreak ("Don't Look Back"). Still, the thrash metal fan may get annoyed by the sprawling, and somewhat clumsy, stoner passages.

"Valley of the Serpent's Soul" is a more dynamic offering although doom/stoner is again covered well, but generally the sound is more lively even comprising a cool energetic speed/thrasher ("Altar Of Lies"), and the rougher hardcore cuts "Goddess Of Pain" and "The Neurodyssey". The vocals are in the angry shouty department, but suit well both the more energetic and the slower stonery feeling of the album.

Season of Evil Full-length, 2007
Terra Fire EP, 2010
Valley of the Serpent's Soul Full-length, 2011

My Space

THE FURY (USA)

Based on the EP, this outfit offers a mix of power, speed and thrash metal on a noisy fuzzy background. The music favours power and speed metal more until the arrival of the intense mosher "Mannequin Boys" at the end which will shatter you with fast hardcore-tinged guitars.

A Dozen Thorns EP, 1990
Sex Full-length, 1992

THE FURY I HIDE (MEXICO)

Based on the full-length, this act pulls out a predictable modern death/thrash metal hybrid based around the painfully familiar patterns of the Gothenburg school. So expect melody, brutality, a few touches of technicality, and the staple hoarse screamy vocals. Ironically, the best moments are the ones where the guys reduce the speed to a minimum ("Sucubo") and produce enchanting Oriental tunes hooked up with very good leads. This trend later produces another winner, the technical razor-sharper "T4V (Time for Vengeance)", and this line should be developed further instead of the heard for most of the time indulgence in generic music with a slight twist.

Awaken The Fury EP, 2006
Innerkiller Full-length, 2011

Facebook

THE GAME HENS (USA)

Based on the "Something Fowl" demo, this outfit serve intense aggressive old school thrash in the vein of Devastation and Gammacide. This is fast, in-your-face stuff with a few hectic semi-technical decisions, and clear pretensions at death metal ("Deus Ex Mechina") way more obvious than the ones of the aforementioned acts. The vocals are very quarrelsome with a shade of hardcore, but the riffing is too wild and extreme the guys really crossing the borders of thrash more than just now and then. The sound quality is surprisingly clear making the guitars click with a lot of sharpness; except on the last two tracks which are played live (or are they?).

Demo Demo, 1991
Something Fowl Demo, 1993

THE GASH (GERMANY)

The debut demo: rough intense thrash of the old school with agonizing synthesized vocals which are hard to categorize. The guitar sound is quite thin and takes away from the riffs' sharpness. Otherwise the music is not bad and packs a punch, although at some point towards the middle it turns into less serious hardcore which is far from the high standard of the excellent opening semi-technical, both "mysteriously" and "sexy" titled, instrumental "Mysterious Teenage Metal Bitch Sex".
"Saga Of The Fistship" is less serious thrash/crossover effort with an openly punky attitude, rough direct stuff with bad shouty vocals which often border on the hysterical. It's only "In The Shadows Of Gunfire" (and partly, the Motorhead-influenced "Prophecy of Shit") which carries the more aggressive thrashier spirit being an entertaining speedy roller-cpaster, marred by the slightly buzzy guitars. "Thrashmetal Sexmashine & Rust", despite the title, is nothing more than a fierce 1.5-min hardcore outburst, with not many ties to sex, either.

"Ausgedorrt": the full-length finally arrives to serve the fan intense classic thrash/crossover which is quite varied including a few dissonant Voivod-ish distractors. "Penis (Satan Gib Mir Einen)" is a more serious take on the good old thrash lasting for nearly 8-min resulting in potent, almost progressive-sounding, music sticking awkwardly among the sea of much more immediate cuts.

Nailed To The Eggz Demo, 2010
Saga Of The Fistship Demo, 2011
Ausgedorrt Full-Length, 2015

My Space

THE GENOCIDE OF ALL (USA)

Based on the EP, this formation play seismic steam-roller old school thrash with expressive brutal death metal vocals which are at times intercepted by hysterical screechy ones. The guys seldom settle for just one rhythm and change the riff-patterns often without breaking the consistent heavy delivery except on isolated sections from some songs (the galloping delight "Next in Line"; the ripping shreds on the closing "Tyrant"). This is a cool effort with intriguing moments and a lot of promise which may have already been fulfilled on the preceding full-length...

...As the World Dies Full-length, 2008
The Genocide Of All EP, 2009

My Space

THE GLOOMINOUS DOOM (CANADA)

The debut reveals a diverse sound based around dark thrash/death metal ala later-period Desaster, but the music is quite labyrinthine at times with clear pretensions at progressive ornate by several eclectic avantgarde sections and tunes. The tempo is mostly mid, though, and despite the numerous gimmicks, at some point may tire a bit although another variety is offered in the vocal department, a vocal "duel" between brutal low-tuned growls and higher-pitched rasps. The closing "The White Mist of Summer Mountain Road" is a revelation with its blasting implements, but comes too late to liven up the "gloomy dooomy" situation.

Doomed If You Do, Doomed If You Don't Full-length, 2007
Schwippn' and a Schwappn' EP, 2010
The Feature Full-length, 2010

My Space

THE GOLDEN AGE (MEXICO)

Based on the debut demo, this act offers very badly-sounding (quality-wise) aggressive fast old school thrash metal with elements of death similar to Agressor, typical for the golden age of the genre, the main difference coming from the extremely brutal low-tuned death metal vocals which spice things up with high-pitched screams to a very hilarious effect. The end is in the form of a cover of Kreator's "Tormentor".
The full-length comes with much better production qualities, the brutal guttural death metal vocals leading the really intense aggressive showdown which is built around raging vehement pieces like Crucifixion" and the more death metal-fixated "In Times of Primal Death", the prevalent speedy barrage tolerating quiet atmospheric instrumentals (the title-track), the short blitzkrieg more technical thrasher "Stellar Vortex Machines" close to being the highlight, with "Ancient Civilizations" adding a more melodic sensibility to then hyper-active melee. "The Dwell of the Cursed Arcane" is pure death metal madness, and the closer "Asesino" is a thrash/crossover riff-fest, a cover of the Mexican veterans Bestia Metalica.

The Golden Age 1 Demo, 2005
The Golden Age 2 Demo, 2005
Eternal Cosmic Aeons Full-length, 2021

Official Site

THE GREAT COLLAPSE (CANADA)

A stylish entry into the progressive metal genre; this act practices complex technical/progressive thrash/death metal which in relatively short song-structures (4-6min) manages to insert numerous tempo and time changes, puzzling twisted riffs and brutal direct passages. This compelling mix is introduced on the opening "The Constant" which is indeed a "constant" challenge for the listener with the sudden moves from one pace to another all this on a very technical complex guitar background. The music takes a more controlled, but a weirder and a more abstract approach on the next "Devote", which is a quirky but a very satisfying progressive composition. "Morning Mass Suicide" hits the top in both terms of complexity and aggression being a hectic frantic thrash/deathster of the very elaborate surreal type touching early Atheist quite a bit. "Bloodline Memory" is another highlight, thrashing with force and speed reducing the technicality a bit concentrating more on intense headbanging riffs. "The Eternal Pull" is on the opposite pole, very technical "busy" progressive thrash/death without any extremes speed-wise which come aplenty on the brutal remorseless "A Big Bright Tomorrow" which is technical death metal at its absolute best reaching "pedestals" in the genre like Necrophagist and Nile with ease. The massacre continues unabated on the next "Wreckage" where the guys shred like demented to an apocalyptic effect, still finding time for slow balladic passages. No mercy is shown later on "Pawns of Genocide", another exhausting display of brutal technicality, but the real revelation comes at the end, first with "Sick, Cornered Animal": a great avantgarde take on progressive/technical thrash, mid-tempo for most of the time overflowing with superb spiral-like riffs ala Coroner and Mekong Delta ("Kaleidoscope") in the second half; and second with the closer "The Torture of Creation" which is a surreal mix of alternative progressive and extreme technical thrash/death metal both sides alternating till the end in an impressive way creating a very contrasting but really compelling listen. The "laurels" for both the brutal throaty death metal and the angelic clean female vocals should go to the same person: the beautiful Angela Wheeler, who "quarrels" with herself the whole time changing the two vocal styles creating nice escalating drama.
No, the band is not from Quebec, like most of you may think, but come from Canada's largest city Toronto rising from the ashes of the progressive death metallers Archaeon who only released one demo in 2002. Just when one is sure to have heard all the good metal for the year, and is ready to begin "building" the year polls, comes The Great Collapse to "collapse" it all. Well, it never hurts to begin those polls again from scratch especially when a really valuable addition would be featured on them.

The Great Collapse Full-length, 2009

My Space

THE GREAT HANGING (USA)

Roughly produced retro power/speed/thrash which is not very intense, but resembles mid-period Exciter and the Germans Liar. The guitar sound is too fuzzy to make a positive impression, and the singer shouts hysterically too often to create pleasant atmosphere. "Cataclysm" at the end tries to provide something more dramatic, even death metal-ish, but the awful noisy production and the screamy unrehearsed vocals are too big downsides for this effort to drag them around.

Demo Demo, 2012

Official Site

THE GREAT KAT (USA)

A classically trained guitarist (she is also a very skilful violinist), this woman (or girl) takes the infatuation with classical music in a way radically different from the one of Mekong Delta, and turns it into ferocious thrash outbursts played with a lot of skill and confidence. The tracks are mostly instrumentals (except for the debut): short, but quite effective, and the speed might be a problem for you to distinguish the classical pieces on which they are based; her original works are on the two full-lengths although "Beethoven on Speed" features quite a few classical variations as well whereas later she started paying tribute to her favourite composers (the EP titles give you a clue).

"Worship Me or Die" is a shocking debut which at this point sees Kat making some attempts at singing with a very gruff low-tuned voice, not too far from Sabine Classen (Holy Moses), for example, but kind of more intelligible. "Metal Messiah" starts the album in a heavy mid-paced manner with only timid guitar variations which doesn't betray what would follow later. "Kat Possessed" begins in the same way, but later on the raging ultra-fast play begins, and the final result is very close to total chaos. "Death To You" is a strange stomping piece followed by a string of very chaotic illogical compositions ranging from the semi-groovy slow "Satan Goes to Church" to the violent bashing on "Metal Massacre" and "Demons" which could easily pass for one of the first attempts at death metal of the most aggressive variety. "Speed Death" is equally as brutal (it's "speed death", after all), but the music there at least makes more sense even adhering to technical sections. "Kill The Mothers" is another chaotic unlistenable piece, but the closing "Ashes to Dust" is a true revelation: a fine piece of speedy thrash metal with heavy meaty riffs and very fast parts, plus a slightly annoying overlong introductory narrative. This is a very unusual hectic/frantic, but also original take on metal, which may completely startle the unprepared, but has its raw charm despite the violent intensity of most of the tracks, and is surely a grower requiring several listens to be fully appreciated.

"Beethoven on Speed" starts with the super-fast title piece which "rapes" Beethoven big time, but is quite enjoyable, especially since no one has attempted this before, and here The Kat shows her real talents shredding like demented. "Ultra-Dead" is a nice sinister slab of heavy semi-technical thrash with the Kat singing again. Another moment which may be familiar to you is the cover of "Flight Of The Bumble-Bee" which had also fascinated Joey De Maio two years earlier, who did it on bass for "Kings of Metal". And, of course, the excellent read of the "Funeral March", here turned into a fabulous varied instrumental, with great guitar performance all over. What follows is short classical instrumentals with both the riffs and the shredding on a very high level: especially striking is "Beethoven Mosh" which isn't as fast, but the riffs are addictive; not too far behind are the intense, frenetic technical thrashers "Gripping Obsession" and "Worshipping Bodies", or the exquisite Paganini cover "Paganini's 24th Caprice" which would make most of the Shrapnel heroes foam at the mouth. There isn't a single dull moment on this very good album provided that you're fans of the guitar shredding, otherwise this may come as too much for you; oh, and make sure not to miss the short, half-min outro "Bach To The Future: For Geniuses Only!" (the title says it all!).

Having proved herself as one of the better guitar performers of her time, The Kat has concentrated entirely on her favourite composers after the second full-length, and it's a pity since all those EP's are barely longer than 7-8 min, with all the instrumentals very short, and kind of underwhelming as they contain pure shredding without too many riffs. The Kat is alive and well, and the recent re-release of her two full-lengths is hopefully a sign that she is ready to strike again with a new material.

Worship Me or Die Full-length, 1987
Beethoven on Speed Full-length, 1990
Digital Beethoven on Cyberspeed EP, 1996
Guitar Goddess EP, 1997
Bloody Vivaldi EP, 1998
Rossini's Rape EP, 2000
Wagner's War EP, 2002

Official Site

THE GUFF (USA)

This band was formed by two of the future members of the death metallers Brutality. Based on the "The Art of Deception" demo, these guys offer very good thrash with nods to Slayer, Anthrax, Exodus, Death Angel, etc. There are two songs which are about 5-5.5min long, and are slightly technical, as opposed to the other two, shorter ones, which are great fast-paced thrashers.

The Art of Deception Demo, 1989
Refuse to Crawl Demo, 1991
Jackass Live Demo, 1992

THE HAARP MACHINE (UK)

The technical scene in the UK may have its new champions soon with Biomechanical not being the most productive act out there. These newcomers pull out fairly decent technical modern thrash with not as overt shades of melodic death metal. The guitar virtuosity is admirable all over although at the same time the excellent precise shred sounds as though it has been displayed merely as a show-off at times losing coherence and flow here and there. Still, the cleverly structured moments are also quite a few so there should be no disappointed at the end. There's a lot of variety on offer including imposing ambient meditative passages ("Pleiadian Keys"), but the real power of this effort lies in the exuberant technical numbers, like "From Vanity to Utility" which is a concoction of hectic frantic guitar explosions piled on top of each other to a dizzying hallucinogenic effect; "The Escapist Notion" which is an "opera" of super-fast passages and much slower atmospheric cuts; "Extension to One" which is a hyper-active technical headbanger. The closing "Machine Over" is a less eventful progressive number which sees the guys taking a break from the exhausting performance served earlier. This album offers a lot for the technical/progressive lovers, but its numerous plot twists may come too much for the more conventional thrash metal fans.

Disclosure Full-Length, 2012

THE HARROWED (AUSTRALIA)

This band are factually all the members of Fury. The Bay Area riffs which used to take a considerable part of the band's previous style, have been partially replaced by more aggressive Slayer-esque ones, but still catchy and great, accompanied by excellent lead guitar which was missing from the works of Fury. Overall this is better music with more technical, choppy at times, guitars, faster tempos, helped by some death metal rhythms as well with a sparse use of blast-beats. "The Voyage" is a superb instrumental which abandons the aggression, but boasts the most stylish lead guitar work on the album.

The Harrowed Full-length, 2007

My Space

THE HASTUR CYCLE (USA)

Retro thrash/death, heavy and crushing, with a duel between very low-tuned brutal vocals ala Chris Barnes and mean-ish Jeff Walker-like ones. Surprisingly, the music is not aggressive and fast, but relies mostly on mid-paced riffs, with only "Legion" trying to justify the brutal singer by pulling more speedy twisted tunes ala mid-period Carcass. The leads are good, albeit short, and the guitar work overall is not bad adhering to clever semi-technical elements at times.

Mike, Shut the Fuck Up EP, 2009

THE HAUNTED (SWEDEN)

This band literally invented the modern thrash/death hybrid on their first two albums. The band's cross between classic thrash and the Gothenburg sound had a huge influence on many bands. On "Revolver" the band started expanding their horizons outside the metal spectre which took a full-fledged realization on "The Dead Eye", an album which has very little to do with their basic thrash/death metal sound, pulling back the majority of their fanbase with its bland groovy numetal shenanigans.
"Versus" sounds more aggressive, and is a much better effort, with some tracks well worth the time: the heavy steam-roller "Pieces", the energetic thrasher in the best tradition of their first albums "Little Cage", but the softer material in the vein of the more recent output dominates, and would leave their hard-core fans cold for at least half of the time.
"Unseen" would be a total waste of time for their hard-core fans who may have kindled a sparkle of hope with "Versus", but all will be lost on this alternative offering which has very few ties to thrash metal coming with a pinch of grunge, desert rock ala Monster Magnet, among other "pleasantries".
The "Eye of the Storm" EP is three songs of cool modern thrash which shows its teeth quite wide on "Infiltrator" the latter recalling the band's beginnings when they were thrashing with the best out there. And not only that, but the short exploder "My Enemy" is a ripping rager with a strong death metal flavour. Clearly signs that the band are finally waking up from their slumber... or are they?
"Exit Wounds": yes, it is, and this new offering is a cool reminder of the self-titled debut with its brisk razor-sharp riffs which are spread all over the album the guys apparently hungry for more intense modern thrash. And this is exactly what the fan will get here, impetuous raging guitars, laced with a death metal "sting", fly from all sides interlaced with some brilliant melodies. There are the obligatory slower mid-pacers in the middle which are not very exciting, but overall this is a fairly decent comeback from the "dark ages" of their career showing the band still pulling it out, albeit hardly reaching the very upper echelons of the genre at present.
"Strength in Numbers" is almost as intense as its predecessor, and the opening "Brute Force" provides exactly that, speedy remorseless bash although this isn't the dominant style. Comes this "Spark" which leads a string of mid-paced groovy post-thrashers, the "idyll" partially interrupted by the more aggressive title-track. Things get back to normal for a bit with the perennial headbanger "Tighten the Noose", but the guys mix it up later, alternating fast with slow pieces, toning it down to nearly doom parametres on the closing dirger "Monuments" which surrenders to atmospheric balladisms as a finale.

The Haunted Full-length, 1998
The Haunted Made Me Do It Full-length, 2000
One Kill Wonder Full-length, 2003
rEVOLVEr Full-length, 2004
The Dead Eye Full-length, 2006
Versus Full-Length, 2008
Unseen Full-Length, 2011
Eye of the Storm EP, 2014
Exit Wounds Full-Length, 2014
Strength in Numbers Full-length, 2017

Official Site

THE HEALING PROCESS (ITALY)

Based on “Locked Inside Yourself”, this outfit deliver crisp retro thrash that doesn’t hide its fascination with the bay-Area sounds, the energetic roller-coasters “First-Degree Suicide” and “Slave To The Norm” keeping the pace high with aplomb, with admirable progressive heights reached with the varied shredder “Killed by Seroxat”. The singer is a passable semi-clean throat with actual singing abilities which he doesn’t display on the closing acoustic/classical instrumental “When All Is Said and Done”.
“Themes and Variations” doesn’t stray very far from the initially selected path, the ripping opener “Nothing at All” stepping aside for the more technical variations of “La Servitu”, the more engaging rifforamas remaining for the shorter and more ferocious “Punto di non Ritorno”. Run for cover on the explosive briefer “Tutticontro Tutti”, but make sure you savour fully the brilliant melodic hooks on the intriguing round-abouter “Blepharostat”.

Locked Inside Yourself Full-length, 2022
Themes and Variations Full-length, 2024

Official Site

THE HERITANCE (GERMANY)

This young Dutch outfit pull out modern thrash/death which balances between hard-hitting and more playful rhythms ending up sounding as a mix between the Finns Gandalf and Carnal Forge. The brutal growling vocals are a bit harsher than the musical background, but the latter on the other hand hardly offers anything too fast-paced to make the head bang.

Focus in Reliquum Full-Length, 2015

Facebook

THE HIDDEN (GERMANY)

This not very known German trio play quite good classic semi-technical thrash/death with expressive shouty vocals and convincing choppy rhythms crossing Death's "Spiritual Healing" and Pestilence's "Consuming Impulse" without sounding derivative. The guys cleverly change the pace bashing with passion ("To Hurt", the explosive shredder "...Erase The Word Sorrow") at the appropriate moments. "Erosive Thoughts" is a great rising technicaller, its undercurrents growing into something nicely progressive and atmospheric on the final "Line of Fear" which could have suggested at a future more attractive metamorphosis which, sadly, never came to pass.

Isolation...Share My Pain Full-Length, 1996

THE HIDDEN (SWEDEN)

This project is a collaboration between members of F.K.U. and other musicians from the Swedish metal spectre (Defleshed, Nonexist, etc.). The music on display is fast impetuous old school thrash which bears some resemblances to the father band, but branches out into more melodic speed metal waters; and when "N.25TH ST.APT.213" enters the scene with those serpentine technical decisions, the listener will know to expect the unexpected despite the frequent application of fiery blitzkrieg riffs on the shorter material. Then the title-track tries to bring some "symmetry" to the proceedings with the next portion of more clever riffing, but follows a string of short raging numbers which completely "kill" the more serious intentions the closer "Life Remains Insane" another more intriguing composition providing breathtaking melodies at the end to generally positive impressions left by this one-time collaboration.

Fearful Symmetry Full-length, 2014

Facebook

THE HIGH COUNCIL (USA)

This is the same band who operated during the late 80's/early 90's under the name Drop Dead. As Drop Dead they helped Pantera and Exhorder establish the laws of the 90's groovy thrash; now they follow this trend very closely: heavy pounding groovy thrash the way it used to be done in the good old 90's.

The High Council EP, 2005

Official Site

THE HIRVI (FINLAND)

On their only demo this band pull out first-rate technical thrash which on "Killer Instinct" sits somewhere between Kreator's "Extreme Aggression" and "Coma of Souls"; a perennially shifting, hyper-active roller-coaster which also wins more points from the very good Mille Petrozza-like vocals; but the delivery of the Finns is more technical, though, and perhaps not as fast, with some very stylish guitar work provided on regular intervals amongst the infernal uncompromising mosh. "Satan is back" is a supreme surreal shredder with echoes of Mekong Delta and the guys' compatriots Flounder, with twisted melodic configurations taking turns with more orthodox lashings the final result also recalling the contrived shenanigans of Coroner's "Punishment for Decadence". "Welcome to the Wonderland" is a brilliant 7-min technical/progressive opus with slowly building atmosphere in the spirit of Anacrusis, with eccentric walkabouts keeping the level of unpredictability quite high in the air, with nervy staccato riffs introduced at some stage amongst bouts of precise technicality which predates the similarly-executed vortexes on "Mental Vortex" by two whole years. This short masterpiece is another testimony of the genius that was freely flowing from these thousand or so lakes over there...
The full-length is another inauguration for these talented veterans who inexplicably disappeared in the late-80's after a great demo, but are back with this explosive slab of intricate old school thrashisms, marching on with vigour and verve with fast nicely technical shredders like "the blast from the past" "Satan Is Back" and "The Hirvi", the vicious spiteful Mille-like vocals adding more fuel "to the fire". "Dance Dance Dance" is an intriguing progressive opus with slower stomping, patiently-woven riff formulas the band focusing on atmosphere more, the only attempt of its kind here, though, as the assault carries on on full-throttle afterwards with another track from the demo ("Killer Instinct") also included as a reminder of the glorious early days, dexterously assisting the superb surreal Voivodian "Don't Fuck with the Runners" in the making of a really strong less ordinary conclusion to this excellent comeback opus.
"Violence Stays in Fashion" is another entertaining opus, the guys putting the staple hyper-active opener ("Burning the Churches") up front first, before complicating the environment with the variegated heavy title-track, and especially with the frantic restless shorter "What Happens Next". "Let Thrash Save You" is another unorthodox shredder, a bit more moderate, with cleaner synthesized vocals added to the screechy shouty main ones. "Kill the Young" is a weird power metal hymn with female vocals helping on the side, "Welcome to the Wonderland" another sprawling but appetizing composition with abrupt speedy accumulations and mazey riff-vortexes.

Demo Demo, 1989
Old School Killspree Full-length, 2018
Violence Stays in Fashion Full-length, 2022

Facebook

THE HIXON (USA)

Based on "Deceived by the Sacrifice", this act serve modern thrash on the melodic side which has the energy and the bite as well as the sharp lashing riffage. "Stamp of Lies" is a more engaging, more complex piece but the rest is unpretentious stomping thrash assisted by rough shouty semi-death metal vocals.

Truth Has Been Burned Full-length, 2007
Deceived by the Sacrifice Full-length, 2015

Official Site

THE HOLE (SPAIN)

The debut: this is ripping thrash of the old school with screaming leads and lashing riffs; a guilty retro pleasure which adds the more aggressive death metal tinge, but doesn't also forget about the more lyrical side of things (the nice quiet interlude on "Last Horizon"). Things almost get out of control on the brutal blasting cut "The Scum Anthem", but the guys have the knack at inserting the melodic hooks at the most appropriate places to alleviate the "pain". "Of Martyrs And Men" is a cool dramatic cut mostly in mid-tempo with beautiful melodies and stylish guitar decisions, a very fitting exit from this promising demo which also has a nice bass support (check the closing atmospheric bassisms on that same "Of Martyrs And Men") from beginning to end. Some of the musicians are also busy with the death/gothic metal formation Archantia.
"A Monument to the End of the World" is another smashing effort from the guys who this time thrash even more aggressively with an added death metallic edge which never gets out of control, but even manages to slow down on a couple of more moderate mid-pacers ("Hellride"). Speed/thrashers like "Warrior's Roar" and "The Third Seal" will put a wide smile on your face due to their sheer hyper-dynamic nature, the final string of pieces serving the heavier less vigorous music which still rocks wits its more serious, officious colouring.

The Scum Anthem Demo, 2011
A Monument to the End of the World Full-Length, 2014

Official Site

THE HOLLOWMEN (SPAIN)

Modern thrashcore of the heavier thrashier type; still the approach is up-tempo with the obligatory groovy breaks and the staple shouty vocals.

Three Betrayals Toward Modern Man EP, 2011

THE HOLY PARIAH (USA)

Modern thrash which reaches for more brutal death metal ways of execution ("Psychopathic"), and generally the delivery is quite intense and even technical (the twisting shredder "The End") on occasion with more officiant doom overtones ("Beneath the Tombstone") on the longer compositions.

Heavensent and Hellbound Full-length, 2018

Official Site

THE HOPE NAMED DESPAIR

Modern thrash with metalcore leanings, maybe too melodic for some tastes, but the pace is fast except for those annoying metalcore breaks, and the good, but utterly out-of-context, piano ballad "Compound".

Consciousness Full-Length, 2009

THE HORDE (USA)

Based on the full-length, this act produces a simplistic, but cool, mix of old school and modern speed/thrash. There's quite a diversity offered here: the epic touches on "Odin's Blood"; the melodic melo-death "ornaments" on "Super Tusk"; the officiant battle-like approach on "War God"; the infectious melodic hooks on "Vengeance for a King". The singer is a gruff semi-death metaller who plays a secondary role to the music without staying too much on its way.

From Empire to Ashes EP, 2008
Thy Blackened Reign Full-length, 2011

My Space

THE HOWL (FINLAND)

This Finnish trio offers dark modern thrash with a strong crossover vibe. The songs flow in an energetic manner with the traditional heavier breaks inserted, some of which are genuine doom metal winners ("Pressure Points"). The vocalist is a rough death metaller, but his growls are fairly intelligible, and don't annoy placed on the lighter musical background.

"Loose Ends" serves modern dynamic thrashcore which develops in a brisk energetic fashion with some of the catchiest hooks around packed within short (2-3min) tracks. There are inevitably slower moments to be encountered ("Doodle"), but the predominant shred is pretty up-tempo. "Cross of Greed" is an admirable technical speedster with which even the Dutch Expulsion would be proud, and from it till the end the approach gets a bit more aggressive with a shade of death metal. The singer contributes to the intense atmosphere with his guttural death metal timbre.
"Death In Your Coffee" now serves a death/crossover (call it a new style, if you like) boogie with a strong crusty vibe. The delivery is pretty intense all over and cuts like "A Good Knife" are nice vigorous thrashers. "Folsom Faggots" is a playful rocker, and in the 2nd half the variety is bigger with the mid-tempo stomper "Olympian", the semi-technical melodic speed/thrasher "Hordak", and the doom metal winner "The Worst Pain You Feel". The rest is invigorating crusty crossover/hardcore madness which still has a merry, catchy vibe and is pretty memorable.

Skins of Our Backs Full-length, 2010
Loose Ends Full-Length, 2012
Death In Your Coffee Full-Length, 2015

Official Site

THE HOWLING (PORTUGAL)

Death/thrash metal with a dark, gothic atmosphere of the mid-tempo variety, with beautiful Oriental melodies and borrowed moments from Moonspell. "Scent of Desire" is a proof that the guys can pull out cool headbanging riffs, still graced by a dark, gothic feel and keyboards in the background. Another more intense dark thrasher is "Howl of Centuries", but it comes with an overuse of keyboards, and with another great acoustic Oriental middle break. "A Drop of Cruelty" with its marvellous battle-like, pounding rhythm will remind you of Bolt Thrower. The closer "In Her I Tasted God" is a beautiful acoustic instrumental.

Howl Of Centuries Full-length, 2004

Official Site

THE HUNTERS/TH (COLOMBIA)

The debut: the album title doesn't mislead as this is indeed a thrash attack, pure old school stuff the guys diversifying the rigid fast-paced approach with a few offbeat melodies ("Disease") and a couple of more stylish semi-technical decisions ("Disinhibition", the funky Mordred-esque shredder "Live or Die"). The guitar sound is a bit abrasive giving more room for the bass to be heard, and the vocals are a bit weird with a thin alternative clean blend that can fit some punk act as well.
"Insane Asylum" starts with the creepy atmospheric title-track, a sign for less orthodox things to come, but once the "slaughter" commences with "The Slaughter Comes", there's very little mercy shown later the guys thrashing with competence the only mitigated annoyance being the mechanical sterile sound emitted from the guitars. Quirky melodic walkabouts like the crossover-ish "Too Sick" add more to the spice alongside more serious shredding exercises ("Human Wickedness") and more officiant heavy, stomping respites ("The World Will Fade Away").

Thrash Attack Full-Length, 2017
Insane Asylum Full-length 2018

Official Site

THE IMPURE (USA)

This is all-instrumental stuff which for most of the time is pure modern thrash which shreds are cold and mechanical with shades of groove, and overall there is not much variety in the approach the prevalent heavy mid-pace served in several forms all evolving around jumpy crunchy formulas which would wear out at some stage due to their persistently repetitive nature. This is moderately complex progressive music which may have its charm for fans of the djent movement.

Empty Your Mind Full-Length, 2012

THE INSURGENCE (USA)

Simple direct thrashcore varying the tempos and generally ornate with a lot of merriment coming from both the music and the vocal sector the guys having a good time playing this unpretentious jolly good stuff which seldom switches onto less sensible bashing hardcore.

Never Surrender EP, 2008

THE IRONFIST (SINGAPORE)

Based on “Tyrant’s Return”, this one-man initiative, the name Rip Alhuzzred, plays classic black/thrash which is one wild homogenous affair all the way through, but there’s this suppressed lyricism (“Iron Conquered Victory”) that roams around, the cleaner side of the vocal duel helping in this more melodic cause; the other one being harsh death metal growl. The epic power metal lyricism of “Where Blood Eagles Soar” is a surprising respite, but watch out for the furious “Shadows over Majapahit” and the operatic impetuosity of “Eyes of the Usurper”.

Weapon of Mass Sexxxtruction Full-length, 2008
Hyenarchy - Scavenger Music Volume 1 Full-length, 2021
Tyrant?’?s Return Full-length, 2023

Official Site

THE JASSER ARAFATS (FINLAND)

Based on the full-length debut, these Finnish "middle easterners" pull out a dynamic mix of classic and modern thrash spiced with sparse borrowings from death metal (blast-beats, etc.). The guys play fast and tight using the odd groovy break here and there, but the music easily reaches Slayer-like intensity on the most aggressive material. The singer is a vicious intimidating death growler but complements the music well.
"Into the Void" carries on in the same vein, the energetic downpour particularly evident on the pummeling title-track and the staccato fast-paced skirmish "Reign of Darkness". "Legions of Putrefaction" is another admirable headbanger, the more ambitious layout of the closer "Rising Hell, Rising Justice" sacrificing some of the dominant velocity.

Promo 2009 EP, 2009
Condemnation Full-length, 2010
Aftermath EP, 2013
Into the Void Full-length, 2022

My Space

THE JOKE? (BRAZIL)

Based on the debut, this band serves a weird mix of the 90's post-thrash and thrash/crossover which can be both fast and hard ("Believe Or Do Not Believe"), merrily hardcore-ish ("Good Beliefs"), or heavy and groovy ("Measure"). The faster side is well covered, some of the shorter tracks being straight hardcore.

The Death of the Brittle Biscuit Full-length, 1995
Beware of the Dog Full-length, 2001
Cockroach Full-length, 2005

My Space

THE JUDAS SYNDROME (USA)

Modern thrash/death metal with metalcore overtones; nothing to lose your sleep over, providing the expected mix of fast Gothenburg and slower groovy riffs the deviation coming in the form of sparse blasting sections and a couple of short acoustic/industrial instrumentals.

Underneath Blood Skies Full-Length, 2010

THE KANDIDATE (DENMARK)

The debut: pretty pedestrian post-thrash with touches of hardcore; repetitive riffs and shouty vocals ruin the intentions leaving the more interesting intense passages hanging awkwardly amid the clumsy groovy rest. One may be really surprised to find out that behind this unexciting project stay former members of the melodic death metal maestros Withering Surface. The band was known under the name The Downward Candidate with one demo released in 2005.
"Facing the Imminent Prospect of Death" is a more acceptable offering, again in the thrashcore arena, but more intense and a bit more varied. The guitars come with an intriguing industrialized edge (check out the creepy Voivod-esque "Modvind") which is more clearly heard on the slower numbers which are also short, but are more eventful even with a touch of technicality (the closer "The Knives Spit"). The singer shouts unmelodically to the point of hysteria deafening the instruments at times.

Until We Are Outnumbered Full-Length, 2010
Facing the Imminent Prospect of Death Full-length, 2012

Official Site

THE KILL (CANADA)

This band is the first exploit of Chris Valagao, the vocalist who later went onto much bigger glories with Strapping Young Lad, Zimmers Hole, Memorain, Just Cause, etc. Based on the "Oceans of Ignorance" demo, this act provide quite cool classic progressive thrash which shows its diverse face from the very first composition "Matricide" where direct bashing sections take turns with intricate, labyrinthine ones to a head-spinning effect. "Scarred" has a quiet, balladic beginning but the hard stylish thrashing is just a note away this time served in a more aggressive, less complex manner with creepy sinister riffage applied in the second half. "Within" marches forward with heavy steam-roller riffs the idyll enhanced by a brilliant virtuoso lead section, and the final "Prisoners Of Apathy" is hectic and choppy again not speeding up much. Valagao traditionally performs well and his mean-ish semi-clean tirades are the perfect fit to this less ordinary approach to the genre.

No Mind, No Morals, No Regrets Demo, 1990
Oceans of Ignorance Demo, 1991

THE KILL (USA)

Based on the "Kill Or Be Killed" demo, this band are obviously influenced by early Exciter; this is a melodic mix of speed and thrash (more speed than thrash) also resembling Destructor and the Whiplash debut in the more aggressive parts. The singer has a good mid-ranged voice, and the songs have memorable choruses sticking in your mind.

Force Of Habit Demo, 1985
Kill Or Be Killed Demo, 1986

THE KILLER KITCHEN UTENSILS (USA)

Based on the "92" demo, this US trio pull out vicious intense thrash/crossover which easily borders on both hardcore and grindcore, these insane short cuts serving as the songs here ("The Bitch", "Dead") sheer fury, the guys moshing with the utmost vehemence the entire, time, the semi-shouty hardcore singer bringing some semblance of sanity at times, but watch out for the death metal outrage "Senseless Killings" and the more technical but equally aggressive shredder "Funk Odyssey", the more proficient musicianship exhibited on that one a sure sign for bigger things to come, which never materialized.

A Week to Live Demo, 1989
If You Can't Take the Heat... Get Out of the Kitchen!! Demo, 1991
92 Demo, 1992

Official Site

THE KILLING HOURS (USA)

The EP: this trio offer hectic modern thrash with more elaborate progressive shades which meander and twist in a surreal Psychotic Waltz-esque fashion on the cool "Conversations With The Dead". Elsewhere things range from weird time-signatures ("The Room") to more aggressive offbeat shredding ("Would I Know") ala Twisted Into Form and respectively Spiral Architect. The closing "Deep Water" is a nice combination of dreamy quiet landscapes and hard riffy decisions this "marriage" wisely missing the vocals which are barely heard throughout not interfering too much with the engaging musical delivery.
The full-length is a logical elaboration on the music heard on the EP so prepare for quite a few hard-to-swallow passages which start immediately with the meandering opener "Rituals", a creepy cut with surreal shreds and swirling, chaotic leads. "Dredge" isn't a sloucher, either, even notching it up towards more aggressive, death-ish proportions. Later on the the band incorporate math and djent elements into their style which slightly break the monolithic razor-sharp riffage on "Hatchling". "Reflections of" switches towards purer progressive with several more brutal accumulations in the second half; and "Between the Lines of Fire" is a larger-than-life opus with effective mechanized, sterile rhythms. "The Denied" after it tries to compensate with a warmer, more melodic approach, but the complexity of the riffs may leave the listener on the bewildered side. All the way to the final "I, Catharsis" which thrashes harder leaving the more oblivious riffs for the end. As a whole the band have done a fairly good job once again complicating the environment with their stylish brand of clever modern progressive/technical thrash.

Denial in Retrospect EP, 2013
I, Catharsis Full-Length, 2015

Official Site

THE KILTROS (CHILE)

This is classic power/thrash which displays both galloping vigour ("Red Night") and heavy doom predilections ("Psycho Love Story"), the cool clean mid-ranged vocalist suiting all stylistic moods. The frolic speed metal winner "Make It Worth" is an energetic digression, but the rest doesn't exhibit as much vitality, with lengthy one-dimensional pounders ("Kenos", "Unleashed") taking over in the second half, with thrash reduced to a humble assistant on those.

Broken Soul Full-Length, 2021

Facebook

THE KING MUST DIE (USA)

The debut: a decent blend of classic and modern power/thrash with a bit hoarse shouty vocals with a hardcore pitch. The tempos shift as the heavy mid ones are more dominant reaching dramatic heights on tracks like "The Birth of War" and "Notongue". The sharp riffage nicely interplays with the numerous melodic licks, and it should be given more opportunities for a faster play in the future, like on the opener "Confidential Confidence".

"Murder All Doubt" is a way more energetic affair the guys thrashing with more "confidential confidence" the title-track galloping with the finest horses out there alongside short biting headbangers ("A New Hell You Embark", the frolic speed/thrasher "Choose Them Wisely"). "Reflection Spills" is a doomy moodkiller which indeed "kills" the accumulated inertia leading to a string of not very striking mid-pacers, partially captured on the last two pieces which are heroic speedsters with an epic flavour.

Sleep Can't Hide the Fear Full-Length, 2014
Murder All Doubt Full-Length, 2016

Facebook

THE KING OF METAL SLIME (JAPAN)

These Japanese "metal maniacs" pull out interesting semi-progressive thrash/crossover which boasts great lead guitar work (check out the classical virtuosities on "Kung Fu Metal"). The avantgardism so traditional for hordes of Japanese acts inevitably shows up on the eclectic, unpredictable "No Money No Life", and the title-track is a major headbanger with a proto-death flair. "Crazy Star" is another number where the lead guitarist shines all the way, and "Yakisoba Saburoh" is a sure-handed speed metal winner. "The King Of Metal Slime" wraps it on nicely with twisted semi-technical riffs on a creepy, almost doomy, base. This is good varied stuff with cool clean/semi-clean vocals which successfully stretch to the higher registers whenever they feel like it.

Metal Maniac Full-Length, 2015

Official Site

THE KONSORTIUM (NORWAY)

The demo: the bands from the motherland of Black Metal, who started adding sharp thrashy riffs to their music, have increased in recent years, and this act are another addition to this group. These guys mix black and thrash metal on this 4-song demo, one of which is a really good intense thrasher ("Onwards Onwards"), another one is creepy and sinister ("Under the Black Flag"); the other two "court" black metal more, but are fairly good as well ("Decomposers" boasts a fine lead section, and is rich in atmosphere, which is perhaps the key word to describe the band's approach).
On the full-length debut Teloch, the only constant member of the band, also famous for his involvement with quite a few other black metal acts (Ov Hell, Mayhem, 1349, etc.), continues the thrash/black saga by mixing slower atmospheric ("Gasmask Prince") with fast brutal ("Lik Ulven") compositions, but the show is completely stolen by the couple of avant-garde post-blackish rhythms ("Under the Black Flag", "Decomposers") in the best tradition of more recent Satyricon and Thorns. There's quite a diversity displayed here, and its capable mix together would ensure the satisfaction of fans of several walks of metal.
"Rogaland" is again more on the black metal side with avant-garde, outlandish decisions keeping fans of Solefald, Borknagar and Arcturus happy, the thrashers savouring a couple of vivid intense rhythms from "Hausten", and perhaps a few more vigorous moments from the encompassing extreme metal saga "Havet".

Preproduction Demo, 2008
The Konsortium Full-length, 2011
Rogaland\\tab Full-length, 2018

My Space

THE KREMLIN (CANADA)

Fast blitzkrieg thrash/crossover sitting between the classic and the modern trends in the genre comprising short bursting numbers which seldom contain more than the usual for the style energetic barrage the one here very seldom intercepted by something more substantial. The direct musical approach is assisted by expressive shouty semi-clean vocals.

17 Full-Length, 2011

THE KRIXHJALTERS (SWEDEN)

Based on "Evilution", this is cool crossover/thrash; the tempo is energetic without being very fast. Some tracks are pure intense speed/thrashers- "Mulling Over Anaesthesia"; others are jolly crossover hymns- "Beria, Show Him the Door". Both the bass and guitar work are strong giving the sound some technical decorations: "To Whom Can You Turn": a very cool diverse instrumental. The guys are specialists in catchy, infectious choruses:: check out the nice "Kill Each Other". They later decided to change their name to Omnitron with which came the change of style into not very convincing technical/progressive semi-thrash. The band's guitarists later formed the death metal outfit Comecon whereas the bass player and the drummer went underground during the 90's to return to the music scene with the progressive metal act Enter the Hunt in 2005.

Guineapig Assasinator EP, 1983
Evilution Full-length, 1989
A Krixmas Carol EP, 1990

THE KRUSHERS (ITALY)

Based on the EP, this band pull out a very wild mixture of thrash, death, hardcore, and grindcore; these are eleven short outbursts of violence and aggression which will remind you of Wehrmacht, The Accused, Napalm Death, and their compatriots from Schizo, at the same time.

The Godz of the Atom's Starz Demo, 2001
Rehearsal Tape Demo, 2001
1985 Demo, 2002
Megaloi Theoi Demo, 2002
Megaloi Theoi (Extended Version) Best of/Compilation, 2004
Unholy Underground Ritual Split, 2004
Kaos at CSOA Excarcere Demo, 2005
Baruch Ashem EP, 2005
Memorie di Un Anticristo Demo, 2007
Merciless Onslaught/The Krushers Split, 2007

Official Site

THE KURSED (USA)

This act specialize in melodic, alternative power/post-thrash/crossover with a very good bass bottom. The singer shines all over with his jocung clean punk-ish timbre abandoning the good tone for the sake of a few more aggressive shouts on the final energizer "Divided And Weak".

Threshold Demo, 1993

THE KVLT OV OUROBOROS (USA)

A slightly uneven mix of thrash, doom and black metal with horrible synthesized black-ish vocals; the music is mostly mid-paced to slow-ish with sparse faster thrashy breaks; the overall sound clings towards Lair Of The Minotaur, or Barathrum. At the end there's an interesting cover of Blue Oyster Cult's hit "Godzilla"; this legendary band are another soundalike, actually; this is probably how they would have sounded if they had translated their music for the metal fans... I guess...

BLVD EP, 2006

My Space

THE LAST ALLIANCE (USA)

The full-length debut: the 80's American scene is given a cool nod here with thrash metal not very well covered, at least in the 1st half. This is a more epic form of the good old power/speed metal with more extreme hints which come with heavy pounding riffs at times recalling the doom metal movement (the sinister 10-tonner "King of Thieves"). Things get nicely progressive on the longer "March of Darkness" which is a dynamic multi-layered composition akin to Manticora with the ripping speed/thrash shredder "Out of the Ashes" another highlight. The excellent "Necropolis" comes with plenty of galloping rhythms and haunting Oriental melodies plus a brutal proto-blasting section near the end to put the second half on a higher level with more thought-out musicianship and a more aggressive thrashier sound. The inertia gets lost later with the tender ballad "The Dawn" which makes up at the end with a faster exit, and the overlong progressive power metal closer "The Name of Vengeance", but overall this is a sure-handed debut which will bring pleasant memories of veterans like Omen, Savage Grace, Liege Lord, etc. The singer is not bad with his attached mid-ranged clean tone although a bit more emotion could have made his antics more suitable to the more engaging musical material.

The EP comprises four songs which cover different fields: the opening "Lament Configuration" is an engaging power/thrasher with epic tendencies; "Childe Roland" is dramatic epic doom/thrash with balladic overtones; "Dangerous Days" is a sweeping galloping speedster with some catchy melodic hooks; and the final "Curse of the Shade" is melodic power/speed metal with fine leads and escalating dramatic passages.
"Lost in Legend" contains all the four songs from the EP, and the rest is again more in the power/speed metal camp with more aggressive thrashier riffage incorporated on a couple of tracks: the furious galloper "Children of the Wild", the dramatic eventful speed/thrasher "Turmoil Within". There are quite a few quiet balladic sections present making the album sound too soft, but apparently the band are interested in pursuing this side of their repertoire leaving the more aggressive delivery for their colleagues.

Out of the Ashes Full-length, 2011
Dangerous Days EP, 2012
Lost in Legend Full-Length, 2013

Facebook

THE LAST CHANCE (SPAIN)

This is modern power/thrash which straddles between melo-thrash energizers ("Who I Am") and more lyrical semi-balladic escapades ("Take It Away"), the vocal duel not particularly imaginative, clean attached vs. harsh death/black, not leaving a very positive impression as the more brutal side of it is severely contrasting with the overall mild music background.

Priorities Full-Length, 2021

Official Site

THE LAST OF THEM (PORTUGAL)

Groovy thrash which was much more typical for the 90's, but still works not bad. The riffs are crunchy, and the guys don't forget to speed up wherever necessary, but some alternative numbers like "Kronik Impulse" and the use of awful industrialized vocals, shake the confidence in the band's delivery. On top of that there's a certain nod to the modern gothic/death metal scene ("Stone Immaculated") which is good, but totally inappropriate on such an effort. When the guys stick to the groove they can do a job not much worse than Pantera and Machine Head. Although the 90's groovy sound is a gradually vanishing species these days, this band are definitely not "The Last Of Them" ...

Slow Motion Chaos EP, 2008

My Space

THE LAST THINGS (USA)

This act is the continuation of Blackkout, who released one quite good demo in 1989 before disappearing. The music here is decidedly more complex with clear aspirations towards the progressive genre, and, indeed, the opener "Inside The Circle (The Scorpion And The Capricorn)" will throw you into the direction of the Psychotic Waltz debut, early Paralysis (Holland), even Sieges Even's "Life Cycle" and Deathrow's "Deception Ignored"; this one is a sheer winner with its sharp technical riffs although the sprawling quiet balladic passage near the end may pull you back a bit. "Blackhours" is an odd jazzy progressive metal track, a style well epitomized on the later Sieges Even efforts, and is kind of less satisfying. "Circle of Wills" returns to the thrashy patterns lashing steel technical riffs in a dynamic headbanging tempo, before a twisted passage in the middle reminds you of Coroner. This masterpeice would be hard to top, and the band don't bother, going into the other extreme with the mellow acoustic ballad "The Vow". But when "After ...Birth" follows exactly the same patterns sounding even softer and slower, one may start getting nervous a little bit, and "The Circle Ends" arrives just on time to save the situation, being an exemplary intense technical thrash instrumental with crushing ultra-sharp riffs, the stylish quiet passage in the middle a really cool touch.

Still, one may wish the band to carry on thrashing instead of alternating things, and "Ghost From The Past" is the "answer" to his "prayers": labyrinthine meandering progressive thrash with standout guitar performance, an immaculate combination of straight riffs and very complex, at times abstract-sounding, ones. Don't expect three of the kind in a row, though, and "The Missing Piece" is a really tender funky take on progressive. "Morgan's Song" is a nod to the Celtic heritage in the beginning, later evolving into a calm orchestral ballad. The end ("The Spirit Lives"), however, doesn't disappoint being a bit more conventional mid to up-tempo technical thrash with an unnerving overlong peaceful interlude (which here is more of an overlude, if you ask me). This unique effort was the American answer to the progressive/technical thrash wave in Germany which was thriving at the same time, quite one-of-its-kind at the time in the States (Psychotic Waltz have already moved on, acquiring a harder-to-swallow, but also much more melodic, sound, and Nevermore were still on a demo stage), and would leave one literally "shattered" for being just five songs (I do not consider the ones non-related to thrash). The guitarist Matt Laporte later hooked up with the Savatage guys taking part in both the Jon Oliva and Zak Stevens' side projects (respectively Jon Oliva's Pain & Circle II Circle) whereas the bass player Darren McFarland had a short spell with Atheist.

Circles and Butterflies Full-length, 1993

THE LAST TOMB (FRANCE)

These Frenchies pull out melodic semi-technical thrash which is more on the classic side, the fiesta aggravated by the aptly-titled "Wrath", a labyrinthine roller-coaster with pronounced screamy leads. Later on we have "Pain", a heavy dramatic shredder; ""Live, Suffer, Die", an exemplary twisting serpentine excursion with clear progressive pretensions; "Slaughter 46", a bewitching all-instrumental odyssey; "Judas the Loser", a short immediate headbanger; "Hate", a standout prog-thrash saga with balladic interludes and labyrinthine riff-patterns: and "Remembrance", an encompassing 8-min opus with numerous melodic configurations and wild impetuous passages. The vocals are of the mid-ranged semi-clean variety, and add up to the fairly intriguing character of this admirable endeavour which will remind of the Danes Unleashed Power (the debut, in particular). Some of the musicians are also active with the death metal cohort Trepanator.

I Full-length, 2020

Official Site

THE LAST WARNING (AUSTRIA)

Based on "Progression", this act play modern thrash/death of the Gothenburg variety obeying all the rules of the genre without any hesitations. The major flaw would be the not very fast compositions the band seldom speeding up, making the album a bit lifeless and too predictable. The singer rends his lungs in another predictable fashion contrasting with the catchy melodic tunes whcih are all over the place, but not in a such a bad way.

Face2face Full-length, 2005
Chainbreaker Full-length, 2006
Elegance of Bloodiness Full-length, 2009
Progression Full-length, 2013

Official Site

THE LAW (SWEDEN)

The acts from Sweden who are bringing back the old school thrash metal sound of the past, are increasing fast. The Law play nice Bay Area influenced thrash (based on the 1st demo)- think Exodus, Vio-lence, etc., but it comes "served" with a certain presence of elements from the 90's scene: you know I mean this "sweet" groovy sound, established by Pantera and Exhorder. This mix here works well, resulting in cool and catchy headbangers.

"Dudes of Darkness" is the better achievement, with a much better sound, and some really great moshers such as "Can U Not Talk", the title-track. The slower groovy side is also covered with two longer but cool tracks, one of which comes up with some bluesy tunes: "Distort", whereas the other one is a blend of classic and groovy rhythms: "Lawman & The Law-Anthem", the way 90's acts like Dearly Beheaded and Cyclone Temple used to do them.

The full-length debut is finally a fact, and delivers on all counts: all-out moshing classic thrash, built around the strongest numbers from the last demo: "Distort", "Dude of Darkness", "Can U Not Talk", ably supported by the equally as good new material: the explosive thrash bombs "Anthem" and "Beerblooded", the speed metal monster "Suburban Satan", and last but not least: the very cool interpretation of Overkill's "Elimination" from "The Years of Decay".

Lawman & The Law/Anthem Demo, 2004
Dudes of Darkness Demo, 2006
Distorted Anthems From The Suburbs Full-Length, 2008

My Space

THE LEAD (USA)

Thrash/crossover mixed with death metal; quite unique at the time, and very seldom tried after; yes, it's true that Wehrmacht were pretty close to reach this intensity, but didn't, and here come The Lead to provide you with one of the most brutal slabs from this genre along, of course, Cryptic Slaughter. Most of the songs are very fast and violent, but in the middle of most of them one can hear great proficient leads as well as quite stylish riffs. The singer has a very melodic punk-ish voice which totally contrasts with the aggressive music, but works very well. Near the middle the guys take a break with the heavy mid-paced track "Infernal Pain". Some songs are pure death metal assaults: "To The Ends Of The World", but work almost as well with their great melodic, speedy hooks. "Skate Or Die", on the other hand, is a pure crossover delight, catchy and high-spirited, of course recalling the other "skaters" in metal: Suicidal Tendencies. This is a really interesting and original blend of two contrasting genres, done with style and vision. Do not "burn this record"!

Burn This record Full-Length, 1989

THE LIE (GERMANY)

This act is more known for the presence of the Swiss drum guru Sven Vormann (Megora, Raise Hell, Destruction, Poltergeist, etc.). Style-wise this is modern groovy post-thrash which clings between more optimistic and less abrasive Biohazard ("Prinzip") and friendlier, more laid-back rhythms ala Rage Against the Machine ("Geh Weg") with the vocals also following the stylistic swings with a dominant mid-ranged clean baritone. The guys later formed Umount the delivery remaining on the modern groovy side.

Monopoly Demo, 1998

THE LIGHT (VIETNAM)

Power/thrash metal mixing modern and classic elements; the music is edgy and energetic, if we ignore the mellow opener "Mong doi mat troi (Waiting For The Sun)" which is a misleading heavy metal track. The guys start thrashing with force later, although the melodic lines remain transcending into a few semi-ballads and one whole one. Still, the guys pull it out with vigorous headbangers like "Believe in Yourselves" and "Let's Boycott Social Evil". The singer does a decent job with his mid-leveled clean delivery.

Giac Mo Hoang Tan Full-length, 2003

Official Site

THE LOCAL MACHINIST (USA)

The debut: thrash/crossover which is both on the modern and the classic side and comes with a strong abrasive, vociferous flavour. The hissy guitars generate some seeping drama on "Upgrade 192", and generally the delivery seldom goes beyond the mid-pace save for the more dynamic rhythms on "Self-Inflicted Sorrow" and the more dynamic walkabout "Obey the Ministry". The singer is a harsh shouty, quarrelsome hardcore-ish throat who occupies quite a bit of space without creating a very positive impression.
"Empire of Decay" is a heavier less dynamic affair, the band relying on seismic squashing rhythms more this time, with ten ton hammers ("Grave for the Impure", "The Final Stop") falling down with little mercy, the more dynamic "No Other Way" creating sparse headbanging atmosphere. Watch out for "As Corpses Fill the Abyss", a nice minimalistic balladic instrumental.
"Cruci6ix" carries on in the same direction, the subtle progressive flair of "Massive Beheading Event" mixing well with the corrosive corey nature of "Remains of the Overlord", the title-track clinging more towards the catchy unpretentious punk/crossover side. Expect also the steady mid-tempo stomps on "Pentagram Under the Sea", and the semi-balladic/doom minimalism of the closing "Summoning Blind Willy at the Crossroads".
"Anatomy of the Apocalypse" sticks to the familiar patterns, the overtly classic aura of "Disciple of the Leviathan" soon dissipated by the hardcore noises on "Sisters of the Crooked Cross" and the groovy seisimicity of "Bathe in Hate". Still, the fast-paced surprises keep coming, and "As They Feast" is another speedy shredder, muffled by the industrial vigour of "Escape from the Vatican" and the steam-roller pounds of "The Threshold Has Been Crossed".

Masters of Mankind Full-Length, 2019
Empire of Decay Full-length, 2022
Cruci6ix Full-length, 2023
Anatomy of the Apocalypse Full-Length, 2024

Youtube

THE LONG COLD DARK (USA)

Based on "The Inner Workings of Infinity", this band play not very imaginative post-thrash which mostly surprises on the longer tracks ("Monkey Knife Fight") where more clever riffage appears although the lack of speed may be a major complaint for some. The meditative/balladic nature of at least half the material presented here would be hardly to everyone's taste, too, so not many would be those who would have the patience to stand all the way to the cool spacey psychedelic closer "Obelisk" which is a curious all-instrumental blend of Opeth and Hawkwind.
"There Are No Answers" is a way more dynamic offering, the band moshing with overt glee and passion, the title-track alone full of faster-paced surprises, and although later on the guys go back to their groovy post-thrash hole, there's little wrong with steam-roller abrasers like "What We Should Fear", or with semi-lashing near-thrashers like "Guns Guns Guns". "Demystified" is a cool heavy ballad, and "Inheritance" is a decent doom/progressive, all-instrumental odyssey.

The Long Cold Dark Full-length, 2010
The Inner Workings of Infinity Full-length, 2013
There Are No Answers Full-Length, 2021

Official Site

THE LURKING CORPSES (USA)

Based on "23 Tales of Terror", this band plays laid-back punky thrashcore which borrows from hard'n heavy, stoner/doom, but also death metal ("Zombies Across The Hill") with a pinch of the groovy aesthetics of early Six Feet Under ("Into The Slaughterhouse"). This is merry party music without any big musical merits.

23 Tales of Terror Full-length, 2003
Lust for Blood Full-length, 2006
Smells Like the Dead Full-length, 2008

My Space

THE MACHETE (FINLAND)

This is a side project of three members from Mokoma; based on "Regression", the music is not miles away from recent Mokoma, but is faster with some aggressive death metal sections plus the unnecessary presence of some clean vocals.

Regression Full-length, 2005
Untrue Full-length, 2007

My Space

THE MAD (CANADA)

This is the continuation of the thrashers M.A.D.; the guys have abandoned the more interesting, semi-technical delivery for the sake of much less pretentious and more simplistic thrashcore led by hysterical shouty vocals with a harsh synthesized blend. "And the Apes Got Creepy" has a curious alternative blend, but it's a bit more than the next grunge/post-thrash charade.

Albino Single, 1993

THE MALIGNANT GROWTH (CANADA)

The debut demo: Disciples of Power's ex-drummer Steve Thorne is involved here, and indeed the music manages to capture some of the technical magic of the other act. It begins with the excellent speedy instrumental "Close the Lid" which pretty much sets the tone for the rest among which "Aneurysm" is a cool technical deviation, and the closing "By Reason of Insanity" is another semi-technical delight with crisp, not very predictable riff-patterns. The singer semi-shouts in a not very rehearsed death-ish fashion.
The "Hard to Swallow?" demo unleashes initially with the vitriolic aggression of "Corroded Vows", but "Thrashed Empire" is already a more entangled proposition with choppy crunchy thrashing coming to the fore to disrupt the dominant bash. "Disturbing My Silence" is a near-progressive marvel with curious melodies dueling with crooked technical riffage plus a breath-taking short balladic respite. A very pleasant surprise followed by a string of maddening speedsters among which the all-instrumental "Eschatos" is a more diverse, more twisted cut with interesting balladic passages those abruptly replaced by hard thrashing ones, with "A Final Slice (Released from Life)" jumping on the less ordinary thrash/crossover wagon for a bit, a sure candidate for Disciples of Power's debut. The final "Forcing Devolution" sounds like more technical Slayer circa the "Reign in Blood" era, a really great epitaph to a most exciting recording.

Thoughts from the Infected Demo, 1990
Hard to Swallow? Demo, 1992

THE MANTORS (USA)

A parody band mixing speed, power, heavy and thrash metal; their sense of humour seldom goes beyond the limit ("Die Faggot Die", which flirts for a while with the opening drum rhythm of Twisted Sister's "We're Not Gonna Take It", and one could find harder thrashier numbers in this wild amalgam: the mid-paced steam roller "Incest Parade", the speedy "Kick You in Your Belly", the heavy Carnivore-esque "Hetro-Chopper". But, as one can easily realize, this album would be of a much bigger interest to power/heavy metal fans.

Lust Muscle Full-length, 2008

My Space

THE MASK OF TYRANT (BRAZIL)

This is cool energetic retro power/speed/thrash which revolves around lengthy but not very complex compositions, the shadow of the Bay-Area felt ("Black Admiral") more tangibly at times, but overall this is music which follows its own mind, with "Prison of Despair" pounding onward in a ship-sinking doom manner, and "Slave to the System" shredding in a welcoming power metal-ish way. Not much dynamics generated later with "Blind Pride" being just a mild hard rocker, with only "Graveyard Carnival" thrashing with more verve, the optimistic crossover shenanigans of "Social Madness" another more energetic gimmick.

Prison of Despair Full-length, 2020

Official Site

THE MASS (USA)

An eclectic trio specializing (based on the self-titled EP) in parodic post-thrash with jazzy/funky tendencies. This is clearly an acquired taste with the distorted guitars, the sudden switches between influences, the frequent exits from metal, and the hysterical synthesized vocals. "Mostly Michael Schenker" has nothing to do with the style of the renowned German guitar player, but is another off-beat composition with concentration on balladic jazz.
The band's subsequent efforts brought them to not very well trodden paths where post-trash, avantgarde, jazz, funk and other influences meet for the creation of eccentric, larger-than-life operas with not many relations to thrash.

The Mass EP, 2002
City of Dis Full-length, 2003
Perfect Picture of Wisdom and Boldness Full-length, 2005
Holocene #6 EP, 2007

Official Site

THE MASSACRE CAVE (UK)

A hesitation between the post-thrash and the post-death, and between the modern and the classic school; the guys seldom go for the very speedy parametres but opt for a more atmospheric approach as reflected in the cool "From the Mountains", the more technical jumpier layout on "An Itchy Finger" suggesting at a bigger musical proficiency the latter acquiring even more ambitious proportions on "Tetramethrin", a bouncy progressive post-thrasher, the culmination of the band's endeavours in this trend reached on the closing title-track, a minimalistic but effective creeper the diverse vocals assisting with dexterity, even adhering to a couple of soothing clean notes.

Godlust Full-Length, 2020

Official Site

THE MAXIMONES (GUATEMALA)

Based on "Veyanse O Muera": thrashers from Guatemala who are heavy on the bass, and otherwise prefer to shred in a brooding mid-tempo; which is fine except that some monotony settles in which the more energetic "Zipacna El Brujo" tries to dissipate with a portion of brisk headbanging guitars. The singer is a hoarse deathly semi-shouter who suits the dark morose tone of the music.
"Sublevacion y Suplicio" is both a more dynamic and a more technical affair, the band also adding a more overt thrash/crossover/death edge to the proceedings with the volatile anthem "Camino a Xibalba", "Redencion en Chivarreto" trying something similar but with a less aggressive speed/thrash lustre. The dramatic stompiness returns with "Entre las Llamas del Odio", and the technical flavor is added by "CalcinadosporunSueno", a meandering shredder with a couple of pleasant surprises.

Veyanse O Muera Full-Length, 2017
Sublevacíon y Suplicio Full-length, 2022

Official Site

THE MECHANIX (AUSTRIA)

Based on the full-length, this band play old school melodic power/speed/thrash that relies more on laid-back arrangements excluding a couple of more energizing speedsters ("Here Comes the Pain", the short thrash/crossover ripper "Zwick of Stift"). "Jack the Writer" is a cool diverse stomping progressiver, and "Streets of Rage" is another more thought-out composition with echoes of Paradox. The vocals are pretty decent, clean mid-ranged ones although they could have used a few more pathos-like interferences.

Attacked by Ross: Pt. 1 EP, 2015
Attacked by Ross: Pt. 2 Full-length, 2018

Official Site

THE MENTORS (USA)

These guys have a fairly long discography, but their ties to thrash metal on the earlier efforts are not that many. On this album reviewed here they step the pedal up and start galloping quite scarily on the second number "I'm A Pervert" (the opening "Black Snatch" is a pure doomster). Things get a little scattered after this imposing cut into the staple for the band directions also revealing their early infatuations with punk and blues in the middle (check out "Bring On The Sluts") so don't expect too much thrash later on. The singer semi-shouts in an attached manner nicely recalling early Peter Steele (R.I.P.) from his Carnivore days, maybe a tad more expressive and higher-pitched. Some of the musicians aim at a clearer classic heavy metal sound with their other project The Mantors (see the review a few lines above).

Duceifixion Full-Length, 2009

Official Site

THE METAPHOR (CHINA)

The self-titled full-length displays competent well-executed retro thrash. The Chinese duo (two people play in the band) waste no time proving their worth with the opening mosher "Winter Dead". Then they turn for inspiration towards The Black Sea for the next number which is a very good dark thrasher, still sustained in a brisk energetic pace. Then comes the tribute to the Bay-Area with "Bay Area Beast" which fulfills all the promises made with the title representing the scene quite well with sharp lashing riffs. "War Fuck Peace" starts in a way very contrasting to its obscene title with mild tender balladic guitars, but soon switches onto full-throttle thrash again with strong Bay-Area overtones topped by nice screaming leads. Nice technical "fibres" sneak in "Metaphor" which is another major more refined piece, before "Bloody Cult" buries you with its intense speedy riffs- thrash till death! "Rising After Execution" may remind you of Dark Angel's "Merciless Death", but the closer "Beyond The Gates Of Hell" will definitely sound familiar, being a nice cover of the Morbid Saint song of the same title, done faithfully including the proficient screaming leads. The only flaw on this entertaining effort is the hardly intelligible low-tuned death metal vocals which most of the time plainly grunt; it's good that they are not boosted playing a secondary role to the good guitar work.

The EP offers four songs of evil misanthropic black/thrash which is quite remote from the much more polished style heard on the full-length. This is fast, frequently blasting, stuff crossing The Berserker with Impaled Nazarene to an ultimately crushing, but still pretty listenable, effect. "Black Thrash" is a cool, much slower, cut recalling the early German scene, and is the only slight hint at the very near future metamorphosis.

Evil Rulz EP, 2009
Metaphor Full-length, 2009

Official Site

THE MIDAS TOUCH (USA)

Modern post-thrash, mid-paced and melodic, with cool attached semi-clean vocals; the riffs crush at times (check out the proto-doom "The Wanderer"), and the odd fast tempo springs up here and there ("Touch Of Gold", the vigorous speedster "Criminal Record"), but generally the surprises are not that many, at least to those who are well familiar with the works of Squealer, Perzonal War, Am I Blood, and the likes. The sense of melody is big both in the riff and the lead department also reflected in the very nice atmospheric violin-driven outro "Alone In The Light".

Alone In The Light Full-length, 2006

Official Site

THE MILITANTS (USA)

Based on the 1995 demo, this act play fairly intriguing semi-technical thrash which may make you spend a certain portion of your life trying to track down those elusive full-lengths (and an EP). "Desecreation" is an intense spastic opener which suddenly changes time and tempos something which also happens on the following "Fighting Machine", maybe in a slightly less hectic fashion. "Burning Son" is a swirling progressiver with hallucinogenic Confessor-like developments, a most choppy stomping number with dramatic accumulations. "Shine" is a spacey, oblivious piece which pensive character is canceled by the much more energetic "Beyond These Walls". The band obviously love their stompiness, and here comes another heavy cut, "Could Never Be", before the closer "Legacy of Scars" varies things with more a flexible rhythm-section again more in the progressive camp. The singer has a highly dramatic clean baritone which to these ears seem to be the perfect fit to the diverse musical palette.

Demo Demo, 1995 Even the Score Full-length, 1999
Legacy of Scars Full-length, 2000
Warning: Contains Heavy Soundz EP, 2001
Advise with Caution Full-length, 2002
The Militants Full-length, 2003
One Nation Under Death Full-length, 2008

Official Site

THE MIST (BRAZIL)

Another one of the Brazilian bands with a touch of originality (Acid Storm, Leviaethan, MX, mid-period Holocausto) from the older days; the band's music on the first two releases (where the Chakal's singer, Vladimir Korg, sings) is quite impressive; "Phantasmagoria" features energetic headbanging thrash spiced with slower dark gothic-tinged numbers ("A Step Into The Dark"). Still, the concentration is on the faster side of the music, and as such this album is a fairly satisfying listen.

"The Hangman Tree" is the band's finest hour; the first two compositions are complex affairs mixing the more speedy immediate riffs with those dark gloomy ones which were only slightly hinted at on the debut. But later the guys start thrashing with passion, and are almost unreachable ("Peter Pan Against the World", "The Hangman Tree- Act One", and others), alternating these thrashing gems with equally as effective slower atmospheric numbers.

"Ashes To Ashes,..." shows a shift in direction to a modernized quasi-industrial 90's Ministry-like sound, and is another strong convincing effort (for fans of industrial, above all) with an overt thrashy vibe and echoes of their famed compatriots Sepultura on the more classic-prone moments which are not that few, by the way. Their swan song isn't worthy, though, and has nothing to do with their previous works opting for an awful brand of modern metal.
"The Circle of the Crow": wow, these veterans are still alive, and are more than eager to thrash the vicinity and beyond as evident from the ripping classic thrash vigour exuded from every pore of "My Inner Monster", a really nice atmospheric shredder in the best tradition of the guys' debut. "Over My Dead Body" flirts with the main theme from the "Halloween" film, but later on turns into a volcano of intense blitzkrieg thrashing, the venomous deathly vocals of Vladimir Korg, the only member from the original line-up, always reliant if coming a bit subdued and muffled at times. "The Blackmail of God" is an ominous doom-laden march with a dramatic speedy near-deathly development later; and "The Tempest" is another vehement thrashterpiece, the guys raging with thinly veiled enthusiasm, Korg assuredly leading his new comrades towards a seemingly glorious re-conquering-the-throne campaign.

Phantasmagoria Full-length, 1989
The Hangman Tree Full-length, 1991
Ashes to Ashes, Dust to Dust Full-length, 1993
Gottverlassen Full-length, 1997
The Circle of the Crow EP, 2022

Facebook

THE MORBID (USA)

A 4-song demo of aggressive thrash resembling Rigor Mortis and Slayer; this is actually the band Morbid Scream who, for some reason decided to change their name, but not the style which is pretty much the same, maybe not as fast, sharing some of the aggro-sound of Exhorder ("A World Away").

The Morbider the Merrier Demo, 1990

THE MORE I SEE (UK)

Based on "Tread The Darker Path", this act, which line-up comprises of ex-members of old "dogs" like English Dogs, Sabbat, and Sacrilege, offers pretty decent modern power/thrash which is dynamic and jumpy, and doesn't lack an edge. It alternates between more laid-back mid-paced songs and more vigorous faster ones which take the upper hand in the middle occupied by major headbangers ("The Unholy Feast", "Decadence Within") which will stir your blood quite a bit. Even the mellower tracks aren't bad at all "biting" with lashing riffs and stomping breaks. Near the end the listener will come across a nice cover version of Iron Maiden's "Wicker Man", the singer particularly doing a very good job impersonating Bruce Dickinson quite well; he is an asset all over with his not very emotional, but consistent, semi-clean mid-leveled timbre.
"The Disappearing Humans": this effort is strictly for "disappearing humans" and as such would attract the power/post-thrash crowd more since thrash isn't very widely covered the guys "flirting" with grunge, alternative, hardcore, and more. "Spirit of Freedom" is a truly explosive moment with spontaneous moshing riffs, but it causes a rest for the musicians who relax with moderate semi-balladic cuts till the end the most memorable passages being the great leads on the closing "The Eye That Offend".

Don't Look Now...I'm Living EP, 2003
The Wolves Are Hungry Full-length, 2004
The Unholy Feast Full-length, 2008
Tread The Darker Path Full-length, 2010
The Disappearing Humans Full-Length, 2013

Official Site

THE MORNING STAR (HUNGARY)

Based on "Eleve", this band play dry sterile modern thrash with more or less overt technical tendencies: think their compatriots Watch My Dying, and of course, Meshuggah, the vocals the staple for the style harsh shouty ones. The mechanical shredding works most of the time thanks to fast-paced passages inserted at every opportunity, but the harsh abrasive guitar sound may get on the nerves of the most melody-prone fans, and the guys' refusal to play above the mid-tempo (the exception "Leper Island" and a few other isolated parts from other songs) may be another reason why this effort would hardly be both the modern and the classic thrash metal lovers' first choice.
"Harvesters" follows the same dispassionate mechanical path the somewhat artificial chugs working better on the more dynamic material ("Fragmentation") on which even the headbangers will find something to like. Elsewhere the mid-paced grind may wear thin at some stage with not very eventful parades like "Great Greed Grind" and "Jesus Stranded" those not generating a very high level of excitement the latter served, but not exactly in spades, on the more energetic closer "Spit"... yes, a Sepultura cover from "Roots".

Revolution Blues EP, 2007
Revolution Blues Full-length, 2008
Hedgehoglife Full-length, 2011
Eleve Full-Length, 2015
Harvesters Full-length, 2019

Official Site

THE MOSHKETEERS (USA)

Well-constructed heavy thrash metal with hardcore moments having no influences from the 90's trends; the sound quality isn't very good and the guitars are a bit fuzzy, but there's a lot of energy put in the recordings. The music recalls D.R.I.'s thrashier days as well as Hallows' Eve. To these ears the slower heavier tracks ("The Myth") deliver better since the guys put more effort there coming up with very good stomping riffs, not far from early Celtic Frost even which are very well combined with the fast semi-technical theme at the end; the highly-charged doom "monsters" "Self Extinction" and "Epicurus". The end will pump your adrenalin including the two most intense speed/thrashing numbers: the longer dark "Nightmares" and the very fast speedy killer "The Life Of Emptiness".

The Downward Spiral Full-length, 1992

My Space

THE MOURNING AFTER (UK)

A 3-tracker which offers quite cool progressive classic melodic thrash which also wins points from the expressive boosted bass performance and the plentiful intriguing melodic walkabouts which on "Necronation" easily reach heights worthy of pillars like Fates Warning and Dream Theater. Still, this is thrash pretty much, and once the lads settle for a more moshing stroke, they can rank with the biggest bashers out there, like the less restrained rhythms on the title-track show only too well, the not very rehearsed, unemotional clean vocals not contributing much to the appetizing demanding picture which should have received a more fulsome, full-length release baptism.

Temple of Insanity Demo, 1990

THE NAIL (SPAIN)

The music presented here is neither perfect nor "imperfect", but is acceptable modern power/thrash metal ala modern Overkill, with one pleasant exception: the straight-ahead headbanging title-track which slightly influences the more laid-back "Rise Of A Restless Man". The rest is edgy and dynamic picking more speed again at the end with the galloping closer "Within The Night". The vocalist shouts temperately with a light melodic pitch.

Imperfection EP, 2011

Official Site

THE NAMELESS (POLAND)

The Polish scene is very sparse in the new millennium from a thrash metal point-of-view, and this act are welcome with their decent brand of modern thrash which relies on sharp speedy riffs with more recent Paradox coming to mind on the more aggressive material. The middle is occupied by a bit dragging proto-groovy numbers with a shade of the NWOAHM, but the band are back on track in the second half for a bit before indulging in more complex, but less energetic compositions which disappoint with their reliance on repetitive mid-paced structures which turn to a pure ballad on the closing number. Some of the band members raise hell with the goregrind outfit Invalid Libido.

Unnamed Reflections Full-Length, 2010

Youtube

THE NATIONAL CEMETERY ORCHESTRA (USA)

This is an ambitious project run by just one man, Karl Nix, who specializes in instrumental thrash metal. The debut is plain thrash in most cases, heavy and well done with a certain technical edge. "Beyond The Shadows" is quite a good achievement despite the fuzzy guitar sound. It boasts a thick heavy sound and sharp crushing riffs, mid-tempo in the first half where the overall approach isn't too far from Metallica's "The Call of Chtullu" or "Orion", and much more dynamic in the second one with a clear nod to black metal. There are balladic passages where the bass can be heard clearly which nicely contrast to the riffy wall of sound. "Oblivion" comes with black metal-styled sections, and "Quake" livens up with energetic, headbanging guitars, and is a cool short piece of up-tempo thrash with short, screaming leads. "Red Skies" is the other moment of fury: straight ultra-fast black metal rivalling even Cradle of Filth and Dimmu Borgir, along with the closing "Utopia".

"Prince of Rosh" and "Monument" see a return to the thrash roots of the debut, but the riffs are sharper, and the overall result is more intense and better. The guitars have a less technical edge, but this time the leads are longer and more proficient. Borrowings from other genres (black metal, that is) are scattered throughout, but not much. The pace changes, but the heavy mid-tempo riffage predominates.

As Twilight Fades Into Night Full-length, 2001
Beyond The Shadows Full-length, 2002
Prince of Rosh Full-length, 2004
Monument Full-length, 2007

Official Site

THE NEW DOMINION (HOLLAND)

Energetic modern thrash metal with brisk sharp riffs, fast tempos, and all else; it seldom leaves the Swedish formula which means that traces of death metal can be found as well, mostly of the furious blasting variety, but as a whole this is good headbanging fun also offering a few slower stomping numbers ala mid-period In Flames.

... And Kindling Deadly Slumber Full-length, 2009

Official Site

THE NOMAD (RUSSIA)

The debut: energetic modern thrash/death which readily borrows from the Gothenburg heritage with all the staple tools of the trade lined up: the sharp riffage, the soaring melodies, the shouty death metal vocals, etc. "Appreciate Your Life" is a nice modern headbanger but the band mix the pace throughout, concentrating on the melodic sweeps which are particularly good on the closing title-track.
"From the Dead... to the Living" continues in the same vein with an increased presence of metalcore-ish breakdowns which still don't ruin the fun that much, the staple melodic walkabouts leading the show the latter becoming more intense and intriguing on cuts like the hammering "Destroyer of Worlds" and the uplifting moshing delight "War Against Pain".

Victim Of The Evolution Full-Length, 2015
From the Dead... to the Living Full-length, 2018

Official Site

THE NOSEBLEED CONNECTION (ITALY)

Based on the debut, these guys pull out ultra-heavy abrasive aggro-thrash with a strong industrial vibe. The delivery is mostly mid-paced with stomping jumpy guitars recalling the Canadians Soulstorm and Puncture. The singer is an angry death metal shouter, intercepted by sparse cleaner inclusions, the latter going into sincere rap at times.

Hate for Free Full-Length, 2004
God, The Loser. The World Is Yours Full-length, 2008
Nosebleeders Full-length, 2011

Official Site

THE NOTHING (UK)

"Coma Poems": a cool debut of modern thrash along the lines of the more recent works of the Finns Maple Cross, and Municipal Waste so it's far from "nothing"; there are some groovy parts, but most of the time the music is energetic and has a good headbanging potential.

Coma Poems Full-Length, 2005
How to Avoid Heaven Full-length, 2006

My Space

THE NO-MADS (POLAND)

Based on "No Hush Till Thrash", this is a cross between modern and classic thrash, featuring a very interesting cover of The Beatles' "Yesterday". The 1st part is the more immediate, with faster songs. In the 2nd half the tracks suddenly become longer and less catchy.

"The Age of Demise" is based on the same cross, but is a much better effort with the classic elements increased as well as the speed. The album wastes no time to win the fan with a duo of fast blitzkrieg thrashers, before the title-track nicely surprises with its more technical, but equally as intense approach, a nice technical thrasher. "Children of the Reich" is a full-on retro thrash attack recalling Kreator's "Coma of Souls". "Point Blank Fire" is smashing aggressive thrash at its best with great lead guitar work. "Nanoman" is a cool cover of the Voivod track from "Negatron", but this is the only more modern-sounding song; "Last Lift Down" is merciless brutal thrash, and those who survive will hear the other technical, this time purely instrumental, piece: "A Moment of Sobriety", which is a whirlwind of riffs and fast mind-blowing leads, alternating fast with slower parts to a startling effect. And one more speedy retro thrash bomb after it: "Vamos!", which puts an end to this great effort showing a band "flirting" successfully with both the straight and the very technical side of the genre blending them in a fairly interesting way. Still, despite the high quality of the music here there remains the feeling that the best from these talented guys is yet to come...
"Lost Control": the guys seem to have "lost control" here since their approach is even less restrained on this hyper-energetic roller-coaster which sees the band seamlessly blending furious guitars with sophisticated technicality. To these ears the former side is more strongly accentuated on, the template changed to an extent by the more elaborate "C.A. Riverplate", and the cover of Holy Moses' "Reborn Dogs" in the middle, the latter given a bigger deathly boost. Death metal stays around for the maddening "The Impact" which "impact" could be shattering for the less prepared, and it can by all means be felt on the following rager "Red Blood Bey". The closing "Oort Cloud" is a progressive oddity the delivery altered to much slower dramatic build-ups, a purely, and quite surprising, instrumental exit from this fairly wild, again less ordinary, effort.

No Hush Till Thrash Full-length, 2003
Deranged Full-length, 2006
The Age of Demise Full-length, 2009
Lost Control Full-Length, 2013

Official Site

THE OFFERING (CANADA)

This is bombastic modern thrash/death/black metal which operatic qualities at times reach a Cradle of Filth-like pomposity. The blast-beating passages are too many for the thrash metal fan to be totally immersed in this recording although there's quite a bit of thrash to be heard (the varied stomper "Legions Through The Breach"; the more lyrical symphonic thrasher "Ember To Ashes"; the more technical shredder "Fleshwar"). The vocalist is a sheer Danny Filth impersonator, and his shrilling timbre may be quite annoying for the more squeamish.

Codex Mystirium Full-Length, 2016

THE OLD FOUR (CZECH)

The groovy post-thrash patterns have settled here, and it seems as though they would never leave; well, not quite since just when one adjusts to the repetitive, peaceful formula, comes a melo-thrash/death section ("02 1949") to wake him/her up with a solid portion of headbanging mosh. Moments of the kind are a rarity so there won't be many fallings off the chair. The guys also take part in the metalcorers Sedative, and the melodic death metal outfit Bone Orchard.

Jump into the Grave EP, 2009

Official Site

THE ONLY SURVIVOR (UZBEKISTAN)

Based on "Bloodshot Doom", there's only one musician hiding behind this moniker, the real name Yuri Bessonov, who indulges in quite cool ripping all-instrumental classic thrash which veers towards the death metal realms ("Pathology of the Will") on the more vehement material, but expect also stylish technicality ("Bloodshot Doom") unleashed as well, right next to thicker more ambitious progressive excursions ("Everything Rolls into Tartarus") and demolishing straight-ahead headbangers ("Malicious Destroyer", "Herd Conformity"). Watch out for "Megalomaniac Nonsense", a futuristic technical shredder with echoes of both Vektor and Theory in Practice.

On the Sensations EP, 2018
The Living and the Dead EP, 2019
Critters Full-length, 2020
The Birth of Anger EP, 2021
Bloodshot Doom Full-length, 2022

Official Site

THE ORDER OF CHAOS (CANADA)

Based on "Burn These Dreams", these Canadians provide happy-go-lucky modern power/speed/proto-thrash which to these ears sounds like a hybrid between Children of Bodom and more recent Iced Earth with the odd heavy metal tune ("For Another Moment") added for maybe not such a good measure. This is really mellow stuff in which the female vocals surpass the male ones in terms of both quality and range, but their tender nature is well more suited to the relaxed character of the music. Some of the band members can also be seen in the much more aggressive formation Death Toll Rising where the style is classic death metal.
"Apocalypse Moon" is again more oriented towards the speed/power metal audience, and more intense cuts like "Indoctrination" may sound a bit awkward on the mellower background, the latter also graced by sweet semi-balladic moments ("Downfall"). There's not much thrash to be savoured here, but there's a lot of dynamics and some really nice inspired high-strung female vocals.
"Maniacal" carries on in the same vein; in other words, don't expect too much thrash encountered. The guys alternate brisk speedsters ("Twist of Fate") with heavy volcanic pounders ("Believe in the Demon"), the soft poppy title-track betraying the otherwise effective power/speed metal tactics, hitting the caramelized hard'n heavy parametres with the sagacious help of a cool female vocalist.

The Order of Chaos Full-length, 2009
Burn These Dreams Full-length, 2011
Sexwitch EP, 2012
Apocalypse Moon Full-length, 2015
Night Terror EP, 2018
Maniacal Full-length, 2020

Official Site

THE OUTER LIMITS (BULGARIA)

The debut: this is a side project for some members from the progressive death metallers The Revenge Project. The guys acquit themselves with ripping old school speed/thrash along the lines of Forbidden and Heathen, a striking resemblance with the former act also in the vocal department. The music here is perhaps a bit more aggressive with the casual insertion of the blast-beat, and generally the band shred with speed which seldom degenerates to slower confines. The approach is right as rain without any technical or groovy deviations. The title-track is a more moderate mid-pacer, but on the rest no mercy is shown the guitars cutting painfully making this effort a sure winner on the Balkan metal scene, especially after the heroes Ira Deum (also from Bulgaria) are no more.
"Apocalypto" follows a similar path with intelligent shredders like "Master Of The Flies" and "Thrashin' Maniacs" amply provided, raising the Bay-Area flag sky- high. The headbanging mania is on full-throttle with "Coma" serving a pacifying balladic, lead-driven passage, and "Greater Than God" trying to impede the wayward crescendos with a couple of more stomping sections. "Back To Yesterday" softens down with a portion of merrier speed/power metal developments those also staying around for "The Final Day" which is indeed the final piece, a varied speed/thrasher that closes this entertaining opus with the requisite doze of energy.

World Metal Domination Full-Length, 2014
Apocalypto Full-length, 2017

Official Site

THE OUTSIDE (GERMANY)

The debut: this new act deliver retro power/thrash with a few modern throw-ins. The overall style recalls more recent Iced Earth and Eidolon the singer carrying quite a bit on his shoulders with his emotional dramatic clean voice. The music is less striking being heavy and mid-paced and may wear thin at some point the band referring to Nevermore quite a bit in the second half consequently abandoning the few more dynamic structures from the beginning. This is well played, but kind of monotonous and not very original music which would find its most avid fans among the power/progressive metal fraternity. Some of the musicians (those who hail from Chile) also play in the death metal outfit Agonized.
"Dawn of the Deaf" is way more aggressive the band thrashing hard from the very beginning with the diverse, not very predictable, opener "End Of Trust" which changes time and tempo-changes at will still creating a lot of pleasant moments for the listener. The aggression diminishes later on, but the twisted arrangements remain reaching Extol-like heights on "Until The World Takes Us". Dramatic hard-hitting riffs will welcome you on the title-track which even reaches proto-blasting proportions at some point. More quirky rhythms near the end on "In Decadence", and especially on the ultra-hectic "New Disorder" which is also a standout progressive thrasher with more than a few faster-paced surprises. The closing "Of A Nation" is another impressive varied, headbanging shredder the band acquitting themselves with dignity producing a much better effort now seeing themselves moving forward with big steps, the musicians matching the vocalist's performance this time every step of the way.
"We Feel Through the Dead" comes with a more abrasive, noisier sound which may pull back the band's older fans as now the approach is closer to acts like Biomechanical and Altered Aeon, with the faster-paced material (the title-track, the short ripping "War Among the Poor") clinging more towards Darkane. The clever technical quirks from the preceding effort aren't given too many chances as the mechanical, sterile riffage doesn't tolerate such deviations too much. Not the best showing of the band, this opus leaves quite a bit to be desired, especially considering the musicians' calibre.

The Outside Full-Length, 2012
Dawn of the Deaf Full-length, 2015
We Feel Through the Dead Full-length, 2018

Official Site

THE PANIX (USA)

This act plays intense speedy thrash/crossover reflected in short blitzkrieg songs with direct stripped-down guitar work and a few more intriguing decisions (the surreal melodic riffs on "The Hillside"; the stylish technical sections on the furious "Crucifiction"). The guys have fun playing this merry unpretentious stuff which is aptly supported by expressive Kurt Brecht (D.R.I.)-like vocals.

WRKT Demo, 2009

My Space

THE PESTILENCE CHOIR (USA)

A pleasant surprise from Virginia this way comes: this band play cool, both melodic and semi-technical, stylish music which mixes the more recent melodic infatuations of more recent Kreator with a more vicious base resulting in memorable stuff which is never too fast and gets quite intriguing (the short puzzler "Power Trip") at times. "Neon Black" is exemplary modern thrasher-ism with plenty of memorable hooks to associate to, and "Cataracts" will bang your head with force its energy never lost till the end also reflected in the more engaging closer "Doppelganger Effect" which shreds cleverly for more than 6-min. The singer is an attached semi-shouter who is always intelligible if we exclude a few isolated higher screams those not handled that dexterously.

Gravity Hits Full-Length, 2012

Official Site

THE PETULANT (DENMARK)

Based on the full-length, this act provide cool modern thrash which has its more traditional, classic side ("Disciples") as well its more pounding, more officiant ("Reanimated") one. "Cadaverous Carnival" tries to bring the winds of death metal for a while, and "Dehumanized" makes attempts at a more technical play recalling the guys' compatriots Invocator, including on the nice atmospheric progressive closer "The Nation".

The Petulant EP, 2014
Dictum Full-length, 2017

Official Site

THE PIT (MEXICO)

While the world is waiting for a follow-up to the excellent "Libido Clerico", the Profanator guys are entertaining themselves with inferior old school thrash under this name. The music is fast, and is quite close to the approach of the Swedes The Crown: speedy, simplistic, with sparse adherence to blast-beats, and kind of one-dimensional. The aggression reaches death metal dimensions at times ("Inner Flux Of Rage", "Killing Messiah", the brutal closer "Night Of Knives") with a Swedish taste. This isn't completely bad, but there's hardly a hook or a riff to suggest at the guys' much bigger potential which should soon find a fuller realisation in the form of another Profanator effort.

Mechanical Jaws Invasion Split, 2006
Disrupted Human Symmetry Full-length, 2008

My Space

THE PLAGUE (USA)

Based on the "For The Faith Of Man" demo, these guys offer very good technically-minded thrash with a frequent change of tempos which create a somewhat frantic feeling including faster, aggressive parts. There are definitely touches of Forbidden and Deus Vult in the guitar department, but this band pull out sharper, albeit less technical riffs. "World Apart" is not a very successful attempt at the "ballad-meets-thrash" variation which tones down the intensity a bit, but the rest is quite a worthy slab of a less ordinary take on thrash.

"Games For The Insane" is much more straight-forward stuff, and more diverse. You can hear pure crossover pieces ("I Quit"), heavy/power metal numbers ("Scapegoat"); the rest is energetic thrash with a hardcore edge quite close to Nuclear Assault.

Games For The Insane Demo, 1990
For The Faith Of Man Demo, 1991

THE PORRIDGEFACE (SWEDEN)

Based on "Eyes on the Betrayer", this one-man project (the name is Anders Lindberg) pulls out a mix of classic and modern thrash quite close to more recent Annihilator offering a similar amalgam of fast and slow numbers. The Swede's musical proficiency is far form the one of Mr. Jeff Waters, of course, at least at this stage, but he manages to deliver some catchy tunes and crisp headbanging rhythms which come a bit too much on the longer material ("Voracity for Veracity") since the approach is fairly standard without any adventurous attempts. Anders sings in a slightly indifferent manner with a semi-clean mid-ranged voice again reminiscent of Jeff Waters' singing "exploits" on "King of the Kill".

Wow, the man obviously has a lot of time to dedicate to his music career and here comes a second release for 2013. The self-titled album is an obvious improvement over its sloppy predecessor the guy now moshing out with more attachment spicing his not very pretentious approach with sweeps of melody which bring the winds of speed/power metal with them ("Retail-My Life", and elsewhere). The headbangers shouldn't be disappointed with dynamic cuts like "The Haunting Suspicion" and "AAA" around, and generally Anders has taken a good care of the faster side of his repertoire also adding a few more technical touches ("Zombie Jesus") here and there. If we exclude the not very convincing closing semi-ballad "A Funeral Just for One" the rest is pretty acceptable; the guy should work on his vocal performance, though: his not very attached semi-declamatory antics are now not on par with the bigger musical skills on display.
"Human Shape": no more "wows" here; the guy dedicates all his time to making music which should be a feat in itself. This album, which may not be the last one for this year, is another display of the man's staple style the production falling behind a bit due to the fuzzy guitar sound which may have been applied intentionally. The delivery is a bit more varied with frolic cuts like the crossover-ish "In Fraud We Trust" and the hard'n heavy title-track. Real hard-hitting thrash is first encountered in the 2nd half on "Babylon" and later on the more moderate "After Lie", but the concentration this time is strictly on melody and optimism which is also reflected in the better, more inspired, vocal performance.

"Lifestream": the guy is on fire with two full-lengths (that's relative) released in 2014... this is what I call a truly dedicated to the cause metal musician. This effort here is only five tracks and doesn't betray the highly energetic delivery already witnessed on the preceding works. The album is well balanced between all-out thrashers ("Liar's Inc.") and more moderate speed/thrash hybrids ("Hallowed Be Thy Shame") "Damnation" being the relaxed power/speed metal anthem.
"Infinite Screams" is another 6-songer seeing Anders pitching it higher in the vocal department accompanying music which is more on the speed metal side, but will keep the fans entertained throughout with blistering hymns of speed which will be highlights even on albums like "Walls of Jericho" (Helloween) and "Into the Dark Past" (Angel Dust): "Facts of Contrition", a supreme display of soaring roller-coaster musicianship; the short crossover-laced "We Have Variety"; etc. "The Passion Play Shunts" is a gothic power metal reliever, another very cool number, before the closing "Heeding The Cull" notches it up with more merry fast-paced rhythms. Anders is doing a good job currently and his short opuses are really worth hearing if not for anything else, at least for nostalgic reasons... this is so old school, baby!
"Bleed for Speed": there'll be hardly bleed for speed here, but the guy has done a decent job again serving his now expected brand of classic speed/thrash which is again more on the speed metal side with frequent intrusions from power metal (the anti-brutal "The Brutality of Reality"). The second half is kind of skippable, though, with heavy rockers ("Deaf Forever") fighting for domination with more aggressive speed/thrashers ("Infinite Screams") the latter reaching a crossover pitch on the shorter material ("Positive Thanking"). "Tribute to Life" is a surprisingly good acoustic ballad, and the closing title-track is a sweeping headbanger, a fitting exit to this uneven, but an overall satisfying tribute to all things old school.
"Shadows of My Soul" commences with the optimistic speedster "Mr. Precedent" which sets the tone for the remaining material with milder heavy rockers ("Hell on Earth") inevitably inserted, breaking the speed metal stride. The title-track is a more ambitious progressive composition marking another departure from the prevalent light-hearted faster-paced approach.
"No Regrets": no regrets under any form here the band focusing on the thrash/crossover idea almost exclusively this time with optimistic roller-coasters like "Mother Earth" and "Trash!" freely provided, the casual heavier pounder ("Corruption") ensuring the variety on this short, a bit over half an hour, effort which even finds the time to offer one more contrived piece, the jumpy versatile closer "Blitzkrieg Med Ica-Stig".

Canon of Ugliness Full-length, 2011
Eyes on the Betrayer Full-length, 2013
The Porridgeface Full-Length, 2013
Human Shapes Full-Length, 2013
Lifestream Full-length, 2014
Infinite Screams Full-length, 2014
Bleed for Speed Full-Length, 2015
Shadows of My Soul Full-Length, 2017
No Regrets Full-Length, 2018

Official Site

THE POSEURS (RUSSIA)

Three songs of merry roller-coaster thrash/crossover; this is uplifting stuff also sharing some of the alternative vibe of acts like The Offspring and Green Day with only the hoarse drunken vocals a slight pullback.

Promo Promo, 2010

THE POWER TRIO FROM HELL (USA)

This "power trio from hell" could have mistaken its whereabouts because this is some bland soft proto-thrash (that's very relative) mixed with heavy/power metal with serious glammy pretensions on the mellower moments. Except for the closing stylish shredder "Myre" there's not much energy to be encountered; this is peaceful boogie stuff with good soulful clean mid-ranged vocals.

American Man Full-Length, 1993

THE PRIEST (FINLAND)

This is first-rate fast blitzkrieg modern thrash which moshes out with more style than usual frequently bordering on the technical ("Makaberzer"). The less serious side of the guys' repertoire in reflected in short bursting headbangers ("The Musketears"). "Witch-Hunt" is a nice choppy steam-roller with spinning, overlapping riffs; a really heavy piece which flows into the intricate mosher "Conspiracy" which twists and turns into not very predictable directions also slowing down in the middle. "Doppelganger" is a stylish galloper with sudden speedy, also very technical, outbreaks; and "Captive Of Ruins" is a varied shredder with maddening deathly passages taking turns with super-technical vortexes. "Katie, Katie" is the seeming relaxer with direct, more orthodox guitars and a nice balladic mid-break; and "Web" isn't too far behind being just a heavy pounder. Not to worry since the guys haven't abandoned the complex arrangements, and here comes "The Collector" to shatter your senses with indigestible riff salads and great melodic leads. "Traumatized" closes the album with plenty of style thrashing with some of the most technical, spiral-like riffs around. Such good technical music hasn't been heard from Finland in a looong time, reminding of the great heritage the country has when it comes to technical metal: Stone, Nomicon, Demilich, Maple Cross, Protected Illusion, etc.

Code of Secrecy Full-length, 2016

Official Site

THE PROFESSOR (USA)

Based on "Skygazer", this band play a far-reaching conglomerate of heavy, power, speed, thrash and progressive which not very conveniently is at times accommodated by brutal death metal vocals, the main performance behind the mike being on the much more fitting clean attached side. There are epic semi-balladic pageants ("Empire's Citizens"), overlong overdone progressivers ("Sapientia Mundi"), and a few more delectable power/thrash combinations ("Siphoning Consciousness"). The closing "Exodus" is another worth mentioning number, a melodic epic stroll with officiant heavy rhythms.
"The City on the Edge of Forever" follows the same encyclopaedic pattern, the band sticking with their progressive infatuations, the title-track energizing the environment with brisk dynamic strokes, whereas "21st St. Mission" relies on mellower melodic overtones. "Let Me Help" is a spacey balladic filler, but "At the Wrong Time" is a fever-ish dramatic speed/thrasher which precedes the 17-min saga at the end, the second title-track, an epic power metal stroller which goes on for way too long to be considered a plus.

Clouds and Fire Full-length, 2017
Skygazer Full-length, 2021
The City on the Edge of Forever Full-length, 2022

Official Site

THE PROPHECY23 (GERMANY)

"... To the Pit": intense modern thrash metal crossing early Pantera with faster proto-death sections (the brutal blasting closer "Honor.Torture.War" goes a bit beyond that); not bad, with very heavy riffage and even classic-sounding at times ("Mind Your Own Shit", the excellent speedster "Struggle To Survive"). Although the word "thrash" features on a few times in the song-titles ("23 Thrash BC", "Brutal Thrash Maniacs"), music-wise there are not many references to the old school, including in the vocal department where the singer is a typical angry semi-death metal shouter.
"Green Machine Laser Beam" doesn't betray the band's staple sound if we exclude the bigger presence of death metal now which fills the album with ripping dramatic pieces ("Beyond The Purple Pipes", "Ice Road Trucker Vs The Sun") which get mixed with more conventional, and far less interesting, groovy tracks. The approach gets too mellow near the end the guys relaxing with laid-back crossover rhythms despite the contrast made with the expressive shouty death metal vocals which are still a match for at least half of the songs.

"Untrue Like a Boss" is less intense than the previous recordings now even reducing the dynamics to mere post-thrash for most of the time, leaving behind their more aggressive thrash/death roots. As a result the music is very radio-friendly also helped by a few variations on popular folk songs ("Video Games Ain't No Shame"). Crossover also reigns supreme quite a bit, and one will be relieved to hear "Action Metal", a pounding thrasher with a cool lyrical middle which is later matched by the ripping speedster "Tape Trading Like A Boss". This is a really weak effort which sees the guys experimenting beyond the border of the good taste, at least from their initial fans' point-of-view.
"Fresh Metal": how fresh this metal is, it's up to the listener to decide, but the truth is that the band have messed it up even worse than on the previous recording, playing some insipid bland brand of rock/metal/hardcore which only generates some excitement on the oddly misplaced rude hardcorer "Pump It Up", and on the punk-ish outburst "I Wish I Could Skate". The rest would be a little more than a total waste of time, and not only for the trash metal fan.

No Future for the Dead Full-length, 2005
Immortal Attitude EP, 2007
...To the Pit Full-Length, 2010
Green Machine Laser Beam Full-length, 2012
Untrue Like a Boss Full-Length, 2014
Fresh Metal Full-length, 2020

Official Site

THE PURIFICTION (FINLAND)

This band play modern semi-progressive power/thrash which is surprisingly characterized by short pieces, but their seeming immediacy conceals several intriguing decisions: check out the jumpy "Apophis", for example, or the stylish headbanging mechanics epitomized on "The Catalyst". Elsewhere the delivery is more orthodox the dominant mid-tempo riffage not generating the necessary doze of excitement except for the singer whose clean emotional croon is clearly one of the highlights here.

Unquiet Full-Length, 2015

THE RAVEN (TURKEY)

This act offers dark, gothic-tinged thrash with certain doom shades and raspy black metal vocals. The guitars are melodic, staying more on the classic side, and the pace never leaves the mid-parametres so this approach on a longer release may tire a bit.

Armageddon Demo, 2004

Official Site

THE REALITY (HUNGARY)

These Hungarians play very cool ambitious progressive thrash with long complex, compositions where more dynamic thrashing alternates with slower, more elaborate decisions especially on the energetic shredder "Identities" which stylish flourishes are marred by the bad gruff semi-death metal vocal delivery. "Adressed Conscience" is another vigorous progressiver with shattering riffage and very good bass support the latter forming a great duel with the leads. The "Epilog" at the end is over a min of intense thrashing sounding like a rehearsal for a longer, more complex track.

No Problems..., All Right... Demo, 1991

THE RECKONING (USA)

Based on the "Absence of Mind" demo: fairly good technical thrash metal along the lines of Forbidden's "Twisted into Form" and Wargasm's "Why Play Around". "Immortal Majority" contains the more aggressive and faster material with the sound frequently rubbing shoulders with Vio-lence's "Eternal Nightmare" and Viking's "Man of Straw".

Immoral Majority Demo, 1989
Absence of Mind Demo, 1990
This Side of Tomorrow Demo, 1991

THE REDFLUX (PUERTO RICO)

A power trio from Puerto Rico who offers good progressive power/thrash metal with heavy meaty riffs of the more modern type, well expressed on the excellent opener "Blood Was It's Avatar" which crushes with 10-ton hammering riffs. "Pridian" is more relaxed and faster aiming at the power/speed metal crowd, but "Snake in the Grass" goes up a level retaining the speed, adding a more aggressive proto-death edge to the proceedings, ending up being a nice energetic thrasher. "Natural Selection" returns to the heavy steam-rolling riffs from the opener, with a bigger sense of melody. "Impeding Doom" is a cool galloping technical number with a faster melodic speed metal ending; nothing doom-oriented here. The closing "Release" is nice progressive melodic thrash which despite the few borrowings from the Swedish scene, wraps it up nicely with intense mid to up-tempo riffage. The singer is a kind of a drawback with his gruff semi-death metal timbre, and the sparse clean indifferent vocals are hardly the best possible assistance to them.

An Inminent Decline Full-length, 2008

Official Site

THE REDHEAD PROJECT (UK)

Based on "A Nation Divided", this band play cool classic power/thrash with echoes of mid-period Megadeth including in the clean mean-ish vocal department. Some hard thrashing can also be encountered ("No One Knows") on occasion as well as a few radio-friendly rockers ("The Scum"). The latter are compensated by energetic bursters like "Silence Isn't Golden" and formidable gallopers like "I Don't Know You", but the guys are by all means interested in a wider gamut of fans not intent on entertaining the thrash metal audience with mild closers like the Motorhead-ish "Dinosaur".

The Ringmistress Full-length, 2013
A Change of Scenery Full-length, 2015
Wolves EP, 2016
A Nation Divided Full-length, 2016

Official Site

THE REGIME (USA)

Based on the debut EP, this band plays dead serious but also quite typical for the time, American power metal with touches of thrash. The music flows in milder speed/power metal proportions until it reaches "Into a Trance" which is a cool semi-technical galloper, followed by the short energetic thrashy instrumental "The Reign" and another, leads-only, but pretty cool "Etude #1" which shows the guitarist in a very bright light. After that the delivery slides towards the darker power metal mould with the final "The End" a really good atmospheric creeper. The singer is an asset with his mid-ranged timbre singing in an attached clean manner, but even he pales before the guitar pyrotechnics which are truly impressive reaching Yngwie Malmsteen-like virtuosity marred a bit by the thin sound production.

Dead Serious EP, 1987
Knucklesandwich Full-length, 1989
U.G.L.Y. Full-length, 1991

My Space

THE REIGN (USA)

Although three of the songs on this 4-track demo are over 8-min long, this isn't technical stuff; this is heavy mid-paced, even doomy at times power/thrash metal. The guitar work is interesting and keeps the tempo alive; rest assured that you won't fall asleep. Each of the long songs starts with slow, pounding riffs as pure doom metal, and livens up later on. The only short track, "The Last Laugh", is actually an instrumental which speeds up a bit, but the guitars there are more melodic. The vocals are gruff and low-tuned with a slight death metal shade.

Act of Penance Demo, 1991

THE REMAINS (COLOMBIA)

A more classic brand of thrash which is aggravated by the harsh deathly vocals the latter soaring above the not very edgy mid-paced scenery which by all means tolerates involuntary bouts of aggressions ("The Revenge"). "The Endless Blue of Her Universe" is a lyrical semi-balladic progressiver which sadly influences the second half where a couple of more sleepers have been added to a not very positive impression, the album almost completely losing its initial energetic appeal.

The Labyrinth Within Full-Length, 2019

Official Site

THE RESISTANCE (SWEDEN)

Based on "Coup de Grace": half the Swedish metal constellation (members of Ceremonial Oath, The Haunted, Dimension Zero, Soilwork, Carnal Forge, etc.) have gotten together for the creation of this faithful tribute to the Swedish thrash/death metal canons. The staple abrasive sound of early Entombed and Unleashed has been reintroduced, and consequently the approach is closer to death metal despite the presence of several wild thrashing rhythms ("Resolution", "Enslavement") and the more discordant hardcore-ish vibrations of cuts like "Art of Murder". The vocals are vintage Lars Goran Petrov (Entombed) performed by the The Haunted throat Marco Aro.

Rise from Treason EP, 2013
Scars Full-length, 2013
Torture Tactics EP, 2015
Coup de Grace Full-length, 2016

Official Site

THE RETALIATION PROCESS (GERMANY)

Dry mechanical riffs hit you from the get-go to produce cold robotic atmosphere on these four songs of dynamic modern semi-technical thrash metal which provides the necessary doze of intense speedy riffage which comes intercepted by mellower alternative/progressive sections the latter holding quite a bit of potential which should be elaborated on future works.

Death Is A Gift EP, 2011

THE RETURN (USA, PN)

This is decent retro power/thrash which clings between friendly mid-pacers ("Catalyst") and heavy Bay-Areasque steam-rollers ("Havoc in Deadlock"), the more complex progressive veneer of "Drip by Drip" standing for the highlight, the hyper-active "Brink of Abolishement" dispersing sharp lashing riffs at will, the harsh shouty hardcore vocals only working on the more immediate speedier cuts.

What Power It Holds Full-length, 2000

THE RETURN (USA, CA)

The EP: this US duo unleashes raw chaotic black/thrash metal of the old school, on the slower moments sounding very close to the early "atrocities" of Hellhammer, whereas on the faster ones the sound moves towards early Bathory and Slaughter. This is really primal and compulsive, and as such should be respected recreating the era just perfect. The singer is very suitable with his gruff sinister semi-whispered delivery very close to the one of Killjoy on the Necrophagia debut.

Hell EP, 2009
Back To Hell Full-length, 2017

Facebook

THE RISE OF OPHIUCHUS (PORTUGAL)

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

Serpentarius Full-Length, 2010

Facebook

THE RIVERVIEW NIGHTMARE BAND (USA)

This obscure formation specialize in dark hypnotic thrash with heavy stomping riffs and harsh, semi-death metal vocals. The guys march on with a steady mid-tempo "artillery" "World of Shit" a particularly evocative piece of pounding, steam-roller thrash. The lead guitar work isn't bad, but it comes with a more accentuated boost which makes it sound like having been taken from another recording, and pasted on top of the rest. The band later changed their name to Fatal Hatred and started playing death metal for the release of three demos in the early-90's.

The Riverview Nightmare Band Demo, 1989

THE ROCKING DILDOS (USA)

Based on the debut, this is merry but intense thrash/crossover, the guys lashing fast and wild almost the whole time through the 18 tracks the majority of which seldom hit the 2-min mark, accompanied by appropriate harsh semi-death metal vocals.

On Speed Full-length, 1997
Horny Hit Parade Full-length, 1997

THE RUINED FEW (USA)

Modern abrasive post-thrash which is accentuated by quarrelsome shouty deathly vocals. On the music front we encounter both heavy pounding ("A War to Remember") and more intense semi-technical developments ("Plagued by Conformity"), the squashing nature of the majority of the material recalling both Pantera and Puncture. Some of the musicians are also involved with the doomsters Las Cruces.

Plagued by Conformity Full-length, 2021

Official Site

THE SALESMAN (USA)

This outfit specialize in a modern blend of power and post-thrash/thrash which definitely has some progressive pretensions with the quirky psychedelic decisions on "They Awake" and the weird vocal duel between the harsh deathly and the emotional clean ones, the trippy spacey "traps" becoming way bigger on the 8.5-min saga "Sphere", a larger-than-life conglomerate of Voivod, Devin Townsend, Rush and Mastodon, and interesting, albeit a bit overdone odyssey which loses the thrash completely the latter brought back to an extent on the more dynamic, more common shredder "Uncommon Ground", with the short intriguing air-header "Igwl" moshing with both verve and eccentricity, the biggest bomb thrown at the end in the form of the closing "Quietus", a nearly 20-min long finale which focuses on Hawkwind-esque psychedelia with nice melodic tunes circling around the hallucinogenic visions some of those bordering on balladic tranquillity; an interesting recording that may not appeal too much to the diehard thrash fanbase.

Awecnan Full-Length, 2018

Official Site

THE SCOURGE (USA)

Based on the full-length, this band play highly dynamic retro speed/thrash which is openly complex and progressive ("Progressive Forms") more than just now and then, the shredding impetuousness of "Death Draws Near Dark" recalling the musicians' other engagement, none other than the legends Helstar. Deviations from the intriguing path like the uplifting crossover shorter "Warrant For Execution" and the epic "Hellbound and Down" may be frowned upon by the hard-liners, but the final 10.5-min saga "The Cross on the Wall" will put a lot of smiles on the fans' faces, an encompassing multi-layered composition which fully epitomizes everyone involved, including the cool dramatic clean vocalist.

First Comes Destruction EP, 2014
Warrant for Execution Full-length, 2019

Official Site

THE SCOURGER (FINLAND)

A band who walk the line between the modern and the classic sound; while their debut is more on the modern side, and doesn't sound too different from hundreds of similar efforts, with "Dark Invitation to Armageddon" the guys aim at the classic school and do a much better job. This is encompassing music which stays much closer to thrash metal with very few traces of death metal, and has something in common with the Bay-Area scene, Slayer, and also Destruction and Kreator. There's a very good balance between fast-paced pieces ("Never Bury the Hatchet") and heavier slower ones ("To Tame a Life") having a strong late 80's Slayer influence; some are cool combinations of the two: "Beyond Judas". The guitarists have a good sense of melody and some lines are very catchy and memorable: check out the brilliant "Dark Invitation to Armageddon", among others. A sparse use of keyboards in the background can be heard on some songs ("Last Nail to the Coffin") which gives them a cool dark atmospheric edge. If the debut was of a more ordinary nature, with this album the band make a major step towards the front row; well, it takes more to reach it but if they go on in the same vein, it wouldn't be hard...

To the Slayground EP, 2005
Blind Date With Violence Full-length, 2006
Dark Invitation to Armageddon Full-length, 2008

My Space

THE SEED (SPAIN)

The debut: heavy abrasive modern thrash with sparse classic tendencies; there are angry parts ala Pantera, there are a couple of doom/stoner leanings ("The Yellow Path"), but there are several very energetic headbanging moments (those with the more classic riffs) as well as stylish balladic insertions here and there. The singer is the prototypical semi-death metal shouter.

"Pull the Trigger...and Bite This Bullet" offers more serious musicianship which is reflected in longer compositions, but still there's not much excitement generated; this is the good old groove over and over with one exception: the energetic mosher "Modern Entertainment". "Suffering Pride" is a playful nod to early Pro-Pain, and "Personal Instinct" is a more dramatic lasher with brutal, almost death metal-like, riffs.

From Nowhere to No One Full-length, 2010
Pull the Trigger...and Bite This Bullet Full-Length, 2013

Official Site

THE SENSELESS (AUSTRALIA)

This band, who is led by Sam Bean, a former bassist of the grind/death metal "freaks" The Berzerker, play "senseless" "floating", modern thrash which gets mixed with hardcore and grind the resulting mixture too brutal at times to fully capture the regular thrash metal fan's attention. Industrial arrives with the longer numbers in the middle and this is when the delivery comes close to the one of early Strapping Young Lad ("White Flag"). The 2nd half makes more sense generally with longer cuts and more expertly executed arrangements which come for the sake of the aggression and the more polished guitar tone.

The Floating World Full-Length, 2012

Official Site

THE SEQUENCE OF PRIME (SPAIN)

Based on "Virion", this one-man show performs heavily-industrialized thrash of the modern school, of course, with very fuzzy guitars and harsh amateurish synthesized vocals crossing The Strapping Young Lad with late-period Skrew to a mixed effect. The guy keeps the dynamics high, but the annoying buzz of the guitars doesn't help the listener a lot who may find it hard to distinguish the riffs on some tracks. The closing instrumental "Compression" seems to work the best being an intriguing exercise in guitar-oriented industrial with dramatic escalating arrangements.
"Inter-" is a furious offering focusing on more aggressive riffs and more industrial noises, but the latter seem to work well on the pretty dynamic guitar background. The guy thrashes with passion reaching Ministry and Skrew-esque extremes with ease without also missing on the more dramatic orchestral arrangements of mid-period Front Line Assembly (remember "Hard Wired"): the excellent operatic "Denouement". The rest of the material is much shorter sticking to intense speedy parts which come with vivid guitars and sudden sonic turns topped by heavily synthesized, and not very pleasant for that matter, vocals. The man, whose name is Brandon Duncan, spares more time for his other project: the industrial doom metal act Inchoate with whom he already has four full-lengths.

The Sequence of Prime Full-length, 2007
Virion Full-length, 2010
Inter- Full-length, 2012

Official Site

THE SHINING (HOLLAND)

These Dutch entertainers offer (based on the "Rise Of The Degenerates" EP) fast blitzkrieg classic thrash/crossover which, despite the short songs (1-2min tops), manages to provide the necessary melodic digressions the latter always very short, but satisfying enough to create a short explosive portion of good old stuff also characterized by a good bass bottom, a pristine sound quality, and expressive shouty vocals. Some of the band members play similar music in Rupsband.
"The World Is Fiction" is a concise brisk thrash/crossover affair with very short (1-2min) songs the guys bashing with vigour and passion, but also with a few musical aspirations nailing a bullet after bullet in the utmost stripped-down fashion.

The Shining EP, 2004
The World Is Fiction Full-length, 2006
The Flood EP, 2010
Rise Of The Degenerates EP, 2012

Official Site

THE SHOWDOWN (USA)

Based on "Blood in the Gears", this act plays a more aggressive thrashier version of the southern stoner/doom which spasmodically falls into brutal blasting "traps" which are fortunately not that many to break the monolithic doom patterns followed for most of the time. Those patterns provide mid-paced heavy, but vivid, music ably assisted by throaty angry semi-death metal vocals. The hidden track at the end is great high-octane doom ala Crowbar.

A Chorus of Obliteration Full-length, 2004
Temptation Come My Way Full-length, 2007
Feel Like Hell EP EP, 2007
Back Breaker Full-length, 2008
Blood in the Gears Full-length, 2010

Official Site

THE SHREDDERZ (INTERNATIONAL)

This is an interesting collaboration that sees the involvement of stars like Derrick Green (Sepultura), Alex Skolnick (Testament), Gary Holt ("Exodus), Dan Lilker (Anthrax), George Lynch, etc. for the production of a cool power/speed/thrash compendium which has its heavier ("The Beast"), playful catchy ("Stonedrider"), intense speedy ("Iron Storm"), epic ("Eye For An Eye"), and more overt speed/thrash ("Thunderpack") side, the nice attached clean vocals and the constant virtuoso guitarisms by all means tasteful ingredients, augmenting the musical pageants severalfold.

The Shredderz Full-Length, 2023

Facebook

THE SIDE WAR (BRAZIL)

Raw rough old school thrash/death which can be quite brutal ("Darkness Invaders") on occasion, with death metal taking over, but expect a couple of lyrical digressions on "Bestial Massacre", with "Never Say Die" even introducing a few highbrow epic arrangements. No such subtleties on the brief no-bars-held violator "Unholy Times", the guttural death metal vocalist creating more drama on the side with his cavernous, not always intelligible tirades.

Darkness Invaders Demo, 1990

THE SOULS UNREST (USA)

A death/thrash/sludge band; the music is very heavy, and references to EyeHateGod could be heard on quite a few times. If I have to choose a soundalike from the thrash metal field, that would be Lair Of The Minotaur, but this band here are more technical with nice twisted riffs involved at times (check out "Though I Fall").

The Souls Unrest Full-length, 2006

My Space

THE SOURCE (GREECE)

This band is the continuation of Negative Creeps, but the style here is nothing like the pounding groovy post-thrash of that band. The opening "X-Enemy" tells a different tale, being quite a dynamic headbanger, with the next "CoreShot" just a little slower offering plenty of galloping delights. The sound takes more aggressive Fear Factory-like dimensions with "Throw Out The Pigs", but "Bringing Out The Dead" is a milder 90's thrasher with a slight abstract shade ala mid 90's Voivod. "Five Steps" is a short frenetic piece followed by the excellent atmospheric "Serpents Rising" which still thrashes hard in the beginning. "Shell Shocked" is a pure classic thrash pleasure, but the extremity takes a brutal death metal shade on the closer "A Vision of Rejects" with a wonderful surreal progressive interlude thrown in the middle. This effort is much superior to the Negative Creeps output, and fans of the faster more dynamic side of modern industrialized thrash (Darkane, Biomechanical, Altered Aeon) will find their new favourites here. You'll make no mistake drinking from "the source"...

The Source Full-length, 2009

My Space

THE SPUDMONSTERS (USA)

Two of the band members later joined Pro-Pain, and this band's style bears quite a few resemblances to the more enjoyable early period of the more renowned act. The debut is the band's thrashiest offering, containing the fastest material the guys ever recorded ("Death Sucks", "Repo Man"); check also the crushing mid-paced "Self Proclaimed Expert", and the more stylish but still pretty intense shredder "I'm Not Guilty". There's some modern post-thrashiness sneaking in with the corrosive jumpy "Chains", but there's more than just a few ounces of vintage old school thrash to be squeezed out of the dynamic roller-coaster "Toe Jam/Preppy Peckernecks". Expect more fervent mid-paced riffage to befall you on "Have a Nice Day", "Breakdown" following the same path, this cut the closest to the early memorable Pro-Pain style, if we exclude the jolly frolic cover of Motorhead's "Ace of Spades" offered at the end, the vocalist managing to finely capture Lemmy (R.I.P.)'s inebriate hoarse baritone, as opposed to the hellish quarrelsome shouts the man serves on the other material.
"No Guarantees" is a much more controlled proposition, the guys having entered the modern thrashcore arena in way similar to Madball and Gang Green, the speedy expletives either belonging to the pure hardcore ("The Exploited") or to the speed metal-prone ("Dot Yer Eye") school, the more overtly thrashy character of "Haywire March" having no match here, the band seldom branching out into something genuinely metal-fixated here.
"Moment of Truth" is very similar in execution to the preceding slab, the guys sticking to the well-established thrashcore parametres, the heavy groovy cuts ("Sudden Impact", "Right Brigade") and more abrasive this time, the lively headbanging rhythms on "One Step Back" a nice but rarely glimpsed occurrence.
"Stand Up For What You Believe": those "monsters" are back to take part in the resurrection of the genre and "stand up for what they believe" sounding as crossover and hardcore as ever. The music now resembles Madball quite a bit and the catchy, more melodic antics of the old days are kind of forgotten, the band sticking to simplistic core-ish numbers which alternate between fast and slow moments. As a result we have an enjoyable, albeit hardly exceptional, offering which also has echoes of the more officiant, S.O.D.-esque stompiness (the closing "Nothing Remains"). Some of the band members are doing something similar, but groovier, with their other act Bloodclot!.

Stop the Madness Full-length, 1993
No Guarantees Full-length, 1995
Moment of Truth Full-length, 1996
Stand Up For What You Believe Full-length, 2011

Official Site

THE STAND (USA)

This is stomping crunchy thrash which prefers to stay within the mid-tempo confines often "plagued" by swirling and quite techhnical leads which are by all means superior to the simplistic one-dimensional riffage. The singer is not that bad with his clean attached voice reminiscent of a lower-pitched Joey Belladonna.

The Stand Demo, 1991

THE STEAMROLLERS (FRANCE)

This is groovy modern thrashcore with more lyrical leanings; don't expect any hard-hitting moments, there are attempts at a more energetic delivery ("New Hope", which also contains a nice stoner/doom passage), but the dominant tone is heavy and mid-paced at best. The singer has a friendly semi-clean voice reminiscent of Ricky Warwick (The Almighty).

Get Ready To Roll EP, 2011

THE STEEL EMPIRE (USA)

A very good mix of speed and thrash metal; of all the three tracks here one is a great thrashy Bay Area-influenced headbanger: "NYC Streets", one is a pure speed metal piece with a German flavour (Scanner, Helloween): "Quetzalcoatl (Aztec Messiah)", and one is a fine combination of the two styles: "Knight of the Bat".

Demo Demo, 1988

THE STILL (BRAZIL)

Based on the "The Real Peace" EP, this act plays abrasive power/thrash with a dominant stomping galloping motif which presupposes moderate headbanging although the noisy guitars aren't always pleasant-sounding, and the singer(s) shouts in an angry manner recalling M.S. "Scruff" Lewty (Hellbastard). This is a typical underground recording trying to keep up with a dying movement not sharing much with the trends at the time.

The Day That Laugh Died/In Your Head Split, 1992
The Real Peace EP, 1993

THE SWARM (IRELAND)

This Irish outfit specializes in modern thrash topped by ultra-brutal death metal vocals which are the most unsuitable choice for this kind of music, and that's why they are intercepted by less aggressive clean ones from time to time. The rhythms are heavy with frequent stretches towards the headbanging sector, and as a whole the music doesn't lack dynamics also recalling some of the NWOAHM acts (God Forbid, Chimaira).

Bruise The Flesh To Black Full-length, 2002

THE TARDS (USA)

Based on "Guillotine", this act pulls out modern thrash metal hesitating between heavy stomping riffs and straight thrash/melo-death sections. Still, the best moments are the ones which don't belong to either approach: the merry crossover piece "Give Me the Guillotine", and the early Metallica worship "All the Way to the Grave". The singer is a forceful throaty semi-death metal shouter sounding quite close to the early Pyogenesis singer Tim "Asmodeus" Eiermann.

Damn Nation Full-length, 2008
Guillotine Full-length, 2010

My Space

THE TERRORDACTYLS (USA)

Based on the full-length debut, this act offer fast energetic thrash/crossover which abandons the carefree mood at times to acquire a more serious attitude: the thoughtful, but still pretty raging, thrasher "Into the Wasteland". After a string of short blitzkriegers comes another longer composition: "Drowning In Blood", which boasts a nice doom/balladic break even. Still, the highlight here remains the imposing "The Madness From The Sea" which is a seamless mixture of thrash and doom the two sides alternating within to a positive dramatic effect. This is a nice diverse listen which sees an act who definitely want to be more than just mere Municipal Waste or early Nuclear Assault copycats.

"Terminally Chill" is a prime headbanger from beginning to end which again marches forward with a hefty pinch of crossover plus added aggression from Slayer, above all, its "violent" nature also reflected in the short direct numbers the instrumental "Unfinishable" going towards the more brutal death metal fields. The closer "World of Ruin" is a pleasant surprise with its more technical approach and a few effective side-effects (keyboard surrealities, violin-driven "decorations", etc.) which can definitely materialize into something more substantial later.

The Terrordactyls Full-length, 2009
Unknown Terror EP, 2011
Terminally Chill Full-length, 2014

My Space

THE THINKING PRINCIPLE (UK)

This formation is the continuation of Inner Sanctum, an obscure technical/progressive thrash metal act, arguably the finest representative of this sub-genre from the British Isles. Both demos are an almost direct take on the previous band's sound; in other words, we have standout vortex-like music with many twists and turns, razor-sharp riffs, staying mostly in mid-tempo with frequent slower more laid-back parts, and a couple of aggressive straight thrashy sections. The sound here is jumpier than the one of Inner Sanctum meaning that here one can hear sharp brutal riffage suddenly replaced by a dreamy peaceful section, and vice versa. The best tracks are nods to their predecessors Cynic and Atheist ("Sadness Summons Me", "Recording Into Memory"), meandering through the progressive metal spectre, creating a nice contrast between biting guitars and more quiet moments. Hopefully this formation will last long enough this time to be able to come up with a full-length.

Dangerous Thoughts Demo, 2005
Slowly Forming Sanity Demo, 2006

Official Site

THE TRASTEN TRASTE (SPAIN)

Modern power/post-thrash of the more laid-back playful variety; at times their music reminds of their compatriots Heroes del Silencio, only more aggressive. The tempo is mostly mid with shifts into semi-ballads, the exception being the dynamic speedster "Volar Otra Vez". The Spanish heavy metal legends Baron Rojo are honoured near the end with a good vigorous cover of "ResistirT".

Homenaje a la Mentira Full-length, 1998

Official Site

THE TROOPS OF DOOM (BRAZIL)

Based on the full-length, this act specialize in fast ripping, blitzkrieg old school thrash/death which isn't exactly a Sepultura soundalike, like some may think due to the band name. This is more vehement overall, with bashing pieces ("Altar of Delusion") alternating with heavy steam-rollers ("Pray into the Abyss") and more fulsome tributes to the death metal realm ("The Rebellion", the wild violator "Deserters from Paradise"). The vocals are harsh semi-shouty death metal ones, doing their job in a subdued workmanlike fashion. Some of the musicians also play with the deathcore outfit Eminence, the death/thrash formation Necromancer, and the black/thrash cohort Darkest Hate Warfront.

The Rise of Heresy EP, 2020
The Absence of Light EP, 2021
Antichrist Reborn Full-length, 2022

Official Site

THE UNABLE (ITALY)

This Italian trio play heavy, not very conventional, groovy post-thrash with shades of stoner/doom and very good bass performance. The delivery is slow-ish to mid-tempo at best without any speedy ornamentations, and the singer is a shouty death metal growler.

Visions of Hate Demo, 2009

My Space

THE UNAVOWED (CANADA)

Based on the self-titled debut EP, these guys offer modern post-thrash with a heavy doze of groove which kills the inertia (if there is any at all) completely, and is starkly contrasting to the stylish melodic leads. The singer is another obstacle singing in a hysterical screechy manner the whole time.

The Unavowed EP, 2007
War EP, 2010

Official Site

THE UNCHALLENGED (GERMANY)

Excellent retro thrash is offered by this trio, mixing the more technical Kreator period (late-80's/early-90's) with later-period Death. The fast frantic technical opener "Masquerade" within the span of 2-min will tell you the story of both aggressive and more complex thrash metal before things take a more elaborate direction on the longer "Empire Of Insanity" which is a progressive thrash opus frequently changing pace and signatures, sounding quite intense at times as well. "Paranoia" is shorter, but the technicality is quite big, and this one is a stunning whirlwind of moods and riffs ala The Polish Sceptic and again Death. "Share Of Innocence" admirably speeds up, thrashing with both force and melody, being more direct compared to the preceding material. Great melodic leads can be heard on the speedster "Causal Reasons" which remains on the technical side of things. "Mindless Fools" is slower and brooding, crushing in mid-pace, before "Reversal" stirs the blood with another portion of technical speedy thrash which will take your soul with its magnificent melodic lead guitar work. "Unconscious Tyrants" carries on in the same vein, even going for a few blast-beats (the latter can also be heard on "Reversal" for a short bit). "Bringers Of Sadness" is the closer, toning down the speed considerably, relying on calm mid-tempo riffage with not much technicality on offer, but is a graceful epitaph giving more space to the very talented lead guitarist at the end.
Yes, indeed, these guys were unchallenged back in those days when the sad news of Chuck Schuldiner's death had just been released, and there was hardly an act to offer anything similar music-wise. Even nowadays when the Death followers are quite a healthy bunch, this album will easily put most to shame. The guys are still active, and hopefully something new will be "cooked" in their "kitchen". This album, by the way, can be downloaded from the link provided below.

Sceneries Full-length, 2001

Official Site

THE UNCROWNED (GERMANY)

Three songs of dynamic modern thrash with a few metalcore implements; this is energetic up-tempo music with melodic restrained guitars and brutal low death metal vocals.

The Uncrowned EP, 2010

THE UNHOLY (USA)

Thrash/post-thrash modernism which has its overt shades of stoned/doom as well, the intimidating deathly vocals working to an extent to aggravate the setting the latter still holding surprises for the headbangers like the semi-galloping "Successful Failure" or the surprisingly intense roller-coaster "Dystopia". Still, for the most of the time the listener will come across heavy groovy rhythms with strong earth-shaking qualities.

Enmity Full-length, 2019

Official Site

THE UNINVITED (USA)

Thrash/crossover, quite diverse, offering both quite fast and quite melodic numbers, but as a whole the music is not very aggressive with the punk movement more than just slightly hinted at. The guys often start a song in a speed/thrash early Metallica fashion, but never manage to sustain it in the same vein switching onto less hard-hitting punkish riffs the sole exception being the good headbanger "Thanatos", well supported by the brutal 1-min joke "I Hate The Bitch".

Systemwreck Full-length, 1986

THE UNIVERSE DIVIDE (USA)

Another talented outfit concentrating on all-instrumental compositions producing engaging, serious technical music with strong thrashy shades sitting somewhere between the more restrained intelligent shred of Canvas Solaris and the frantic, manic pyrotechnics of Electro Quarterstaff. So expect loads of time and tempo changes on both a dry/mechanical and spacey/abstract guitar background which co-exist quite well, also ably supported by very cool melodic leads and a pretty complex bass-bottom which at times even deafens the guitars. The guys speed up on occasion where the nods to later-period Death ("Cyclical Procession") and early Atheist are quite clear; but most of the time the delivery is pretty elaborate with slow and mid-tempo passages taking turns touching Coroner ("Of Optimism-The Glass Vein") on the more twisted moments with spiral labyrinthine signatures coming, and also disappearing, out of nowhere. This is all beautifully done without any overdone sections always brought to a logical conclusion after each load of stylish technical shreds.

Dust Settles On The Odontophobes EP, 2011

Official Site

THE UNJUST (USA)

A very good speed/thrash metal album calling to mind Agent Steel's debut and Attacker; there's an interesting vocal "duel" between clean high-pitched tones and some very low proto-death growling (guess who wins!) ones. The songs are kind of samey with a fast tempo and merge into one another; that's why you might not be able to distinguish one song from another in the long run, but this is energetic music, and fans of the speedier side of thrash will find a lot to like here.

Hammerhead Full-length, 1987

Vibrations of Doom

THE UNSANE (USA)

The band's EP was an inauspicious beginning featuring some raw fast thrash without any interesting moments. The full-length is an improvement in every aspect and contains very well played intense thrash (actually, music-wise both works are not too far from each other, but with better production qualities the full-length is way ahead) sounding like a nice companion piece to Slayer's "Reign in Blood". The guys play without compromises, blasting through the songs in a fairly intelligible way with a slightly abrasive, but very sharp guitar sound. "Next Left Eternal Rest" introduces some slower pounding riffs, but after it the aggression continues until the end.

Inverted Crosses EP, 1988
Slap of Reality Full-length, 1991

THE UNSLAIN (HOLLAND)

Based on “Descending”, this band play modern speed/power/thrash which is thrown at the audience with both fast-paced trips (“Quintessence”, “Unslain”) and galloping urgencies (“Within”), the epic side of the spectre covered by the militant “Eroded” and the more dynamic, more engaging journey “Into the Unknown”. The vocal duel provided as an accompaniment stretches from leveled mid-ranged clean croons to harsh death metal rendings.

We Will Battle Full-length, 2018
Descending Full-length, 2023

Official Site

THE UPHEAVAL (TURKEY)

This is evil black/thrash metal which has everything: blasting Cradle-esque passages, stomping doom riffs akin to Celtic Frost, evil misanthropic dirge in the vein of Khold, early primitive barrage ala Bathory, more stylish technical elements ala Drottnar on the unpredictable "Obey the Beast"; proto-groovy doominess ala later-period Satyrikon on the closing hymn "Failure Of Humanity". The singer is an unholy black metal raven doing a really good job behind the mike in enhancing the menacing atmosphere on this sure-handed entry into the black/thrash metal catalogue.

Failure of Humanity Full-Length, 2013

Official Site

THE UPRISING (SWITZERLAND)

Based on "Everlasting Sins", this act indulge in modern thrash/death which doesn't win much from the vocal duel offered, guttural death vs. screechy black metal histrionics. Othewrwise, this is varied stuff with both heavy atmospherics ("Everlasting Sins", "We Are The Sheep") and fast-paced propellers ("In Vain", "Exiled"), the former side more widely covered, the band distantly recalling their colleagues from Amon Amarth on the more epic material. Some of the musicians were earlier busy with the similarly-styled outfit Bleeding Hate.

Bleeding Hate EP, 2009
Fear the Truth Full-length, 2013
Exiled EP, 2016
Everlasting Sins Full-Length, 2021

Official Site

THE USURPER (GREECE)

Based on the full-length debut, this is rough abrasive thrash of the old school that doesn’t win too many points from the presence of the harsh semi-declamatory death metal vocalist. Still, the energy in the music sector is admirable, accentuated by rowdy fast-paced violators like “Usurper Attack” and “Killing Machine”, the seismic character of “The Serpents Grin” cast aside by “Parasites” and the hardcore basher “Under His Spell”, the final “Soldiers of Death” another less compromising hyper-active exposition. Some of the band members are also engaged with the thrash/deathsters Astrarot.
"I Am Hell" doesn't carve new paths, the speedy violators "Reborn" and "Ruler Of Hell" opposing the Celtic Frost-esque dirges of the title-track, whereas "Reaper Strikes Back" reminds of the militant tactics of the British legends Bolt Thrower. Expect no mercy later, though, with the near-death experience "Off with Their Heads", and although "Armed and Ready" is a short rock-ish filler, there's nothing stopping the bashing barrage on "Dethrone", this last cut also serving a cool doom-laden tractate.

Of Fire and Soul EP, 2024
Hell Breaks Loose Full-length, 2024
I Am Hell Full-length, 2024

Official Site

THE VENTING MACHINE (USA)

Based on "Shackles Be Gone", this act pull out cool crisp energetic modern/classic thrash which clings towards the progressive with shades of both Paradox and Manticora lurking in the background on the opening title-track, and stay there almost the entire time the only unmitigated annoyance being the "brutal/clean" vocal alternation as the former side of this duel is hardly necessary as the clean throat carries the album just fine. A few more brutal death metal strokes can be heard ("Dragons for Mouth and Mind") here and there, but also expect heavy semi-ballads ("Lust Hunger") with the clean vocalist more fully epitomized, as well as straight-forward hardcore-ish rippers ("Dying to Survive Myself"). "Elder Witch" is an exemplary diverse progressive thrasher with numerous nuances embedded, the highlight here, with the dramatic pounding "We Shall Carry the Torch" a close second.

A Death to Your Scene Full-length, 2007
Six of Cups Full-length, 2010
Ritual Burdens Full-length, 2013
Shackles Be Gone Full-length, 2017

Official Site

THE VIRULENT (USA)

The full-length: a trio from Houston, Texas, who specialize in brisk classic progressive/tech-thrash which isn't devoid of speed at all like "They Live" shows so well with its vivid overlapping rhythms, the classical virtuosities and the exemplary lead guitar work on "The Other 99" clear nods to Helstar's "Nosferatu". "Sacred Lands" is a choppy not very flashy shredder, but brace yourselves for a smattering headbanging showdown on "The Protocol... We Are the Virulent" which even introduces a brief blasting death metal passage. The singer is a mid-ranged semi-cleaner who manages to exude more passion on the more dramatic moments.
The EP is a tad more aggressive but by no means as striking, "Imperium" jumping on the death metal wagon for a bit, and "Modern Prometheus" mixing death and thrash on a sizzling dramatic base. "Computer Blue" tries to brutalize the environment with not very appropriate blast-beating segments, "Ritual of Chud" overflowing with catchy melodies, courting the Swedish melo-death movement to another less convincing effect.

Sentenced to Death Full-length, 2019
Imperium EP, 2022

Official Site

THE WAKE (USA)

Based on the debut demo, these guys offer cool melodic classic power/thrash in a solid mid-pace with very good clean emotional vocals. The actual songs are split by short 1/1.5-min instrumentals which aren't lyrical but carry a certain thrashy charge, too, and are graced by really good leads.

Tales and Tears Demo, 1991
Dark Is Better Demo, 1993

THE WANDERING ASCETIC (SINGAPORE)

Based on the full-length, these folks specialize in old school dark/black/proto-thrash which surprisingly is more on the atmospheric gothic side without any many speedy escapades. This is frequently hypnotic, plain doomy ("The Gods Bleed!") as well, stuff which will win you over with its minimalistic, not very pretentious overtones, especially if you like acts like Barathrum, Alastor, and even Kreator's late-90's period, the vocalist also clinging towards Mille's more subdued semi-recitals from that time.

Manifest Destiny EP, 2013 Crimson Full-length, 2019

Official Site

THE WANTED (GERMANY)

The full-length sees a band playing ordinary modern thrash metal in mid to up-pace, with vocal duels, melodic hooks, gothic mid-period Sentenced-like overtones, and a few classic touches (the nice headbanger "My Red"). The closing "The Falling" is a cool tribute to the doom metal scene. Some of the musicians involved here have also released another album under the name Encyclia which is pretty much in the same vein.

There Is No God EP, 2007
The Scarcollector Full-length, 2009

Official Site

THE WARNING (USA)

Based on the "Repent or Die!" demo, this band play intense dynamic thrash with firmly embedded uplifting crossover elements ("The Truth"). "Armageddon" is an excellent 2-min semi-technical instrumental, but the rest is barely average at best marred by the unrehearsed shouty vocals and the really bad sound quality. Later the guys changed their name to Eightball Cholos, and produced one album ("Satan's Whore") in 1996 of groovy sludgy thrash/death.

Repent or Die! Demo, 1986
Cut the Crap! Demo, 1989
Cut the Garbage! Demo, 1990

THE WARSLAIN (FINLAND)

Heavy groovy post-thrash with several faster Floridian death metal passages.

One Bullet Left Demo, 2006

Official Site

THE WATCH (IRELAND)

This Irish outfit deliver energetic heavy/proto-thrash with power metal elements hitting the mid-paced parametres as well ("Consumed By Venom") where the sound even becomes better and more serious. The problem is that this effort lacks bite and vigour the band feeling way more convenient when serving epic hymns like "Nice Night For A Walk". Among the 4 live tracks at the end there is one very cool cover of Burzum's "War" done in an appropriate pagan/viking manner showing the band's early infatuation with the black metal side of things.

The Watch Demo, 2005

Official Site

THE WATCH (USA)

This very little known trio plays doom-influenced power/thrash metal with deep clean vocals which are quite good and often capture the drama of Messiah Marcolin (Candlemass), albeit being lower-pitched. For this reason the more doom-oriented compositions are the more compelling ("Father of Time", the heavy riff monster "Second Thoughts", the cool doom ballad "Yet"), but rest assured that you won't fall asleep with more dynamic (read mid to up-tempo at best) power/thrashers like "DOA" roaming around. "Through Old Eyes" is an excellent progressive doom/thrash metal opus with haunting balladic sections, and the closing "Traxx" is a sudden, but a very welcome switch to sharp technical thrash, a really stylish finish to this quite obscure, but fairly interesting, effort.

Damn the Games Full-length, 1993

THE WEAKENING (SWEDEN)

Three songs of typical 90's groovy post-thrash; heavy repetitive riffs topped by brutal death metal vocals.

Demo Demo, 2008

My Space

THE WITNESS (SWEDEN)

This is all-instrumental classic thrash with a couple of black metal elements dispersed throughout. At times the shreds are fast and intense (the title-track), at others they're of the more welcoming power/thrash variety ("Fake Reality"). There aren't any leads epitomized, or very few attempts ("Overdosed Mind") at those, but there's at least one admirable strife at musical artistry, the progressive pageant "Awakening of the True Nature" which wins the listener with a portion of bedazzling melodic tunes.

Deathless and Unborn Full-length, 2020

Official Site

THE WRATH PROJECT (INTERNATIONAL)

The debut: former members of the modern thrash/deathsters/corers Colour Trip are at work here to continue with their former act's legacy. This is a relatively loyal faithful follow-up to the other band's style, but without the core this time, a modern thrash/death hybrid with heavy modern riffage crushing with power not forgetting about the more variable fast rhythms ("In This Age of Darkness") which are served with a pinch of crossover. "Fire and Iron and the Stench of Fear" is a formidable deathly steam-roller with semi-technical tendencies, and "Never Shall Rest" and "With Scorn I Seek Revenge" are short exploders leading to a couple of more intense numbers after it, making this effort a sure pick for fans of modern thrash/death metal.
"Der Zerstorer" comes with a very abrasive, nearly industrialized, guitar edge with formidable ragers ("Beast & Plague", the short Slayer-esque "Rules of War") taking turns with intense heavy pounders ("The Devil Knows") and some really impressive doom hymns ("I Bleed Black"). The majority of the tracks are ruthless fast-paced offenders, though, and this opus would be another hands-down recommendation for all the moshers around the globe.

The Cure Is the Disease Full-Length, 2012
Der Zerstorer Full-length, 2017

Official Site

THE WRETCHED (JAPAN)

An obscure, but worthy band who pull out good classic thrash metal, neither too aggressive nor melodic, but keeping a nice balance between both with occasional nods to heavy metal, and good clean vocals which will remind you of "Toto" Bergmann from Living Death.

Too Fast To Die Demo, 1990

Fan Site

THE WRETCHED END (NORWAY)

The full-length debut: three black metal legends, Samoth (Emperor, Burzum, Arcturus, Gorgoroth, Satyricon, Zyklon, etc.), Cosmo (Windir, Scum, etc.), and Nils Fjellstrom (Dark Funeral, In Battle, etc.) have joined efforts for the production of this atmospheric less ordinary take on the thrash/death/black metal idea which ranges from cosmic larger-than-life arrangements ("The Armageddonist") ala Bal-Sagoth, to straight-ahead retro thrashers ("Of Men and Wolves"), to bombastic gothic/black/doom pieces ("The Juggernaut Theory") in the vein of Dimmu Borgir and early Arcturus. There will be few to get bored here, although for the thrash metal fans the entertainment will hardly be all the way unless they can cope with the frequent interferences from the other genres.
"Inroads" follows a similar path relying on a wider genre mixture and a strong atmospheric background. The pace varies the whole time settling for a few effective slower numbers in the middle where the melodic hooks are quite impressive ("Cold Iron Soul"). The "idyll" is rudely broken by the raging "Fear Propaganda", and near the end comes the atmospheric blackers "Hunger" and the closing "Throne Renowned Of Old" where the hyper-blasts reign supreme amidst virtuous leads and pompous arrangements. Those who were happy with the 1st album will have no reasons to complain here, even the thrashers may find more moments to enjoy on this multi-faced opera.
"In These Woods, from These Mountains" is a grand effort although it has very little to do with thrash. This is progressive dissonant death/black/death akin to mid-period Blut Aus Nord and more recent Ulcerate; beautiful stuff which would appeal to the progressive metal fanbase as well.

The Armageddonist / Of Men and Wolves EP, 2010
Ominous Full-length, 2010
Inroads Full-length, 2012
In These Woods, from These Mountains Full-Length, 2016

Official Site

THE XOTIX (USA)

Friendly, rock-ish post-thrash with a grunge vibe and some cool vocal inclusions with an attached soulful flavour. "I Don't Crae" would please the doom metal fanbase as well with its heavy jumpy rhythms.

The Xotix Demo, 1994

THE ZEPHYR (MEXICO)

The line-up includes members of other acts from the Mexican thrash metal field: Lust, Raped God, etc. Based on "Fake Measured Smile", this is first-class technical speed/thrash easily beating the aforementioned bands as well as many others worldwide. The guitar work is very diverse, covering a wide spectre of tempos and hooks. The songs never indulge in a technical show-off, and are short, with a lot to offer. The pace is quite fast for most of the time, slowing down for more complex passages. Every track is a highlight some of them being truly outstanding: the energetic instrumental "Love Turn To Hate": a technical riff-fest at its finest; the short frantic "Stormy Day", the superb lead-driven "Yell With The Wind" which will startle you with its brutal death-laced ending; the speed metal delight "...Its Pay Time". "Just To Rise Again" steals riffs from Black Sabbath's "Heaven & Hell" at the end, but they are a nice touch to the frantic thrashing which precedes them. Probably the finest Mexican metal act of the new millennium, these guys will hopefully find time outside their other engagements to record something new soon.
"Impure & Divine" is a mix of black, thrash and death metal. The guitar work is not as technical, but the speed remains, often reaching out for aggressive ultra-fast passages. The music probably favours death metal most, but the thrash metal fan will be pleased on fast-paced death/thrashers, like the excellent "State of Mind" and "The God Who Kills". "Lunar Sea" is a very good example of the other extreme: a gothic doom/black number with nice melodic hooks, slow and very atmospheric. A nice touch are the two short acoustic instrumentals where the guitar performance is just brilliant.

Celestial Evil God EP, 1996
Impure & Divine Full-length, 1998
Fake Measured Smile Full-length, 2003

My Space

THE ZIGGURAT (USA)

Based on "The Plague of the Pallid Mask", this outfit pulls out modern industrialized thrash which is dynamic and vivid despite the sinister deep death metal vocals. The music acquires more laid-back heavy/power metal tones at times ("Ghost of Yibishnagarib") which make the singer even less suitable. There are quite a few lyrical/melodic passages to be heard (check out the excellent doomy, melancholic closer "Silent Hill") which give credit to the guitar players, but take away from the intensity quite a bit.

"Beyond the Threshold of Reality" has moved towards the Swedish death metal school almost exclusively, and as a result the speed has gone a few notches up with an interesting inclusion of both atmospheric and hyper-blast black metal moments. Thrash is still present, but it comes not very pleasantly decorated with hardcore ("The Serpent God"), or bonds with speed metal ("I Exist") in order to survive. A good sense of melody can be felt all over, too, mostly accentuated on the slower passages (the laid-back post-death metaller "The Neutronium Alchemist").

Hymns of the Cthulhu Mythos Full-length, 2004
Confrontation with the Disciples of the Shadow Walker EP, 2007
The Plague of the Pallid Mask Full-length, 2008
Beyond the Threshold of Reality Full-length, 2011

Official Site

THEATER OF MADNESS (USA)

This outfit were earlier known as Vatican and Marquis De Sade. Based on the 1996 demo, this is heavy power/thrash, strictly in the modern camp with the groove, the aggro-vocals and all the rest. The squashing rhythm-section naturally never leaves the mid-pace, but manages to keep lengthy numbers like the stomping doom anthem "Savior" moderately interesting. The guys changed their name to Kurai, and the style shifted towards the progressive groovy metal camp. The guitar player Scott von Heldt also had a moderately successful career in the all-instrumental sector in the 90's under his own name.

The Crystal City Demo, 1994
The Hunt Demo, 1994
Theater of Madness Demo, 1995
The Demo Demo, 1996

THEIA (BRAZIL)

This is retro black/thrash with horrifying screechy witch-like vocals; intense aggressive stuff which amplifies the hyper-blasts ("Sade") on occasion, but this is mostly crunchy mid-paced music ("Metal Pesado Ataque") or vehement fast-paced etudes ("Idade das Trevas") that side with the black metal side of the spectre more readily. The band members also play with the black metallers Cantus Infame.

O Fim Full-length, 2022

Official Site

THEM (CHILE)

Based on the "Journey Into the Unknown" demo, this band mix black, thrash and death metal, and although the musicianship isn't on a very high level, and the vocals are especially annoying having this hysterical black metal rasp, one could catch elements from Bathory, Messiah, Sarcofago, Protector, etc. The guys try to keep the speed high, and they manage to do that for most of the time.
The full-length debut is a wild "animal" fulfilling the expectations for an intense roller-coaster entertainment which can be both more engaging (the eventful opener "Blaspheme") or direct and aggressive ("Dark Symphony Of Death", "The Dead Smell Bad"). "Them" is a cool diverser blending slow pensive rhythms with wild outbursts, and "Azsesino" is a brisk speedster bringing sweet memories of the early days of the German scene. Some may try to "fuck like a beast" on "I Fuck Like A Beast" although its unbridled energy would be too exhausting for those who try. "Persecution" brings forward excellent technical leanings among the speedy barrage, and the final "Hidden Journey" is an encompassing speed/thrasher which combines all the elements heard previously into one plus adding a few more brutal death metal leanings in the 2nd half. This is a really good continuation of the guys' career showing that they haven't lost anything from their bite despite the long hiatus. Some of them also play in the thrash metal formation Corpus Depthia although so far they have only one demo released in 2000.

Journey Into the Unknown Demo, 1992
Hidden Journey Demo, 2006
Dark Symphony of Death Full-length, 2009
Final Chapter Full-length, 2013

Official Site

THEOCRACY A.D. (USA)

Based on the debut, this band play cool modern dynamic thrashcore which can be classically energetic ("Common Sense") at times, the complex thrashing opus "Cathartic Release of Aggression" another presence worth mentioning. Watch out for the lively speedy booster "The Least of These", and for the nice semi-technical shredder "Nothing but the Truth". The vocals are shouty quarrelsome, with an expressed but suitable hardcore blend. The band were earlier known as BloodBath, leaving a sting of retro thrash demos in the mid-90's.

Welcome to Our Island Full-length, 1997
Strength of Many Full-length, 2000
When Powers Fall Full-length, 2002

Official Site

THEODICY (GERMANY)

Modern thrash with both post-thrash and hardcore overtones; the sound is a bit industrialized and the rhythm section is quite crushing on top of the brutal semi-shouty death metal vocals. The band provide the odd headbanging oasis ("Servant of Two Masters" which reaches an almost death metal-like intensity; the closing manic "Crucifixion"), and the prevalent mid-pace is unexpectedly replaced by a more dynamic one in the 2nd half where the guys have much more fun moshing out in a carefree crossover fashion making the album way more attractive.

Cost Of War Full-Length, 2012

Official Site

THEOPHAGIST (LUXEMBOURG)

A classic death/thrash compendium which clearly has its more intricate side ("Recipe for Human Cake"), not to mention cool all-instrumental interludes ("Awakening The"); various progressive, encompassing sagas ("Terrors from the Deep") are also offered alongside officious doom/balladic odes (R.I.S.E."). "Adeptus Astartes" and the nice twisted closer "Apocalypse (Redux)" start shredding with more verve, but it's more epically-constructed Septicflesh-esque numbers like "Agony of Christ upon the Cross" that will make the listener listen with more care, and certainly the subdued but effective growling death metal vocals.

I Am Abyss Full-Length, 2020

Official Site

THEORIES OF THE APOCALYPSE (USA)

Modern melodic thrash/death which heavily relies on melody despite the slight buzz coming from the guitars and the harsh shouty death metal vocals. The music has a strange progressive colouring which is especially evident on "Ground Zero" and on the atmospheric quirker "United We Fall". The tempo is mid for most of the time the band very seldom feeling tempted to speed things up.

Theories of the Apocalypse Full-Length, 2016

Official Site

THEORIZED (INDIA)

The EP: classic thrash metal reminiscent of Kreator's late 80's/early-90's period with brutal death metal vocals; the guitar work is good with frequent stretches towards both a melodic and technical play including a haunting balladic outro on "Blackout" (which is not a Scorpions cover). There are speedy moments ("Dark Incarnation", "Raise the Dead", which is a nice Oriental-tinged composition), but the concentration is on mood and a more proficient, less intense, delivery.
The full-length is a stylish offering fulfilling all the promises from the EP without relying on the material from there. The approach is a bit more mechanized in the guitar department, but intensity isn't spared: check out the impetuous urgent shreds on "Symbiode" which is a swirling technicaller with echoes of Vektor and Altered Aeon. "Genetic Variants" is an excellent visionary robotic rager with cutting riffs and a cool jazzy break in the middle. "Riptide" is more immediate compared to the preceding numbers, but comes "Psychosphere", a modern progressive thrasher executed more officiously without too many technical decorations. Follows the headbanging delight "Venomous Tormentia" before the 2-part opus "Engines of Creation" arrives to provide more perplexing technicality, especially on the 2nd half where the band pull out their best performance. This is a fairly intriguing listen which isn't sustained in a thorough technical fashion the whole time, but will delight the listener with its seamless shifts from more immediate to more complex sections.

False Hope of Tyranny EP, 2009
Psychosphere Full-length, 2014

Official Site

THEORY OF NEGATIVITY (USA)

The debut: this band is the continuation of the very cool alternative thrashers Peace Corpse. Sadly, the music here (based on the debut) is pretty pedestrian groovy post-thrash completely lacking originality and emotion the only less visible merit being the cool forceful semi-shouty vocals.
"A Dead Area" is another noisy abrasive affair which stomps its way using tools like groove, stoner, sludge, grunge and all the rest which is fortunately served in smalls cuts and is consequently not as annoying although very few will be those to stay until the last 15th track.

Theory of Negativity Full-length, 1995
A Dead Area Full-length, 2003

Official Site

THEPLAKY (SLOVAKIA)

A bit rough, but not terribly bad, retro thrash with a shade of hardcore on the more bashing moments. The tracks are not very long, within the 3-min range, and boast impressive bass support and fast steel riffage, which comes with a bit of buzz at times. The leads are short, but surprisingly quite good, carrying the necessary doze of melody. The same, however, can't be said about the singer who semi-shouts in a drunken hardcore fashion with a gruffer death metal tone at times.

Welcome To Madhouse Full-Length, 1995

THERAPSIDA (HOLLAND)

Modern thrash metal with heavy guitar work and a couple of metalcore breaks; the music is very jumpy and not very predictable containing several intense headbanging passages, but as a whole it's not terribly different from the hordes of acts following on the steps of Trivium, Suidakra, Lamb of God, etc.

Left to Rust Full-Length, 2010

Official Site

THERIAC (HOLLAND)

This band was formed by ex-members of Pestilence. Based on the "Staccato Thrashio" 3-song demo, these guys have done a good job playing excellent fast-paced thrash, not as aggressive as the one on the Pestilence debut, but more along the lines of Torture's "Storm Alert" and Viking's "Man of Straw". This is a short, but memorable thrash assault with mighty speedy guitars and gruff low-tuned vocals.

Staccato Thrashio Demo, 1988
Claustrophobia Demo, 1990
Thoughts Demo, 1991

Official Site

THERIAC (SWEDEN)

Based on "Theriacish", this band play a genre that is hard to pin down as this particular opus consists of covers-only, with a wide range of styles covered, from the dark epic doom of their compatriots Candlemass (At the Gallows' End") and the frolic metal-ish boogie of early Black Sabbath ("Paranoid") to the abrasive industrial soundscapes of Front 242 ("Tragedy for You") and the trippy stoner vistas of Kyuss ("Green Machine"). In-between one can hear Judas Priest's "Grinder" and Twisted Sister's "Run for Your Life" among other evergreens of more or less popular rock artists. The not very expressive intimidating semi-shouty death metal vocalist is clearly a detriment, his colleagues only marginally more convincing providing a not very polished quasi-groovy post-thrash background. All this is performed by just one musician actually, going under the esoteric abbreviation SF.

Enigmatic Static Full-length, 2018
Theriacish Full-length, 2019

Official Site

THERION (UK)

Good aggressive retro thrash metal akin to Devastation's "Idolatry" and Atomica's "Disturbing the Noise".

Created In Hate Demo, 1989

Fan Site

THERMIT (POLAND)

Beer and thrash: a great combination, isn't it? These Poles have realized that only too well and music-wise (based on the demo) they don't disappoint pulling out intense stuff with Slayer an obvious reference. The guys thrash with passion also helped by the pretty good production, and somewhat hampered by the expressive thinly shouty vocals. Surprisingly, the Slayer nods get cast aside in the middle for the introduction of a couple of mellower speed/power metal tunes ("Mr. Two-Face") akin to later-period Helloween, but the thrashing environment gets restored soon after with the heavy pounder "Hatred". The closing "Thrash" could have a bit harder, though: it sounds like a more edgy mix of power, speed and thrash.
"Saints" is the expected from the band blend of speed/power and more hard-hitting thrash as the latter is a delight ("Perfect Plan") to listen to with its raging sharp guitars and sparse technical licks. "Smoke & Soot" is a pleasant proto-groover, and "Fairyland" is an overlong (8.5-min) boring ballad both pulling the album down by a healthy notch the guys never being able to recover the merry power/speedster "Mr. Two-Face" the only more energetic tune in the second half. That same second half is the reason why this effort can't possibly score too high placing the band next to another average act from their country: Hunter.

Demo'n'Beer Demo, 2012
Encephalopathy EP, 2013
Saints Full-length, 2016

Official Site

THERMODON (POLAND)

Rough, sloppily produced demo of dragging semi-atmospheric doom/thrash which introduces a more intriguing semi-technical motif on "Pieklorodny Syn" which stays around for the closing shorter "Senny Koszmar", another better constructed, and much faster number its impetuous riffage ruined by the bad guttural death metal vocals.

Demo Demo, 1990

THERRORDER (COLOMBIA)

Based on the full-length, this act serve intense lashing retro thrash which is accompanied by throaty death metal vocals. The music literally rips the crystal-clear sound quality giving the guitars an articulate clicking sound, facilitating the ascension of rippers like "Therrorder" and "Revolucion". "Abismo" tries something more brutal and death metal-ish, adding more to the hyper-active nature of this cool offering.

Tiempos de Guerra EP, 2015
Sangre y Muerte Full-Length, 2020

Official Site

THESIS (AUSTRIA)

Three songs of doom/gothic metal very close to Paradise Lost's "Shades of God", with more aggressive modern thrashy breaks; the singer is a dead ringer for early Nick Holmes, and delivers with his forceful comprehensible deathly tone. Don't expect anything headbanging: this is peaceful mid-tempo stuff with numerous melodic hooks.

Futility Of Mankind Demo, 2010

Official Site

THESYRE (CANADA)

Black/thrash metal with an 80's vibe, and with more modern updates in the form of industrial sounds, slightly recalling the extremists Dodheimsgard. Fans of the Japanese movement in the black/thrash genre: Sabbat, Abigail, Barbatos, etc. will love this band.

"RTsistance" changes the pattern moving towards a more groovy sound reminiscent of more recent Satyricon and Khold, slower but still interesting, picking up a good thrashy pace ("De Rtalisme Et De Nihilisme Ac") at times, but also providing the odd hard'n heavy epic ("LoTgalitarisme Freine Lexcell"). The industrial elements aren't that many replaced by a few quiet balladic intros and the pure noise/ambient closing title-track. The band members are also involved in other projects: the black metal formation Aufkrema, and the death/thrashers Decayed Remains.
"Shift" thrashes harder than its predecessor but by no means expect a return to the very roots; then mid-paced abraser "In Hoc Signo Vinces" and the atmospheric/doom number "Desublimation Repressive" draw other trajectories which are still delectable, but one has learn to tolerate the sudden mood switches with "Le Front Realiste" raging harder, and with "Rational Enemy" offering some uplifting bouncy old school thrash for a change. "New Futurists" is a curious intriguing take on The Kovenant's cyber-style mixed with more hard-hitting thrashier tactics; a cool album as a whole that can even pass for the guys' finest hour.

Thesyre Full-length, 2003
Duality Full-length, 2005
Contre-Courant EP, 2005
Exist Full-length, 2006
RTsistance Full-length, 2009
Shift Full-Length, 2020

Official Site

THEY COME CRAWLING (BRAZIL)

This is modern thrash which delivers with either creepy atmospheric ("Rapture", the steam-roller quasi-doomster "Live Fast Die Faster") or with more energetic cuts ("Shape of Things to Come", the death-tinged "Guilty Conscience"), the mean deathly vocals assisting with minimalistic authority. Some of the band members are also involved with the black metallers Somberland.

They Come Crawling Full-length, 2020

Facebook

THICK LIQUID (USA)

This obscure act offer pretty pedestrian modern power/post-thrash which comes as a more technical version of GZR (the sophomore, in particular). There are shades of industrial, the obligatory groovy sections, and at times the music acquires the pleasant dance-like dimensions, so typical for acts like KMFDM and Rammstein ("Warchild"; I can see you all heading for the nearest disco after the dance floor sweeper "For Real Wasted": a well-chosen title, by the way; this is how you're going to feel after listening to this... a total waste of time).

Stress Full-Length, 1997

THINE EYES BLEED (CANADA)

The band's self-titled second album offers quite good classic thrash metal with more aggressive death metal sections. The guitar work takes a nice technical edge here and there, and could have been more emphasized on, but the straight headbanging riffs by all means deliver the goods. In the middle the music takes off with great twisted technical performance, not too far from Morbid Angel ("Dark White"), a tendency continued by the brutal, but also technical "Shallow Skin". "Moja Diablo" nicely calms the ball down being a cool acoustic instrumental. "Truth in Evil" is a mid-paced unimaginative filler, fortunately one of its kind. "Mouth of Hell" and "In Mortal Sin" come as an excuse, thrashing with no mercy, later giving way to the closing "Revert to Stone" which slows down, but remains within the confines of thrash despite the inclusion of dark gothic passages.

The debut is the more satisfying achievement technicality-wise as the riffs are more complex and twisted, sometimes going beyond the level of perception, but this makes the sound even more compelling ("Regret Your Fear"); on top of that we have black metal added to the death/thrash blend. Certainly there are more direct sections ("Innocent Mind") as well as dragging more modern moments ("Corpse You Up"). "Silver" is a magnificent haunting technical thrashterpiece which never speeds up, but the stunning creepy technical riffs will sweep you away. "Consequence Unknown" moves towards more aggressive black metal territories with nice Oriental leads. The final part includes straight thrashing moshers, but all of a sudden comes "And Since Forgotten" which brings forward brilliant technical guitars that will make your jaw drop; these moments should have been more frequent... The closing "Live to Die" isn't too far behind paying nod to the mighty Carcass (think "Necrotism", "Heartwork") with touches of black metal again; the clean vocals at the end could have been skipped, though, since they bring laid-back slow sections with them.
"The Embers Rise" is a decent, albeit hardly exceptional, follow-up to the cool sophomore effort sticking this time to less impressive thrash/death formulas seldom pulling out more interesting technicality-wise pieces: "Comorbid" comes to mind with its clever, twisted arrangements, but that's about all; and perhaps the more stylish, hectic closer "End With The Night". The album begins in an intense fast tempo with short direct cuts, but little by little decreases the speed adhering to less aggressive patterns, and although the technical passages increase in the second half, this belated tendency still can't compensate for the lost energy and the generally more clever delivery on the previous work.

In the Wake of Separation Full-length, 2005
Thine Eyes Bleed Full-length, 2008
The Embers Rise Full-length, 2011

Official Site

THINK (FRANCE)

Modern sterile thrashcore with a surreal Voivod-ish edge; "Serpent" is one of the more outlandish headbangers you may hear in the new millennium; and "Tout Droit" tries to resurrect the dormant spirit of the early exploits of Treponem Pal with its corrosive, industrialized riff-patterns. "Le Desert" is a more relaxed, but utterly futuristic crossover extravaganza nicely exemplifying the mechanical, robotic aura of this interesting recording which otherwise not very pleasant shouty vocals occasionally acquire a cool cleaner blend ala Burton Bell (Fear Factory).

THINK Full-Length, 2016

THINK OF MISERY (GERMANY)

An obscure gem from the German metal scene; the more aggressive parts recall early Protector, even to the point of proto-death ("Caesium 137"), whereas the slower sections have the spirit of the Coroner debut; a unique mixture which works just great, especially on the excellent 9-min opus "Think of Misery" which is an encyclopaedia of classic thrash metal with nods to all things good from the 80's scene, followed by a more relaxed power/speed metal number: "Conversion by Violence".

Poverty Is No Disgrace Full-length, 1989

THINKING HEAD (BRAZIL)

This is the product of just one musician, the name Lorenzo Birolo, who indulges in noisy not very aptly-produced old school power/thrash that by all means has its less controlled headbanging side (“And Thus is Born a Star”), but the majority of the material is within the more tamed mid-paced parametres (“Big Failure”), where also the more intricate shredder “Until the World Explodes” belongs. Watch out also for the closing instrumental piece “Out of Touch”), which misses Birolo’scomposed gruff semi-clean tirades.

Numskull Full-length, 2023

Official Site

THIRD ARM (FRANCE)

Modern thrashcore which comes with a very good sound quality and several cool dynamic moments finished with a combination of songs of Pantera and The Haunted put together as a tribute to those two acts.

A Call to Arms Demo, 2006

My Space

THIRD REICH (ITALY)

This outfit specialize in rough semi-amateurish classic thrash which stretches from short romantic balladisms ("The Calling") to rough impetuous proto-bashes (the title-track), the musicianship on a really pristine level, the gruff semi-declamatory death metal singer equally as inept as his colleagues. The guys earlier played in the thrash cohorts Incinerator and Destiny.

Auschwitz Songs Demo, 1987

THIRD REICH (MEXICO)

The debut: these Mexicans deliver energetic old school thrash which is accentuated by dynamic frolic speedsters like "Hell is Here" and "War Reigns" which also come with more interesting quasi-progressive overtones. "Death Holocaust" excels in the lead department reaching virtuoso heights, and "Hate's On" is a ripping speedster showing the guys as capable musicians as the only flaw is the hoarse shouty death metal vocals which are simply not a match to the better music.
"Thrash Em Till They Die" follows the same path with ripping energetic rhythms; moments of more carefree crossover ("O.S.F.L.") come to spice the proceedings, but watch out for more carefully-plotted shredders like "Joint Of Hate", and especially the closing diverser "Cyclone" where the impetuous thrashing is blended with more intriguing, less immediate configurations.

Degeneration Full-Length, 2017
Thrash Em Till They Die Full-length, 2018

Official Site

THIRD WORLD CHAOS (NEPAL)

This "third world" act offer not very imaginative groovy post-thrash/death which has echoes of later-period Massacra and mid-period Gorefest, but at this stage all has been said and done in this sub-genre. The band definitely sound more interesting when they try to escape from those cliches, and speed up to hardcore proportions (the cleverly-titled "Brains Killed the Apes"), but this happens too seldom to label this minor effort as anything but another rehashed, forgettable fair, the pedestrian angry semi-death metal vocals another painfully familiar trait.

Inferno Demo, 2003

Official Site

THIRSTY DEMON (CHILE)

This is the product of a single musician, the name Cristian Leon, and as such indulges in vicious classic thrash/death with Leon unleashing a fearsome guttural deathly baritone. In the music department we have fast intense music which stays closer to death metal, with bashing merciless guitars, with adherence to blast-beats ("Rotten Angels") and a few cavernous Immolation-esque ("With Them You Will Rot") tactics. Leon also takes part in several other acts from the Chilean metal roster like the speed metallers Armoured Knight, the heavy metal cohort Hemisferio, the black/thrash hybriders Mayhemic, etc.

unconscious suicide full-length, 2020

Official Site

THIRTEEN AUTUMN RITUALS (USA)

Based on the full-length, this is modern thrash/post-thrash with slight melo-death tendencies. The approach doesn't lack energy, but at the same time isn't openly rigorous the dynamic mid-tempo dominating the scenery accompanied by very shouty death metal vocals.

Dominion Full-length, 2010
Scarred EP, 2014

Official Site

THIRTEEN WARS (GERMANY)

This outfit provide decent classic thrash which suffers from the bad hysterical rending vocals. There are a few more laid-back references with a crossover flavour thrown in, but when the guys decide to thrash, they pull no punches (the intense shredder "The Temple Of Fear"). The album accumulates more and more speed with each passing number "Modern Altars" in the middle already "flirting" with death metal for a bit, and the "assault" seldom stops till the end with the spasmodic blast-beats on "Eternally Dying" making things comfortably brutal, but when those blast-beats remain for the last two numbers, one may start getting scared here and there. Still, the band know their craft and they don't let things get out of control on this cool fresh debut which is faithfully dedicated to all things old school and trve. Some of the guys also play in the death/black metal outfit Dust Over Eden.

Towards Devastation Full-length, 2011

Official Site

THIRTEENTH SIGN (UK)

Based on "Evolutions End", this act play modern thrash/death which tries to keep a more individual face without falling too much in the Swedish melo-death traps. The dominant thrashy delivery also helps the guys escape from them, but the penchant for longer, more moderate progressively-tinged compositions, which occupy the middle, is debatable since it completely kills the inertia accumulated in the beginning. The ending is on a high note and the fans will jump on cuts like "Embers Of Defiance" and "Inferno Horizon" which set the scene for the arrival of the colossal 12-min closer "Inferno Horizon", a hit-and-miss affair sacrificing the brisk approach of the preceding numbers for the sake of peaceful, feelgood rhythms which virtually go nowhere pulling the album down by a healthy notch. The band were previously known as Skeletal Embrace where the style was more of a black/death metal mixture.
"The Ashes of a Treacherous Silence" follows the same direction with thrash leading the show once again, the bigger participation of the cleaner vocals giving more depth to the album which circles around the more contrived progressive parametres with "Demons Within" and "Walls of Jericho", the latter unleashing a portion of fast wild riffs alongside the equally as restless "Locked in a Deadly Embrace".

Oracles of Amargeddon EP, 2006
Oracles of Armageddon Full-length, 2008
Implosion of the Senses EP, 2012
Rise of the Black Angel Full-length, 2012
Evolutions End Full-Length, 2016
The Ashes of a Treacherous Silence Full-Length, 2020

Official Site

THIRVEGOL (BELGIUM)

Dark mid-paced thrash/death metal with gothic overtones, quite close to early Crematory; "Revolution" comes at the end to bring more energy, and is a cool more intense death/thrasher, still carrying the gothic decorations.

Demo Demo, 2007

My Space

THIS IS MENACE

Modern groovy post-thrash with a slight alternative edge ("The Nameless", etc.), sounding quite close to the works of Anthrax from the 90's, minus "The Sound of White Noise", but with a bigger doze of groove and a bit of hardcore ("Displacement"). Tracks like the intense thrashing "Incite" should have been more since the dominating pace is not really energetic and all the other tracks tend to merge together.

No End in Sight Full-Length, 2005

THIS MEANS WAR (NORWAY)

Classic thrash which rips through the speakers with the utmost vehemence, the shouty death metal vocals aggravating the setting additionally. From the choppy semi-technical "Hunger" to the sweeping "Deceit" the delivery is moderately attractive save for the sterile modern-ish "She is in the Water".

Omnivore Doctrine Full-length, 2023

Official Site

THIS NIGHT DRAWS THE END (CZECH)

Modern thrash metal with metalcore borrowings; nothing unusual and pretty derivative, not even fast or aggressive meandering between slow sleepy and more dynamic mid-tempo passages the whole time with jumpy non-consistent riffs which never quite reach the technical field they're aiming at.

Victims EP, 2010

THIS SOLEMN VOW (USA)

This band offer nothing more than modern thrash/death metal with a shade of metalcore. The music is quite jumpy with pretensions to be semi-technical; mixtures of this kind are quite energetic, but this one isn't and all the songs merge into one another being of the choppy mid-paced variety.

Behind The Second Curtain Full-length, 2005

Official Site

THOLA (SWITZERLAND)

Based on "Somewhere", this outfit specialize in modern/classic power/speed/thrash which can be infectiously galloping ("Heroes"), but oftentimes the delivery stays in the mid-paced confines, "P.A.R.A.S.I.T.E." providing the vital doze of speedy entertainment, the latter also handsomely reflected in the dynamic riff-patterns on "X-treme". The lead guitarist is a notable participant with his flashy inclusions, and the singer is the other asset with his convincing emotional clean, not excessively high-pitched tenor.
“Unseen” takes it easy on the thrash, the dominant layout belonging to the power/speed metal hybrid, the free-flowing goodness coming out of “Ashes & Ghosts” intercepted by the rowdier rhythms of “Killer of the Beast” and the confrontational veneer of “Legacy”. The remainder is within the peaceful confines if we also exclude the threatening stomps of “A 1000 Times”.

WolfBurn Full-length, 2017
Stalking Tender Prey Full-length, 2018
Somewhere Full-length, 2021
Unseen Full-length, 2024

Official Site

THONIAN HORDE (USA)

This formation offer dark doom/black/thrash which borders on the Barathrum stylish depressions, but the gloom here is at times ripped by sudden hyper-blasts ("Torments Of A Deity"). "Darkest Nights Shadow" is black/doom at its best, and the closing "Psychonaut" is a choppy, not very predictable thrasher with cool slower, epic additions making this album worth hearing with its emphasis on atmosphere and quite cool, suitable raven-like vocals. Some of the musicians also take part in the stoner/doomsters Weed Is Weed.
"InConnu" acquires more playful dimensions, and the gloom is not as thick dissipated by optimistic abrasers like "Angels, Devils and the Serpent Grey". The blasting extremes ("Three III ", the symphonic blaster "Five Rivers of Hades") haven't been removed completely, but they can't stand a chance against imposing epic opuses like "Atrocious" and the rocking delight "Helltrain". The title-track combines both sides into one captivating multifarious saga, and remains the highlight on this diverse, flippant roller-coaster.

Thonian Horde Full-Length, 2016
Inconnu Full-Length, 2017

THOR (BRAZIL)

Quite cool dynamic speed/thrash with echoes of the early German scene; fast intense music in the spirit of Violent Force and early Necronomicon, spearheaded by the staple headbangers "Kill (Fight Or Die)" and "Witch's Night", the harsh semi-clean/semi-shouty vocals doing a decent job assisting the rapidfire rhythms. Some of the band members later appeared in the death/black/grindcore cohort Porrada!!!.

The Living Side of Death Demo, 1987

THORAX (ARGENTINA)

The debut: abrasive modern thrash which suffers from the shouty rending death metal-ish vocals and the slightly repetitive nature of the riff-patterns. Still, there's dynamics galore and "Por Mala Suerte" is a cool semi-complex number... it's just that this kind of music has been done many times before to not very impressive results.
"Esclavo de tu Ser" is a wilder less restrained affair, the band moshing with passion on "Metamorfosis" and "Violencia", the harsh but intelligible death metal singer roving on the side with intimidating glee. "Desesperanza" is a corrosive mid-pacer, and "Rabia" raises the stakes towards the death metal realm with brutal more aggressive strokes, "Masacre" taming the setting with a portion of more contrived, more bridled riffage.

Armamento De Piel Y Hueso Full-Length, 2015
Manipulando Full-length, 2017
Esclavo de tu Ser Full-length, 2023

Official Site

THORAZINE RUSH (USA)

The 1993 demo offers four songs of unimpressive heavy proto-doom/thrash which clings between the classic and modern trends. Repetitive guitar work, a clumsy never-changing pace, flat unemotional vocals, and a muddy sound quality make these obscures not really worth your attention.

Demo Demo, 1993
Force Feed Demo, 1995
Lost EP, 1998

THORHAMMER (USA)

The very boosted guitars spoil the intentions a bit; otherwise this outfit indulge in classic epic speed/thrash which straddles the path between Blind Guardian and Manticora producing both hard-hitting numbers and more sprawling progressive-oriented ones. The former side kind of works better with rippers like "Indomitable" & "The Prophecy" leading the pack; the other half represented by more laid-back compositions like the semi-balladic "Enchantress", and the epic galloper "Diseases of Thought". The vocals are expressive and powerful slightly echoing Hansi Kursch (Blind Guardian) matching the music's heroic character every bit of the way, albeit ruining the closing cover version of Judas Priest's "Hellbent For Leather" with a more hoarse unmelodic performance. The guys also take part in the melodic death metal act Acedia, and the death/black/thrash hybriders Decapitated Saints.

Indomitable Full-Length, 2014

Official Site

THORNADO (PORTUGAL)

The debut demo sees a band playing classic thrash metal in a fast tempo with a very bad fuzzy sound and even worse unrehearsed semi-clean vocals. Later two of the guys moved to Afterdeath to take part in the recording of a much better, more modern-sounding, full-length.

Edge Of Sound Demo, 1990
Keep The Faith Demo, 1991

THORNCLAD (SWEDEN)

Thornclad offer a nice variation from the sea of modern thrash/death hybrids which flooded the Swedish music scene in the late 90's. This is a nice look back at the 80's thrash days, with a more modern production: a nice fast headbanging stuff with sharp riffs and quite intense delivery. There are pauses where the guys slow down and come up with cool melodies with slight gothic/melodic death metal overtones which, fortunately, aren't too long except, probably, on the slower atmospheric "The End of Sanity". A commendable debut which unfortunately remained the band's only effort as the two guitar players later joined the modern thrashers Corporation 187.

Coronation of the Wicked Full-length, 1999

THORNS OF SIN (USA)

A modern thrash/death affair with a few bombastic black metal arrangements as well; the approach is pretty dynamic and also melodic with nice melodic licks flowing constantly alongside tasteful lead guitar work (check out "Lust Through the Ashes"). The delivery is fairly direct until the arrival of the Death cover of "The Philosopher" in the middle which is done professionally with panache slightly altered thanks to a not very obtrusive keyboard background. The vocals are witch-like black metal, at times semi-whispered, at others vicious assisted by sparse more brutal death metal ones.

Destroy The Light Full-Length, 2015

Official Site

THORNSICK (MEXICO)

Two guys from Mexico pull out retro thrash with high-strung screamy vocals which don't sound like anyone out there being quite quarrelsome at times as well. The music is energetic and brisk courting the Bay-Area above all with shades of Overkill and Anthrax. The tempo is up with a couple of more clever technical hooks added ("Games for Annihilation"). The sound quality isn't very clear, but there's a lot of enthusiasm put behind the recordings and it shouldn't be a problem for this young act to find a wider exposure later.

Games for Annihilation EP, 2010

Facebook

THORON (SWEDEN)

The debut: a good thrash/death metal debut with a semi-technical fast-paced style recalling Hellwitch and Massacra on the most inspired moments; the guys offer nice up-tempo thrashers with a German speed/thrashing flavour, too ("Hallowed Ground"). Unlike the majority of the contemporary Swedish thrash metal acts, Thoron's sound is clearly rooted in the classic period of the genre with occasional modern influences. If the band manage to keep this quality for a few more releases, the Swedish metal scene may soon have new leaders.
"Ode to the Dead" is a much more straight-forward affair the band moshing with reckless abandon, the fast-paced skirmishes crossing swords with more restrained heavy cuts ("Hunted to Your Grave"). Death metal takes the upper hand on "Reached From Beyond" and "Through Blasphemy", but thrash never gets left behind as the short ripping "Attack!" shows so well, with "Can't Catch Me" providing a few more moments for the stomping rhythms' lovers.

Return To Dust Full-length, 2006
Secondary Sanctuary Full-length, 2016
Ode to the Dead Full-length, 2020

My Space

THOSE ANGRY MEN (SWEDEN)

This is modern/classic thrashcore with rough semi-shouty death metal vocals. The approach is sprightly and lively with interesting psychedelic variations thrown in ("Government of Punks") those also coming with a more hysterical, screechy vocal presence. Heavy, not as dynamic, numbers ("When the Drugs Fail", the epic dirger "Transparent Ideals") also roam around to ensure the album's more widespread appeal.

Those Angry Men Full-Length, 2017

THOSE SNAKES (UK)

This is modern thrashcore with inebriated gruff Lemmy-like vocals which accompany accessible hardcore-ish abrasive music that is at times too friendly ("Humanoid", the psychedelic Pink Floyd-esque "Space") to be labeled as thrash. The approach is too mild without any speedy aspirations although a good sense of melody ("Ophelia") can be detected here and there.

Holy Mountain Full-length, 2017

Official Site

THOU ART LORD (GREECE)

Based on "The Regal Pulse of Lucifer", this act play intense aggressive modern thrash/death metal which is quite fast for most of the time also throwing a couple of black metal influences. Majestic atmosphere comes forward on the slower operatic numbers "The Regal Pulse of Lucifer" and "Artificial Malevolence". Thrash doesn't have too many chances to exist independently except on isolated sections from the shorter material ("Infernarium", "Fire and Blood"); on the rest the death metal saga is in full swing. The band members are involved in numerous other acts, mostly belonging to the black/death metal camp, around the Greek and European scene: Rotting Christ, Soulskinner, Diablos Rising, etc.

Diabolou Archaes Legeones EP, 1993
Eosforos Full-length, 1994
Apollyon Full-length, 1996
DV8 Full-length, 2002
Orgia Daemonicum Full-length, 2005
The Regal Pulse of Lucifer Full-length, 2013

Official Site

THOUGHT INDUSTRY (USA)

Although this album could easily be described as progressive thrash, there are numerous other styles shaking hands here; I don't even want to start to enumerate them (the Rush influences are pretty well embedded, though). This is a unique sound and everyone should hear this album for her/himself. Despite its weird nature and the time to grow on you, this is a really striking debut. The opening "Third Eye" is probably the most straight-forward song: a cool mid-paced thrasher. The title-track is a progressive thrash opus which will engage you in a more concentrated listen since there are quite a few things happening inside, but never leaves the thrash metal realm, and is a quite an achievement recalling Rush. "Cornerstone" is creepy industrial thrash followed by the Voivod-ish "Daughter Mobius" which sounds like a leftover from "Dimension Hatross", and is the first sheer eclectic piece here. "Alexander vs. the Puzzle" is a very cool acoustic ballad. "Ballerina" is a 2.5-min thrash/crossover delight with a twist. "The Chalice Vermillion" is the other really complex exercise in progressive thrash and again hits the top with the high level of musicianship displayed although the very elaborate last part might give you a headache with the "bass-versus-leads" duel. After such a climactic effort, the remaining songs logically take a break from the progressive approach and are more direct featuring one more ballad ("Blistered Text And Bleeding") and the pop-ish, but entertaining "Bearing an Hourglass". The band's later works leave the thrash metal spectre completely, but retain most of the other genres.
The demo is a handsome dress rehearsal for the full-length debut with this eye-opener "The Chalice Vermillion" featured for the first time, shorter than the album version, but enchanting nonetheless with the nervy angular riffage ala Mekong Delta and the dramatic melodic accumulations. "The Flesh is Weak" isn't far behind in terms of quality the virtuous technicality going on on full-throttle after overcoming a surreal serene etude, and "Wishing Well" is another spell-binding offering with intricate steel riffs that easily reach headbanging proportions, this cut taken from the band's earlier incarnation Desacrator. "Red Barchetta" is a cover of the Canadian progressive legends Rush, performed quite faithfully thus sticking out due to its mellow, jumpy nature; and "Final Ballet" is the joke track here, a short spastic thrash/crossover blitzkrieger.

Thought Industry Demo, 1990
Songs For Insects Full-length, 1992

My Space

THOUGHTS OF REJECTION (AUSTRIA)

Based on the full-length, this crew provide typical unimaginative modern thrash which is done in a robotic manner which means that the work put is professional, but kind of mechanical and emotionless. The riffs are quite heavy and steam-rolling and they carry the album all the way to the end without changing even for a split second. The singer shouts in a slightly hysterical death metal fashion, but sounds kind of attached to the proceedings.

Ascended From Fragments EP, 2011
Thoughts of Rejection Full-length, 2012

Facebook

THOUGHTS OF RUIN (IRELAND)

This young Irish outfit offers a modern mix of thrash, death and groove. By all means the all-out thrash attacks work best ("Relic", "God Complex"), but don't expect the moshing to go through the whole song since the guys are pretty eager to pack the other influences inside, too. The vicious semi-death metal vocals are at times interrupted by much better clean ones, very similar to the ones used by Burton Bell (Fear Factory, GZR). There's some alternative involved as well which "kills" the accumulated inertia previously although most of the time the guys have no problems claiming it back ("Nothing is Sacred").

Reclaim the Throne Full-length, 2008

Official Site

THOUSAND ARROWS (UK)

Based on the full-length, this female-fronted act specialize in quite nice brisk intense old school speed/thrash which starts in a fairly energetic manner with the blistering "Fallen", "Exiles" adding more duel to the fire with its overtly thrashy attitude. "The Core" calms the ball down to an extent being a more epic power/thrasher , a tendency extended on the 80's US scene tribute "The Lord Ruler". The mosh continues afterwards with "Become as Gods" and the German scene worship "Wrath of War", with longer more progressive compositions emerging later form which "Kingdom of the Dead" is a formidable diverse journey with echoes of Paradox and Manticora. The girl behind the mike acquits herself with an assured mid-ranged timbre, seldom pitching it higher to a heightened dramatic effect. Some of the band members also play with the melo-deathsters Nameless King.

Exiles EP, 2017
Kingdom of the Dead Full-length, 2022

Official Site

THOUSAND POINTS OF HATE (UK)

A cool power/thrash metal band, featuring the former Xentrix singer Simon Gordon; the style is along the lines of the last Xentrix offering (the one where Simon Gordon took part in) "Scourge", but more up-tempo and less groovy.

Scar To Mark The Day EP, 2004

My Space

THRACIAN (USA)

This is modern melodic thrash metal sounding quite close to Dark Tranquillity's "Damage Done" and "Haven". The guys never bother to speed things up, and the dominant approach is mid-paced with melodic stretches and balladic shades, professionally done, but kind of uneventful and one-dimensional.

Blight EP, 2010

Official Site

THRAM (BRAZIL)

Modern groovy post-thrash meets more traditional metal; the vocals here are particularly worth mentioning sounding like a higher-pitched Mike Viscera (Loudness, Yngwie Malmsteen). This isn't bad at all with their sophomore album clearly the better work with a more aggressive attitude and really cool crunchy riffs.

Lost Mind Full-length, 2004
Pictures of Reality Full-length, 2006

My Space

THRASH ATTACK (BRAZIL)

An unholy duo from Brazil who specialize in vicious intense classic speed/thrash with brutal shouty death metal vocals. The music is pretty bashing and it's obvious that the guys have a long way to go before they reach any decent musical standards. They play fast without any sophistication the only more sensible moment being the Destruction-like break on "Alcoholic Possession", and partially the vitriolic speedster "Thrash Attack" which is another nod to the early German school.

Death Gods EP, 2012

My Space

THRASH ATTACK (CHILE)

The demo: this is really a thrash attack, and very well done at that. As with most bands coming from South America these days, the orientation is towards the German school and these Chileans are no exception to the rule. Aggressive, intense, sometimes very fast riffs attack you from all sides, unfortunately for a very short time as the number of the tracks on this demo is only six. Chile may have its new thrash metal leaders soon...
The full-length is a major ripping achievement, the band moshing on full-throttle the entire time, flirting with the German school above all, the relentless tempos on the title-track and “Evil Connection” flattening the entire scenery, recalling early Kreator and Deathrow. The more technical proclivities of “Jeffrey Dahmer” are sure a wonder to listen to, as are the choppy proto-death accumulations of “My Revenge”, “Thrash Attack” being a short concrete in-your-face violator. Watch out for the closer “Fast as a Shark”, a nice cover of Accept’s immortal hit, the singer acquiring gruffer more subdued tones as opposed to his shouty hysterical delivery on the remainder. Some of the band members are also operational with the brutal deathsters Gangrenous and the retro thrash veterans Necrosis.

Only the Forces of Metal Will Live Demo, 2005
Mental Torture EP, 2010
Brazen Bull Full-length, 2023

My Space

THRASH AVENGER (BRAZIL)

These "avengers" may start thinking of changing their name if they plan on carrying on with this mild brand of power/thrash metal which has nothing "vengeful" about it, and the thrash comes in small dozes in a sleepy mid-tempo which quickly hits the balladic waters somewhere in the middle and seldom makes things more energetic with the insertion of stoner/doom moments near the end (the pleasant closer "Penalized Soul"). The singer has a hoarse semi-clean voice which fits the friendly poppy musical approach.

Total War Full-Length, 2013

Official Site

THRASH BOLTA (MEXICO)

These youngsters indulge in atmospheric modern thrash which is on the folk/epic side, but its sing-along character is ably supported by the heavy rhythm-section and the odd spasmodic speedster ("Insomnia"). Still, this is soft friendly music which will be of a bigger interest to fans of Ensiferum and Finntroll, and generally those fonder of the Scandinavian trends in the genre.

Alaridos En El Desierto Full-Length, 2012

THRASH BOMBZ (ITALY)

The debut: aggressive thrash/death metal with unexpected lyrical lead-driven passages; the symbiosis works not without the help of the plenty of dynamics offered "the Sicilian way" which means that apart from the obligatory thrash bombz there'll be moments of relative tenderness the latter not a very regular phenomenon, but still noticeable. The balance between the faster and slower passages isn't that well achieved creating a disjointed feel which can be certainly corrected on future recordings. The singer is a brutal death metaller who can tone it down as well since he not always fits the much more melodic tone of the music.

"Mission of Blood" includes all the songs from the demo, expectedly, but the old bombz are ably accompanied by new ones which raise the retro flag high the main help coming in the form of fast blitzkriegers some of them easily reaching death metal drama ("Human Obliteration"; the vigorous proto-blaster "Fear of the Night"). The reliance on speed is probably bigger, at this stage still for the better, and few would be those to not notice the excellent melodic leads on "The Curse".
"Master of the Dead": the opening "Condemned To Kill Again" starts with a mesmerizing balladic lead-driven intro which transforms into a raging rifforama which occasionally becomes more melodic and progressive ("Evil Witches"),but for most of the time what one will experience is uncompromising headbanging assault as expressed through raging cuts like "Curse Of The Priest" and "Black Steel". "Taken by Force" is a more intricate shredder, and "Evoking The Ghost" is the more laid-back relief with some excellent melodic lead guitar work.

Sicilian Way Of Thrash Full-Length, 2012
Mission of Blood EP, 2013
Mission of Blood Full-Length, 2014
Master of the Dead Full-Length, 2017

Official Site

THRASH BRIGADE (ITALY)

A raw noisy brutal mix of hardcore, thrash(brigade) and grind; short tracks with screechy rusty vocals and simplistic distorted guitars.

Split Split, 2007

THRASH COMMANDERS (MEXICO)

This music isn't for "posers", folks: this is intense retro thrash/crossover with not very suitable death metal, shouty vocals. The guys bash with passion, but the drummer tries to impede their efforts by giving the drums a very noisy, hollow sound, coming straight from his grandmother's saucepan. Otherwise the delivery is energetic, despite the noisy background, also reflected in the buzzy guitar sound. This is hardly the most "brutal thrash", like one of the song-titles suggests, but could certainly create a sizeable moshpit anywhere.

No Posers Demo, 2011

THRASH FORWARD (USA)

The band name won't keep you guessing what the name of the game is; well, it's a bit misleading since this isn't aggressive thrash, but more laid-back thrash/crossover with short 2-min tracks. The tempo is quite fast and the guys come up with cool melodic guitar lines and leads. Although this isn't heavy intense music, it is quite enjoyable and catchy.

Demo Demo, 1990

Official Site

THRASH HOLD (USA)

An obscure power trio, who should also add "death" to the their name, from the States who specialize in intense vigorous thrash supported by gruff death metal vocals which shout comprehensively and boost the aggressive delivery. The band bash on and death metal inevitably sneaks in at some point ("Good Shot") making this effort a hard proposition even compared to the early Death works of which the semi-technical dramatic shredder "Competition on Endurance" is a very good reminder. "Denying the Charge" calms down with more clever riffage and slower arrangements which leads to the appearance of the short laid-back puzzler "Never Surrender" and the creepy monotonous mid-pacer "Night Killer". The remaining two numbers are also less energetic making the 2nd half less striking and kind of uninspired. Still, from a pioneering point of view this demo scores high introducing some of the first genuine death metal rhythms on the scene.

Eyes of the Owl Demo, 1988

THRASH HUNGRY PUNX (BRAZIL)

This is mild friendly stuff which never really thrashes, but rather semi-thrashes with strong shades of hardcore and punk; in other words, these "punx" are still punk "hungry", not quite there yet thrash-wise. The title-track moves up with harder riffs, but the rest is too mellow to catch the listener's ears. The singer has a gruff death metal-ish throat often assisted by his comrades for the production of several shouty choruses.

Como Ratos Full-Length, 2016

THRASH KOMMAND (COLOMBIA)

Inspired and quite good classic speed/thrash which is a nice reminder of the time when Destruction were unstoppable (think "Infernal Overkill", above all). Speedy riffs intertwine with some addictive melodies the delivery seldom branching out into the unexpected (the blacky Celtic Frost-esque stomper "Killer"). "Thrash Kommand" even suggests at some technical executions to be come across at some later stage, and "Third World War" may make you cry with memories of the incredible "Bestial Invasion" with its perennial rolling rhythm-section. "Overkill" is a short brutalizer with some stylish technical guitar work, which is followed by the brilliant virtuoso "Instrumental", a masterful display of hidden skills which aren't revealed elsewhere since the speed/thrash crescendos are so addictive that one would hardly require more. The singer is a bit of a pullback with his subdued hoarse death metal tone, but still he doesn't impede this album from being considered as one of the peaks on the South American metal circuit of the past 5-6 years. All hail the thrash kommand!

Las Tropas Del Mal Full-Length, 2013

Official Site

THRASH M (POLAND)

The demo: three songs of energetic sharp thrash offering both speedy thrashers ("Hated To Death") and heavy mid-paced ("Life Is A Lie") ones; the singer is kind of annoying with his unemotional impassionate, mid-ranged delivery; a higher-pitched shouter would be a better choice.

The EP is slower with a much more melodic guitar work, and there's not much thrash here, just four boring power/crossover/thrash mixtures among which we have one called "Thrash the City" which is the softest song and would hardly thrash a room let alone a whole city...

Demo Demo, 2008
Thrash the City EP, 2009

Official Site

THRASH MAKER MACHINE (MEXICO)

These rowdy Mexicanos deliver blitzkrieg retro thrash; a thrash maker machine indeed assisted by not very expressive semi-declamatory/semi-deathly vocals. The fury is unleashed with "Thrash Is Alive!", naturally, but prepare to mosh till death on "Inexistence" and "True Peace", the title-track at the end pouring more fuel into an already boiling furnace.

Face the Devastation EP, 2017

Offical Site

THRASH NUNS (USA)

A heavier take on the good old thrash/crossover reminiscent of early Gwar with longer numbers and mellow rhythms which don't smell thrash all the way, but are a fun to party at. The approach is a bit clumsy the band not handling the switches to a faster play that well, but excel in the doom metal department where "Memoirs of SixFourNine" is a sure winner with hypnotic volcanic riffs. The singer has a gruff semi-death voice, but holds the odd sweep of melody when willing.

Trentonia Full-Length, 2002

THRASH OR DIE (USA)

Well, the guys don't give you a very big choice: you'll have to either thrash or... well... judging by the music, it would be wiser to choose the first option since the guys acquit themselves with energetic, albeit pretty one-dimensional and not very imaginative, retro thrash with semi-shouty mean-ish vocals ala Steve Souza (Exodus). The music is pretty speedy peppered with headbangers like the ultra-speedster "Zombie Assault" which echoes the uncompromising, venomous style of 80's Hirax. "The Return Of The Thrash Lord" and "Doppelganger" are marginally more intriguing exercises in spinning Germanic speed/thrash, but direct raging, proto-death pieces ("Fistfucking Metal") quickly cancel those more meaningful efforts; check out the piercing Tom Araya-sque scream on this one. "Ripped To Pieces" turns to pure death metal for inspiration at some stage, and the closing "Wake Up And Smell the Trash" is a more relaxed thrash/crossover number. The band simply try to cover all that was relevant from the scene back in the 80's without having any pretensions at originality or thinking outside-the-box. Some of the musicians can also be seen in the death metal acts Caligvla and Hibernus Mortis.
"Melting Your Skull" clearly aims at "melting your skull" with its blitzkrieg, no-bars-held delivery which is quite intense (the bashing opener "Metal Massacre (The Ultimate Revenge)") and takes no prisoners for most of the time: just check out "Street Trash" and "In the Key of Death" as well as every other song. "Gorantulla" is a good more technical splasher with a more aggressive proto-death flavour, but the short length of most of the material doesn't give too many chances for such exploits to shine fully regardless of the efforts made on the choppy, not very predictable "The Post Mortem Star", and the bombastic closer "I Thrash on Your Grave".

Poser Holocaust Full-Length, 2011
Melting Your Skull Full-Length, 2015

Official Site

THRASH QUEEN (USA)

An all female band; the thrashiest thing here is probably the band name. While acts like Meanstreak, Original Sin and Volkana have managed to pull out some decent melodic thrash at least, these girls here haven't done it even half as good as those others. This some very melodic, toothless heavy/thrash which I have fears recommending to hard-core thrash metal fans simply because at times you might find yourself wondering why this band have ever been classified as thrash.

Manslayer Full-length, 1985
Ashes to ashes Full-length, 1992

THRASH S.W. (COLOMBIA)

This is competent stuff (based on the demo), but badly produced the noise behind the guitars taking away some of the joy from this sharp mosh in the spirit of Anthrax which gets a bit more aggressive on occasion ("Mutant Society"), but is otherwise energetic thrashing mayhem topped by cool comprehensive semi-clean vocals which semi-shout at times with a pinch of Kurt Brecht (D.R.I.).
"Stupid World" is a huge step forward for the band who now thrash with so much conviction that their histrionics border on the semi-technical: check out the rousing 1.5-min hymn "Charlie Andrews Is Nuts". The guys relax in the 2nd half for the production of several frolic thrash/crossover cuts, and "All Right" is a hard-hitting thrasher. "Mutant Society" is rudely placed towards the end, unaltered, ruining the final part of the album quite a bit with its messy sound and unfocused aggression; a situation almost saved by the more serious shredder "Non Conformist" which excels in the screamy lead department.

Vol.1 Demo, 2012
Stupid World Full-Length, 2014

Facebook

THRASHACHUSETTS (USA)

Post-thrash and stoner/doom co-exist here producing a heavy, but also reasonably melodic, affair which gets merrily speedy on occasion (the Motorhead nod "Thank You For Ripping Us Off") and generally doesn't lack energy also recalling the Metallica "Load/Reload" period plus certain country atmosphere present.

Bring The Knife EP, 2012

THRASHALL (BRAZIL)

These "thrashalls" play retro speed/thrash with crossover tendencies thrashing with force on a couple of times although the heavy mid-tempo moments are also quite a few reaching the climax on the pleasant doomster at the end "Domain Desire". The vocals are an asset being clean, mid-ranged and passionate without trying anything too high-pitched, and compensate for the noisy production which "graces" the guitars with an omnipresent buzz.

Demo Demo, 2007

Official Site

THRASHBACK (FRANCE)

Based on "Night of the Sacrifice", this band, who were previously known as Evil One, bring thrash back with full force moshing out all the way through (the exception the epic power/thrashers "Under the Hammer" & "1888-Jack the Ripper") the hard-hitting riffage greatly helped by the very clear sound quality. The singer is another asset with his emotional clean semi-shouty voice. "The Burning of Atlanta" is a soaring speed/thrashing hymn with memories of the great German movement from the 80's (Running Wild, Helloween, Iron Angel, Exumer, etc.) before "Abused" thrashes the neighbourhood in a remorseless Slayer-esque manner. Speed metal comes to stay with "Maniac" and the self-reflective closer "(We Are) the Thrash Crew" which show a convincing "thrash crew" which "possession by thrash" from the debut would be definitely worth checking out.
"Sinister Force" sees the guys firing on full-throttle once again with the headbanging potential traditionally quite big with ripping headachers like "Stand Up and Fight" and "Chemical Death" amply provided. "No Way to Come Back" is the seeming more lyrical respite sustained within the power/speed metal parametres, bringing the winds of speed metal in the second half where the 80's German movement is paid a fair tribute all the way to the not very striking semi-boring heavy metal closer "The Final Hour".

Possessed by Thrash Full-length, 2013
Night of the Sacrifice Full-length, 2015
Sinister Force\\tab Full-length, 2018

Official Site

THRASHBLACK INVIDIA (CANADA)

This outfit indulge in intense varied black/thrash which most intolerable part seem to be the screechy, industrialized vocals which take quite a bit of space. Otherwise the guys wisely use a lot of atmosphere ("Khaos in My Vains") alongside some pure classic speedsters ("Fuck You Hard") and moody power metal epicers ("Already Erased"). In other words, the variety is just staggering logically following the path outside thrash quite often the latter recapturing some ground on the quirky "No Mans World" and on the frolic Gothenburger "Lucifiras Witchcraft".

Intraddictions Full-Length, 2015

THRASHED (AUSTRALIA)

This band offer thrash/crossover of the unimpressive melodic variety. The songs lack the necessary sharp riffs and the energy which comes with the style, and the singer is too bad with his unrehearsed hoarse delivery. On top of that the guys insert insipid groovy moments here and there starting to sound like minor Biohazard, or even Rage Against the Machine. They by all means deserve their deep underground status and should better think of a name change: this one isn't deserved at all, and is very deceiving.

Got Metal? EP, 2007

My Space

THRASHER (MEXICO)

A thrash'n rolling trio from Mexico who specialize in fast energetic old school thrash which sounds quite close to the early fireworks of Hirax with a couple of more playful crossover tunes ("Bad Boy Rock") scattered around, with violent Slayer-esque bombs ("Destruccion") waiting to be detonated right after. "Apocalipsis" steals five precious min for a few more moderate stomps, but such occurrences are a rarity, the shouty hardcore-ish vocals missing from the diverse closing instrumental "Revolution" at the end.

Thrash N' Roll Full-Length, 2019

Facebook

THRASHER DEATH (POLAND)

An underground cult Polish band who deserved to make it big back in the old days simply because their music was really good: speedy thrash metal akin to Rigor Mortis or the Germans Toxic Shock although at times the sound acquires a more brutal proto-death character, mostly on the sophomore demo which also boasts a crisper sound quality and marginally more proficient, more technical guitar work.

You Must Kill Demo, 1987
Women Die Demo, 1988

Official Site

THRASHER QUARTETO (CHILE)

Based on the Live Promo, these guys unleash vicious aggressive thrash in the first half often clinging towards death metal which could be compared to early Kreator ("PLeasure to Kill", above all). In the second half the variety is bigger with one song going towards Slayer: "Penetration In The Shadows", one covering Testament's "Over the Wall", and one covering D.R.I.'s "Suit And Tie Guy", both very faithfully done. The singer should be fired, though: his rending hysterical shouts would be hard to match even by the most psychotic asylum patients.

The Promo/Rehearsal/EP is a more controlled tribute to the classic school, fortunately all-instrumental (this vocalist, folks, is really bad) offering fast intense stuff close to Rigor Mortis and the early Devastation efforts (think "Signs of Life") suffering this time from the bad buzzy guitar sound.

Promo Rehearsal EP, 2007
Thrash 'Till Death II (Live Promo) EP, 2008

Official Site

THRASHER WOLF (UK)

The EP: a young enthusiastic bunch from London who specialize in vigorous retro thrash which suffers a bit from the muddy production. The guys try to play fast'n tight, providing the requisite headbangers in the form of "The Pack" and "Vermillion Steel". "Ruins" is a cool attempt at the heavy ballad, and "Blood Moon" is a more serious progressive proposition with cumulative speedy passages interlacing with twisting stomping vortexes. The singer fluctuates sounding most convincing when sticking to the steady Tom Angelripper-esque baritone, but more is needed before he becomes an assured standalone frontman.
The full-length debut features dynamic lashing retro thrash which goes towards proto-death ("The Pack") at times, and generally there's no mercy shown on explosive moshers like "Vermillion Steel", already heard on the band's earlier instalments, and "The Vortex". The second half is occupied by longer less exciting cuts although the closing 11.5-min title-track does its best to compensate for the lethargic mood of doom/semi-balladic trips like "Ruins". The singer this time is a capable semi-cleaner who manages to stay afloat with his attached recitals.
"Inside the Sickened Mind" is another moshing feast, vigorous headbangers like "Final Act of Aggression" and "Hanging House" leading the ferocious pack, the latter also finding time for the entangled quasi-doomster "Scream till Death" and the atmospheric pounder "Haunted", the closing "Inside the Sickened Mind" a really captivating dramatic shredder with delectable lead sections.

Blood Moon EP, 2018
We Are Revolution Full-length, 2020
Inside the Sickened Mind Full-length, 2024

Official Site

THRASHERA (BRAZIL)

These "mad" thrashers from Brazil offer a slightly primitive mix (the debut) between Venom, Pile Driver, and early Slayer which still delivers thanks to inspired speedy rhythms which are quite repetitive, but will ensure the good time also due to the friendly lyrics which deal with beer, girls (bitches, in their case), and everything in-between. It's clear that the guys will always be "ready to thrash" like one of the song-titles says, and one should feel safe with them around except that he/she may be a tad scared of the rough shouty death metal vocals. The band members are also involved in the black/speed metal outfit Praga.
"Não Gosto!" isn't far from the style of its predecessors, but there's a more overt presence of Motorhead-ish sniff which makes the delivery a tad mellower. Still, the rough death metal vocals do their best to threaten the audience whereas the others try to match them at times with casual musical excesses like the early Bathory-sque "Rei dos Excessos" and the bashing 80's speed metal classic "Sangue ao Metal".
"Bastardos da Noite" is a slightly more intense offering, the speedy heroics again leading the show, the sure-handed speed metal winner "O Filho de Sete Cabeças" keeping the moshpits full, with both "A Dona da Noite de Metal" and "Desgraca e Terror!" adding more fuel to the fire, "A Viúva do Capeta" trying hard to reach the speed of light with a portion of wild less restrained rhythms.

For All Drunks 'n' Bitches Full-Length, 2014
Morte Webbanger Full-length, 2018
Não Gosto! Full-length, 2020
Bastardos da Noite Full-length, 2022

Official Site

THRASHERS INC. (MEXICO)

Quite cool old school progressive/technical thrash that is full of mazey rhythmic configurations, the latter recalling mid-period Megadeth quite a bit on the choppy vivid "Dark Half", the flag of the Bay-Area later raised on the heavy but still lively pounding spacer "F.S.U." and the brilliant virtuoso-prone shredder "Hypnospiral", the crunchy irregular riffs winding and unwinding in several directions, with tempos changing by the second to a dizzying impression, the shouty semi-clean singer the only less positive phenomenon. More technical niceties on the perplexing shorter "Self Creation", a more atmospheric minimalistic proposition, the entangled gallops of the title-track initiating a crooked feverish pogo that is carved by dazzling lead sections and a short balladic interlude. "Outbreak" is a short wrap-around at the end, the only linear moment on this exquisitely-performed outbreak... sorry, outing.

Chronophobia Full-Length, 2024

THRASHETA (CROATIA)

These modern groovers hardly deserve their promising name, offering pretty bland groovy post-thrash which comes with a very abrasive guitar sound and awful semi-shouty vocals. The music is pedestrian and uninspired often branching out into stoner/doom, hardcore, and more.

Dark Enemies Demo, 2010

My Space

THRASHFIRE (TURKEY)

This 3-song demo offers excellent speedy retro thrash in the vein of Kreator, Destruction and the Canadians Sacrifice. This is fast intense music with meaty sharp riffage and good screamy vicious vocals coming as a mix between Schmier and Rob Urinari (Sacrifice).

The full-length debut contains the three songs from the demo, adding another nine for the creation of an enjoyable retro thrash roller-coaster, with the word "thrash" featured quite a few times in the song-titles (see the album-title, too) so it shouldn't come as a surprise the pretty high speed of the proceedings, the overall approach reminding of the Japanese Fastkill more than just passingly; and Kreator's "Pleasure to Kill", from the old dogs. "Hell Performance Hall" is more relaxing with its more moderate semi-galloping rhythms, with "Dead Collector" coming close in this sense with its pleasant Oriental hooks and semi-technical leanings. The rest races with the speed of light at times, creating numerous headbanging moments for the thrash metal fans. There's no mercy shown, but there's no pain felt here, either, like one of the song-titles suggests...
"Into the Armageddon" is a wild hyper-active offering which is at times pure speed metal glory ("Katacomb (The Kingdom of Resurrection)", at others it's a total German thrash worship ("Wisdom of Sacrilegious"). There's no speed lost anywhere, the guys moshing like demented, pausing for a break on the more complexly-woven sagas "Post Apocalyptic Holy Terror" and the title-track which show of the Americans Holy terror's verve and ingenuity... only if the fixation on speed and aggression wasn't so emphatically displayed here...

Promo Demo, 2007
World Domination Promo EP, 2010
Thrash Burned The Hell Full-length, 2011
Vengeance of Fire EP, 2015
Into the Armageddon Full-length, 2019

Official Site

THRASHFLUD (USA)

Based on the debut demo, these folks serve intense energetic thrash which comes a bit more tricky on "Masque of Thanatos", but later on the guys just mosh out with passion the leads being on a particularly high level deserving a better sound quality. Heads will fall on smashers like "Kill with Ease", but later on the delivery kind of slows down returning towards the end for the short exploder "Insane" and the headbanging shredder "The Hangman's Knot". The vocalist has a rough semi-death throat which he strains to the maximum at times. Later on the guys formed another act, Dreadnot, where the music took a more melodic, but much more interesting, avantgarde turn.

Crash'n Burn Demo, 1988
Demo 2 Demo, 1988

THRASHFUSION (SPAIN)

A fairly interesting piece of technical thrash which despite occasional modern elements manages to still sound quite classic. The music is mostly mid-paced with heavy technical riffs which sound slightly mechanical and will remind of the Swedes' Rosicrucian's debut album, the Americans Punisher, and Coroner's 90's period. "Victim of Your Own" is an intermission: a quiet peaceful instrumental with a cool acoustic guitar, among other instruments, which is probably a bit too long for its function (6.5min). After it the music kind of loses its appeal a bit and starts sounding more groovy, but all is forgiven on the last track: "Shadows" which jumps on the thrash/death metal wagon producing great technical riffage last heard on Pestilence's "Testimony of the Ancients".

Experiencia Suicida Full-length, 1994

My Space

THRASHGANGSTERS (ITALY)

These Italian "thrashgangsters" offer quite cool semi-technical thrash with impressive guitar work, not far from the one of Marc Scaccia (R.I.P.; Ministry, Rigor Mortis) which borders on the flashy on the not very predictable opener "Thrashers In The Moshpit". "Beauty Is Only Skin-Deep" is another less ordinary headbanger with rolling, twisted riffs and choppy stop-and-go rhythms; and the title-track is a more immediate shredder with dark overtones and more dramatic speed/thrash crescendos recalling the US obscures Torture (think "Storm Alert"). The vocalist is more on the semi-declamatory side, and his antics come with a not very pleasant synthesized blend. This is a really promising start and it would be interesting to see whether the guys would be able to make a lasting impression on a very competitive scene like the one in their homeland.

Terror Has Begun Demo, 2015

Youtube

THRASHGRESSION (COLOMBIA)

Based on the full-length, this band serve old school moshing/thrashing stuff, not the most aggressive rendition of the genre around, but brisk enough to ensure the requisite moshpits. The obvious model followed is the 80’s German cohorts (Destruction, Necronomicon, early Deathrow, etc.), the more relaxed power/thrash escapades (“Miseria”) humbled before the smashing insistency of cuts like “Muertepor E.P.” and the more intricate “Violencia Infernal”. Make way for the lofty labyrinthine marvel “Devastador”, the lead guitarist stealing the show with supreme melodic hooks. The mean spiteful hoarse vocalist does his thing as well, but his more conventional presence doesn’t amount to much in the long run.

10 Anos de Metal y Agresión 2003-2013 EP, 2014
Golpe a Golpe EP, 2021
Morbida Realidad Full-length, 2022

Official Site

THRASHGRESSION (SPAIN)

This formation specialize in a mix between modern and classic thrash which uses some more extreme tools of the trade, like the brutal death metal leanings on "Your Metal Way", but there's a contrast brought almost immediately: the groovy sleepy rhythms on "Itzalak". The fans will hardly "thrash till death" on "Thrash Till Death" which only speeds up a bit near the end. "Thrashgression" is encountered finally on the closing "Seven Corpses For Dinner" which shreds with force and speed to exit this average effort with more style than it actually deserves.

Endless Pollution Full-Length, 2014

Official Site

THRASHGRINDER (FINLAND)

Based on the full-length, this band plays energetic retro thrash with several more aggressive blasting passages; the overall approach recalls the Swedes F.K.U. quite a bit also sharing some of the crossover aesthetics of Municipal Waste. The pace is pretty fast even reaching Slayer extremes ("Invisible War") at times, and overall the guys thrash with force with sharp direct riffs and the casual melodic hook. There are a couple of heavy stomping breaks as well ("Failed Future"), plus the odd short hardcore bomb ("We Don't Get It"), an unpretentious jolly take on the good old sound. Some of the band members play more aggressive music with the death metal act Goresoaked and the black/death metallers Mensura.

Unjustifiable Dice of Violence EP, 2009
Seeds of Revolution Full-length, 2010

Official Site

THRASHIN' IN THE STREETS (USA)

This album will hardly make you "thrashin' in the streets" as most of the time this is hardcore/crossover ala D.R.I. with short light-hearted songs and hoarse vocals. The music is more on the melodic side, and although it doesn't lack energy, does little to justify the band's very promising name.

Season of Evil Full-Length, 2006

Official Site

THRASHING MACHINE (CZECH)

The EP: a name which would suggest some direct headbanging old school thrash actually stands for clever, thought-out modern thrashism which is developed around long compositions and choppy rhythms which may wear thin at some point since they get repeated again and again to no end except on the vivacious opus "Disease Called Human Mind" which livens up with dramatic spiralling guitars that are sadly missing from the rest of the tracks. The vocals are harsh semi-clean, and although they hold no melody whatsoever, at least they fit the cold sterile landscape created by the dispassionate music.
The full-length continues the trend from the EP the guys elaborating the landscape with lengthy thought-out numbers relying on heavy volcanic dry guitars to pull it through, with several more dynamic decisions ("Perdition", the excellent atmospheric shredder "Beauty Of Killing") dissipating the thick modern miasma. The guys overdo it a bit on the overlong monotonous "Rest In Peace" which borders on doom for nearly 10-min, and on the 11.5-min melancholic melodic dragger "Solaris", a situation partially saved by the marginally more dynamic "Disease Called Human Mind" at the end.
"Parallel Worlds" again emphasizes on the longer thought-out compositions, but this is mostly a dark mid-tempo parade which becomes monotonous before long, the intimidating steam-roller "Diagnosis Hatred" the possible highlight, the energetic headbanger "The Game" a close second, the closer "Taboo" closing on 13.5-min but offering largely pensive dark atmospheric vistas.

Insight EP, 2014
Disease Called Human Mind Full-length, 2017
Parallel Worlds Full-length, 2022

Official Site

THRASHIST PUMPGUNS (UK)

Based on "Welcome to the Real World", this act perform intense ripping old school thrash which blasts through the speakers, sometimes with the utmost intensity ("Alcocide"), sometimes with a pinch of atmospheric proto-grooviness ("Welcome to the Real World"). "Drink Myself to Death"is a curious melodious fragment with semi-technical tendencies, and "Hardcore Song" is, needless to add, a heavy corey number, the levelled but attached hardcore singer doing a pretty decent job all around with his intelligible antics. Some of the band members are also engaged with the classic thrash cohort Exit Smashed.

The New Wave of Metal Punk EP, 2012
The Lord Is Back Full-length, 2015
Welcome to the Real World Full-length, 2024

Official Site

THRASHIST REGIME (UK)

The debut: one will have no choice but to obey the new "thrashist regime" established by these young Scotts who thrash with conviction and professionalism "courting" both Slayer and the Bay-Area school throwing the odd more technical hook here and there. The tracks are short and to the point (2-3min) lashing fiery riffs to no end rarely indulging in slower passages ("Culture of Vanity"). Watch out for the short explosions "Hotel Blast Terror" and "Vermin", and the technical speedster "Scavenger's Daughter". "The Grave" has a nice tender mid-break, but moments of the kind are not many at all, and overall the fans should be happy with this new entry which doesn't re-invent the wheel, but keeps it rolling in a way no worse than the legions of recently resurrected 80's dinosaurs.
"Carnival of Monsters" opens quite ambitiously with the 8-min diverser "Laughter Then Madness the Death", and this initially sounds like a misleading introduction as later the guys take care of business in the familiar manner with short bursting cuts, the pogo partially interrupted by the excellent more technical shredders "Megalomaniac" and "Operation: Keep Him Busy". Things only get more interesting afterwards, though, with the brilliant shape-shifting Coroner-esque masterpiece "Colossus", and the progressive galloping title-track which exhibit a musical prowess not so frequently covered by the contemporary British practitioners, another testimony for the latter being the closing virtuoso opus where the band flirt with several classical compositions among which the leading one is Aram Hatchaturian's "Sabre Dance", an exemplary showdown which closes this very entertaining album with a lot of promises for similar future exploits.

" Fearful Symmetry Full-length, 2012
Carnival of Monsters Full-length, 2018

Official Site

THRASHIT (MALAYSIA)

Based on the full-length debut, this band provide pretty decent old school thrash which main surprise would be the mean Mille-like vocals. The delivery isn't as aggressive as early Kreator, though, concentrating on speed/thrashing mixtures with more melody "roaming" around mainly in the form of tasteful lead sections. The headbangers will by all means rejoice on cuts like "Neckbanger" and "Son of Bastard". Ironically, "Thrashing and Slaughter" is the slowest track here softening the second half which still finds its way towards the more intense performance on the last two pieces. This is a cool nod to the retro canons of the genre and the band have all the claims to be one of the premier thrash metal exponents in South-East Asia at the moment.
"Chaos of Fear" doesn't deviate from the chosen path too much, the guys thrashing with both melody ("Calling From Agony" and badly disguised vigour ("Headbanger Destroyer"), the more moderate mid-tempo layout of "The Devil Dance" and the more serious pummeling on "Bunker 666" raising the stakes higher, the more relaxed thrash/crossover veneer of "Thrashing Militia" recalling early Tankard.

Neckbangers EP, 2014
Kaiser Of Evil Full-Length, 2016
Chaos of Fear Full-length, 2021

Official Site

THRASHLESS (ESTONIA)

This album is anything but thrashless; on the contrary, it contains rigorous classic thrash with updated abrasive guitars which boldly enters the death metal arena (the sweeping furioso "Beyond All Evil") and generally the band don't spare energy lashing fiery riffs from all sides on full-throttle calming down at times with heavy late-80's Slayer-esque riffs ("Watch It Burn", "Sanity Deprived") or with distorted takes on hardcore ("Bulletbelt Thrash"). The riff-patterns aren't repetitive, though, and there's enough variety here to entertain the listener. The singer is a bit of a pullback with his hoarse death-ish timbre who semi-growls his way in a scary semi-declamatory fashion.

Awaiting Rebirth Full-Length, 2012

Official Site

THRASHLINE (INDONESIA)

This is a softer version of the good old thrash/crossover, the more aggressive shade provided by the throaty, hysterical black-ish vocals. The bass support is admirable, standing head-and-shoulders above the simplistic, uninspired guitar approach. "Monoton" is a worthy stomper, but the rest would hardly help the band carve a sure-handed "thrashline" in the Indonesian underground; and not only because that same line has already been carved by the legends Betrayer, where two of this band members used to play earlier, and who have whole five albums released so far.

Kontrol Sosial EP, 2004

Official Site

THRASHLORD (CANADA)

This is capable retro speed/thrash reflected in short ripping pieces where the spirit of the good old power metal (the galloping epicer "Son of the Dragon") can also be felt. The vocalist is a gruff semi-shouter who is often supported by his comrades for the production of several rousing spatout choruses. "Winter of Our Discontent" is a nice creepy number, and "The Cimmerian" is a heavy stomper, all these deviations from the rigorous hyper-active path.

Kill Until You Die Full-length, 2020

Official Site

THRASHMANIACS (BOLIVIA)

Based on the 3-song "Religion" demo, this act play a blend of modern and classic thrash which mixes both sides on almost every track the more dominant tone clinging towards mid-period Sepultura crossing the intensity of "Arise" with the pounding proto-grooviness of "Chaos AD". The singer has a good forceful timbre, at times cleaner, at times gruffer, assisting the energetic music with competence and emotion.

Hasta la Muerte Demo, 2010
Religion Demo, 2012

Facebook

THRASHMOGILA (RUSSIA)

These Russians play retro speed/thrash with an abrasive guitar sound and irritating synthesized vocals. The guys court stoner/doom, ballad, crossover along the way keeping it simple and straight-to-the-point.

Karat Demonicheskoi Kirkoi Full-Length, 2009

Official Site

THRASHOCK (MEXICO)

An act who walk in the shoes of the retro movement with borrowings from crossover/hardcore to produce a diverse effort with a lot of headbanging moments which mostly suffers from the dirty fuzzy guitar sound, but wins points in the vocal department where the guys delivers with forceful shouty semi-clean vocals.

The EP is in the same vein, light-hearted crossover/thrash crossing mid-period Broken Bones with Ratos de Porao, also paying tribute to their favourite actor: the kung-fu legend Bruce Lee ("Bruce Lee (Honor a Chingadazos)"). The music is unpretentious acquiring the roller-coaster attitude of Motorhead ("Brutal Party") as well at times. The 2nd part contains the more serious material resulting in the "colossal" piece "Stupid Creation" which thrashes with passion for over 7-min; and "Eternal Nightmare" (which is not a Vio-Lence cover) which is shorter and a bit less intense. The vocals this time a bit more shouty and less expressive, but still are a good "assistant" to the musical barrage.
"Kingdoms of Hate" is another "thrashock", the guys getting more serious now with longer numbers composed although the approach hasn't lost its edge and speed still being in the thrash/crossover parametres showing frequent sparkles of technicality ("Circles Of Fire", the Bay-Area worship "Pestilence" which is vintage early Forbidden) which are all over the album. "Chorysaicosamurai" is a curiosity, but of the appetizing type: an all-instrumental piece with a balladic beginning before a furious crescendo tears the air unleashing a wall of brutal riffs. "B.H.R. (Blood, Honor, Race)" is an epic with its more than 7-min of clever controlled thrashing which smells technical the latter tendencies nicely translated on the following headbangers "United to Win" and the more elaborate "Why?". The complexity fortunately never evolves beyond the accessible technical realms the band only relaxing on the carefree hymn at the end "Pedos Con La Ley!".
"New Blood" is a solid intense affair which still has its mellower side (the mid-paced power/thrasher "Follow the Order") including the jokey rock'n roller "Rock and Roll All Night" which starkly contrasts with the intimidating impetuosity of "Sadistic Love Hell" and the catchy thrash/crossover frivolity of "Honor a Chingadazos".
"Bloody Nightmares" serves a slight more complex, near-progressive deviation (the title-track) at the start, but the headbanging show resumes before long although both atmospheric mid-pacers ("Welcome Home") and more elaborate semi-balladic exercises ("Close Your Eyes") rush to intercept the energetic fiesta the latter acquiring calmer parametres in the second half, with "Dona Macabra" trying to restore some moshing dignity with its less bridled hardcore rhythms.
"Flags of Hate" is another fairly energetic affair, the guys shredding with the expected vehemence ("Operation Red Skull", the semi-technical winner "In Your Name"), the quiet organ-driven instrumental "Endless Torment" a nice relevant interlude. A rude awakening provided right afterwards with the death-laced "Straight to Hell", but expect another sizeable portion of balladic serenity on the closing "Hear Me Crying".

Demo-lition Demo, 2010
Total Destruction EP, 2012
Kingdoms of Hate Full-Length, 2012
New Blood Full-length, 2018
Bloody Nightmares Full-Length, 2019
Flags of Hate Full-length, 2022

Official Site

THRASHOLD (USA)

The band name doesn't lie: this is speedy thrash with a hardcore touch resembling Tankard, but these guys slow down more frequently, and the singer has the detrimental tendency to scream which isn't the most suitable way to fit this kind of music.

Hold Til'Death Demo, 1990

THRASHOLD OF PAIN (RUSSIA)

This is retro thrash performed with a moderate level of intensity and assisted by somewhat annoying overshouty hardcore vocals. The leveled melodic semi-technicality of "The Hills Run Red" is definitely worth hearing, the short speedy uplifter "Killing Spree" another decent presence, the second half a waste with fillers like the mellow crowd-pleaser "Wring Way" and the melo-death/thrash banality "Wasteland" by all means on the downside.

Grounds for Demise Full-length, 2021

Official Site

THRASHOMATIC (CANADA)

Old school power/speed/thrash metal with an early Metallica flavour mixed with a more laid-back heavy/power metal approach ala early Laaz Rockit and Grave Digger. The middle is kind of underwhelming, though: 4-min of constant drumming titled "In For The Kill" which splits the EP into two parts.

Unexpected EP, 2008

My Space

THRASHPIT (INDONESIA)

This young outfit indulge in lashing intense classic thrash with crisp modern production; an able mix of raging Slayer-esque skirmishes and firing on all fours Germanic outrages. The speedy crescendos never end with "Hard Study!" some mid-paced respite from the assault. At the end one may be able to recognize the Melvins' "Honey Bucket" wisely done in a hard thrashing manner surpassing the original in terms of aggression. The singer is a shouty throat, but is more on the cleaner, rather than the angrier side.

Perpetual Malice Full-Length, 2015

Official Site

THRASHQUATCH (CANADA)

The EP: an intense mixture of thrash, hardcore and death metal with a very good bass bottom and slightly screechy semi-death metal vocals. The music makes sense with crisp lashing riffs which seldom go below the up-pace with the casual short screamy lead section added for good measure.
"Rager at the Lake" is a sheer rager, and not only at "the lake", but anywhere else the rending vocals again creating a not very positive impression. The music delivers, though, and some lashers will make you jump around with joy ("From Biped to Strider", the longer more complex title-track, the ripping galloper "Terrorizing Deep Thrashprints", the brutal speed/thrash attacker "70-80 % of Sightings Are Real"). Semi-technical virtuosity comes served on "Dr. Meldrum Believes" as dessert near the end to make this album an even more appetizing listen to the hungry thrash metal crowds. The band members are also busy with the brutal death metallers Line Up Your Lies, and the thrash/crossover heroes Destruction's End.
"Axe to Inherit" bash with passion once again easily reaching less controlled hardcore perimetres ("Moshtrap") with its sibling thrash/crossover ("Mapped out Skeleton") standing on the side alongside more stylish, more technical exercises ("Inside the Lesion") in the good old school thrash. The energy is high once again with a few more restrained mid-pacers ("Beer Can Battlefield") adding the requisite doze of melody into an otherwise hyper-active effort which often races with the speed of light ("Cryptid Skull") even.

Max Thrashtensity EP, 2011
Rager at the Lake Full-Length, 2013
Axe to Inherit Full-length, 2018

Official Site

THRASHRA (USA)

Based on "Spiderwhip", this band play bashing retro speed/thrash that is at times a bit more than just not very sensible barrage ("Chainsaw Demon "), but there are moments ("Ship of Evil") when the music becomes more proficient, the husky declamatory vocalist taking it easy on the less frantic roller-coaster "Where You Lie", the band losing it on the clumsy ponderous 9-min quasi-doomster "From the Depths". Some faith gets restored with the short unbridled "Creation from Hatred" and "Born to Thrash ’til the Death", the flag of speed metal raised high on those, but not much thrashra... sorry, thrash.

Thrashra Full-length, 2022
Spiderwhip Full-length, 2023

Official Site

THRASHRED (RUSSIA)

"Red" thrashers from Russia, nothing too exotic, if you ask me but music-wise this is some aptly-stitched stuff with merry optimistic overtones, developing in a relatively friendly manner, the prevalent mid-paced approach carved by casual spasms of dynamics ("Sumburoll") with "Lost Song" suddenly turning the tides towards the modern-ish alternative progressive sound where acts like Tool and Digital Ruin reside. This tendency somewhat ruins the second half where the sound becomes less intense with shades of post-thrash ("Bullet Right Through") and heavy/power metal ("Your Own Choice") easily finding their niche, the not very expressive clean mid-ranged vocalist facilitating the softening process.

Sumbur Full-length, 2018

Official Site

THRASHSTEEL (MEXICO)

"Thrash steel" from Mexico (based on the debut); semi-jumpy mid-tempo stuff with echoes of mid-period Overkill which shreds with more might ("The False Witness") on occasion, and even with technicality ("Thoughtcrime"; the cleverly executed puzzler "Deus Ex Machina") on the longer numbers. "Big Brother" is a stylish exploration of the bass accompanied by cool leads and cutting riffs; and the closing "Stained With Blood" is a sharp speed/thrasher with a good chorus, with Overkill again a pretty close soundalike. The singer is a forceful semi-cleaner whose antics are a nice companion to the edgy musical approach. The album is only six songs, though, and doesn't quite reveal the band's full potential since both in the technical and the speedy department there are just hints here and there.
"Kill The System" (the full-length) is another short effort which thrashes with more passion ("Planned Obsolescence") on occasion the band sounding more belligerent, seldom letting the pace go down with "Rat Race Wheel" and "Zombie Nation" speeding forward with sharp lashing riffs, with only the short "Shot in the Head" deviating from the formula, the effective melodic walkabouts on the closing "Walk Through the Waters" a definite highlight.

Thoughtcrime Full-Length, 2011
Kill the System EP, 2014
Kill The System Full-length, 2018

Official Site

THRASHTALK (FRANCE)

Fast ripping thrash/crossover bordering on hardcore, the lads obviously having a lot of fun playing this unpretentious party stuff, with wild shorters ("10 Pas 10", "N.A.B.A.S.G") violating the listener's aura, with even shades of grindcore sneaking into the delivery, the more serious engaging thrashisms on "Alien Attack" by all means the highlight, the attached shouty punky vocals supporting the fiesta with enthusiastic panache, the closing "Bar Closing" an aggressive not very controlled but merry thrash/hard/grind conglomerate.

Cold Beer, Space Dick Full-length, 2021

Official Site

THRASHTANICA (GERMANY)

Thrashy rock'n roll similar to the Tom Angelripper projects Desperados and the one under his own name, and, of course, Motorhead. The music is very simplistic without any high musical aspirations. This is jolly-good stuff which has its edgy headbanging moments ("Satan", "Thrash") and it would be a good background for some drinking thrash party.

'till the Bottle is empty Demo, 2007

Official Site

THRASHTORNO (PERU)

Based on the "Comando Thrasher" demo, this act plays well-constructed retro speed/thrash metal in various tempos ranging from all-out thrashers ("Dethrash de Ti", the lashing title-track "Comando Thrasher") to more melodic melancholic pieces ("Immortal"), to pure speed metal delights ("Invasion"). The 80's German scene is well covered including in the vocal department where the singer comes as a more screamy higher-pitched version of Schmier.

The EP is a really aggressive offering thrashing wildly with gusto producing lightning-speed numbers on a slightly abrasive hardcore base with not very pleasant shouty vocals. The sound quality is quite messy creating the impression that this effort had been recorded way before the reviewed demo.
The debut demo comes with a very raw sound quality and the musicians' skills at this stage correspond well with the pristine sound. This is primal bashing thrash of the old school with death metal throw-ins; a really amateurish effort which has a few slower doom sections, but those sound even worse with their pounding aesthetics. The singer plainly shouts and his rendings can only be partially distinguished on the two cover versions at the end: AC/DC's "TNT", faithfully rendered with the hard rock atmosphere of the original if anything can possibly be sustained on this awful noisy background; and Motorhead's "Orgasmatron" which is harder to recognize due to the very buzzy guitars and the loose interpretation.
"The Evil Inside Me" is another brisk thrashing roller-coaster the fast-paced assault with short blitzkrieg cuts quite close to Slayer's early period, seldom pausing for a break one of which is the nice acoustic instrumental "Let the War Begin", and the other a really cool cover of Death's "Crystal Mountain" which shows a surprising more technical/progressive flair possessed by the band which should be displayed more frequently in the future.

Thrashtorno Mental Demo, 2007
Terrible Death Demo, 2008
Comando Thrasher Demo, 2010
Bablados con Mierda EP, 2010
Asesinos Del Infierno Full-length, 2010
Unearthed in the Disaster Full-length, 2013
The Evil Inside Me Full-length, 2017

Official Site

THRASHWALL (SPAIN)

This is energetic hyper-active old school thrash which is built around ripping explosive cuts like "Old Jail" and "World Domination", the venomous intense semi-clean vocals shouting their heart out at every opportunity, the high-speed freighter inevitably acquiring more brutal death metal tendencies ("Insanity Alert").

ThrashWall Full-length, 2020

Official Site

THRASHYLVANIA (SPAIN)

These "Thrashylvanians" pull out competent energetic thrash with some admirable semi-technical guitar work. "Hell Dance" is a nice speed metal-ish "dance" before the closer "Suck My Dick" gives this obscure effort a jocund crossover flair also featuring a rousing shouty chorus.

Way of Death Demo, 1990

THRAW (SLOVENIA)

Based on the "Encephalic Oppressions" demo, these guys resurrect the hectic technical style of the early Flaming Anger (Germany) demos to a really impressive effect. "Pandemic Reflection" is a brilliant speed/thrasher constantly alternating between fast direct and swirling technical moments. "Condemnation" is another headbanging smasher, and "Mage's Rage" is even more fierce moshing out in a more controlled technicality-wise fashion. Then "Obscene Anatomist" finally shows mercy slowing down, but just in the beginning; the second half is fast frantic speed/thrash again a bit more straight. "A Piece Of Madness" is truly "a piece of madness" mixing the two tendencies as a finishing touch with the obligatory twisted breaks in the middle, and the more intense up-tempo passages circling it around. Flaming Anger kind of failed to extract the best out of their early efforts on their full-length, and hopefully the Slovenians will not repeat the same "mistake".
The full-length sounds a tad more controlled from a technical point-of-view with a more overt echo from the Bay-Area which smells early Forbidden quite a bit now blending the straight-forward barrage from "Forbidden Evil" with the more complex landscapes of "Twisted into Form". However, with each passing track the complexity increases "Induced Adrenaline" being the "initiator" with its serpentine-esque twists and turns, before "Beats of Aggression" throws the listener into spontaneous moshing with its clever stylish speedy guitars. "Pandemic Reflection" starts with a beautiful acoustic digression, but don't expect for the "idyll" to last for too long the guys switching onto full-ahead thrash later leaving this piece as an almost instrumental one with vitriolic riffs and great melodic hooks. "Injecting Hate" is a more ordinary Bay-Area worshipper, and "Factual Perspective" is a heavy stomper with cutting riffage and numerous speedy distractions, another more technical piece with a standout rhythm-section which grows into "Insanity Is Unquestionable", the next in line tribute to the once burgeoning Bay-Area scene, a nice reminder of Testament's heydays. Comes the closer, "Thraw", to "throw" you into the final portion of furious headbanging this one a prime speedster which lashes fiery riffs without much sophistication letting all the band's aggression out who don't spare themselves to thrash everything around as a finishing touch. This is by all means a good effort although the more individual character of the preceding demo has somewhat been lost for the sake of a more or less frequent reference to the aforementioned area on the west coast of the USA.

Thraw Demo, 2007
Injecting Hate Demo, 2008
Encephalic Oppressions Demo, 2009
Decoding The Past Full-Length, 2013

My Space

THRAZ (GREECE)

This is a hesitation between the modern and classic canons, the short material ("Nothing From You", the galloping wonder "Bite Me") pure thrashing delights whereas the longer one ("Roll of Dice") more on the power/thrash hybridization side, the overall result not far from early/mid-period Overkill. "Hold Your Cards" is a mild heavy/power friendliness with the softer stomping instrumental piece "Changing Eras" another sign of tamed conformity, the intense semi-clean vocals ala Sean Killian (Vio-Lence) clearly one of the highlights.

Roll of Dice Full-length, 2019

Youtube

THREAD WORM (JAPAN)

Looking at the guys' photos, one would hardly be very encouraged to give their only effort a listen: their outlook is no different from the one of the hundreds of glam acts swarming the metal scene in the 80's. And he'll make a mistake as traditionally the looks deceive: these guys (could be girls?!) unleash very good intense retro thrash. Their album was produced by Hisayoshi Hiraga- the ultimate vocal guru in Japan, having sung for Rosenfeld, Aion, and Manipulated Slaves, among other non-thrash metal acts. The band starts thrashing with full force from the get-go with "Play Only" and "D.I.E.", before "Beyond the Future" tones down the speed adding both heaviness and a certain amount of technicality recalling their compatriots Outrage and Metallica. This 9-min pounding monster is a nice slab of more thought-out metal, but after the following "Inferno" thrashes its soul out one knows that those short blitzkrieg numbers are the more preferred side, and fortunately "Parasite" is another direct bombastic thrashterpiece. "Limited Life" is a satisfying aggressive proto-death track, before "Low Brow" slows down a bit with meaty smashing riffage. The closing "Beauty And The Beast" is brutal super-fast thrash ala early Sadus putting an end to this very obscure, but valuable, addition to the Japanese scene of the 90's which only drawback would be the unemotional synthesized shouty vocals.

Parasitism Full-length, 1995

THREAT (BRAZIL)

Based on the full-length debut: this band offer quite generic groovy power/post-thrash which borrows heavily from the 90's scene, and more particularly Machine Head's unimpressive period (1999-2004). The music loses its edge quite often, and will also remind you of Anthrax's alternative "flirtations". There's hardly anything here which you haven't heard before.

Threat Demo, 2002
Special Edition EP EP, 2003
Headswitchcraft EP, 2005
Heaven To Overthrow Full-Length, 2007
Unbroken EP, 2009
Overcome Full-length, 2012
Unstoppable EP, 2014

Official Site

THREAT (BULGARIA)

Brisk high-octane retro thrash is on offer here, the heavy belligerence bonding well with the jarring mosh on "Warped Reality" and the sophisticated Bay-Areasque semi-technicality of "Edge of the Knife". "Bonecrusher" justifies its title with wild raging guitars, and "Incineration" is another intense headbanger, the semi-shouty/semi-clean vocalist spitting the lyrics irately, including on the virulent albeit more elaborate opus "Rush". The band members are also involved with another retro thrash outfit, Embrace of the Storm.

Warped Reality Full-Length, 2024

Official Site

THREAT (COLOMBIA)

The EP: the heavy stomping opener "Darkness of the Death" doesn't promise a very big fun for the classic thrash metal lover, but soon after the band show their teeth with the energetic speedster "World Destroyed" which sadly remains the only one of its kind, the rest returning to the heavy doom sound with only the closing "Instrumental" livening up in the mid-section with a fast brutal melo-death portion of riffs which come accompanied by very good screamy leads. The singer hesitates between a subdued black metal-styled delivery and a more vicious lower-pitched one akin to Mille.
The full-length debut finds the right way to thrash and the guys wisely mix the pace the whole time producing some admirable headbangers along the way: "Lies", "With Hate", "Innocent Fall", etc. "Lost Souls" is a more friendly power/thrasher, but its stomping character is a perfect fit to this fairly energetic effort which also brings the winds of proto-death on the otherwise not very intense "Darkness of the Death" near the end. For an epitaph the band shoot a cover of the Colombian black/thrash metal legends Reencarnacion called "No Moral", an aggressive speed/thrasher with several interesting melodic licks, obviously additional insertions made by the band in order to make the song more relevant to their staple style.
"Human Flesh in Putrefaction" offers the next-in-line classic thrash/death concoction, sinister violators like the title-track and "Necrophilia" satisfying the headbangers but also those who like quite a bit of melody in their hyper-active diet. The brief semi-technical excursion "Guerra Visceral" is duly noted, as is the near-grindy outrage "Your Blood", the closing "Heavy Drinker" being a faithful cover of the guys' compatriots, the black/thrash cohort Witchtrap.

World Destroyed EP, 2010
With Hate-Religion-Violation-Death Full-Length, 2016
Human Flesh in Putrefaction Full-length, 2022

Official Site

THREAT (USA)

Based on the 1988 demo, these guys offer quite cool thrash reminiscent of Anthrax with meaty sharp headbanging riffs and good clean vocals ala Joey Belladonna. The difference is that, unlike Anthrax at times, this band aren't fond of any fast-paced sections and keep things in the mid-range department, but this is hardly a complaint at all since the music is good, and some technical licks could be heard here and there ("Brain Dead"). The sound quality is crystal clear, and with the musical proficiency displayed here it's a mystery how this band passed unknown.
The 1991 demo is less dynamic, the approach now being milder and not as intense, the mid-tempo frolicker "Crash the Bash" setting the peaceful tone which "-The Darkest Shade of Grey" tries to break but its not very energetic riffs fail to generate the requisite level of excitement. Still, this isn't exactly a groovy 90's product, and can make a few heads nod in approval, especially those who like not transitional as yet albums like Nuclear Assault's "Something Wicked".

Demo Demo, 1988
Demo Demo, 1990
Threat Demo, 1991

THREAT LEVEL (USA)

Based on the debut, these folks pull out groovy post-thrash of the more energetic variety which indulges in meaty hammering riffs the latter acquiring some interesting semi-technical tendencies on occasion ("Jawbreaker"), and generally few will be those dissatisfied with this jumpy invigorating take on the 90's trends which starts thrashing with passion at some point ("This Hateful Eye", the excellent closing speed/thrasher "On The Rise"), supported by the predictable shouty vocals which may be the only unmitigated downpoint here.

A World Beyond Devastation Full-length, 2008
Leading The Vicious Full-length, 2010

Official Site

THREAT SIGNAL (CANADA)

An intriguing debut of dry, mechanical, technical modern thrash reminiscent of the more comprehensive, earlier Meshuggah period, and later period Obliveon. The music has a strong industrial edge and the singer isn't a very pleasant hardcore shouter, but fans of the aforementioned bands as well as those who enjoy the harsher side of industrial metal (think the Canadians Soulstorm, Fear Factory, Puncture) will find a lot to like here. The band's later works cling more towards the metalcore fraternity, and may not be of big interest to the thrash metal fanbase.

Under Reprisal Full-Length, 2006

Official Site

THREATENOL (USA)

This is dark doom/death spiced with some thrash, heavy volcanic music with several interesting melodic excursions ("Increment Wrath"), but generally too morose and brooding for the average thrash metal fan. The vocalist is a brutal guttural death metaller and perfectly fits the pessimistic character of the music.

Certain Shadows Full-Length, 2011

Official Site

THREATPOINT (USA)

Based on "Careful What You Wish For", this act deliver modern power/thrash which relies on heavy, volcanic riffs to pull it through with occasional more technical "flirtations" ("Mockingbird") "roaming" around, dissipating the "darkness" provided by "Stronger Than Death" and other similar groovers. The vocals are mean semi-clean ones and do a good job hovering over the seismic musical landscape.
"R.I.P." is in a similar vein maybe relying on the groove more also inserting dubious moments of serenity (the jumpy ballad "Light Bleeds Through the Black"). "Bury the Wicked" is more than welcome to bring the thrash with sharp lashing riffs, and when the dramatic semi-technicaller "Laugh Now... Cry Later" follows suit with style, things take turn towards better waters, all the way to the intense death metal-laced closer "Death Rides Again", a cool progressive composition with creepy sinister arrangements.

Dead to Rise Full-length, 2013
Careful What You Wish For Full-length, 2014
R.I.P. Full-Length, 2016

Official Site

THREDGE (USA)

Based on "Dreams and Nightmares", this is modern thrashcore that flirts with both doom/stoner (“Dreams and Nightmares”) and catchy progressive (“Out Cold”). The vocal diversity (gruff, shouty, clean, etc.) can be grating on the nerves, but one can do much worse than the short poignant ballad “Sunset” or the semi-balladic piece of complex serenity “Embers”.

The New Plague Full-length, 2022
Dreams and Nightmares Full-length, 2024

Official Site

THREE DEAD FINGERS (SWEDEN)

This is modern thrash/post-thrash the band alternating intense headbangers ("Celestial Blasphemy") with heavier mid-paced hymns ("Into the Bloodbath") the former side winning the tussle also providing the highlight, the playful memorable quasi-doomster "Eveline" which nicely epitomizes the hoarse semi-clean/semi-shouty vocals.

Breed of the Devil Full-length, 2019

Official Site

THREE THIRTEEN (CANADA)

This band play acceptable modern power/thrash which has its more aggressive side ("American Massacre") where the shadow of Testament is quite prominent. "Evilution" is a very good heavy semi-ballad with some exemplary lead guitar work reminiscent of none other than Alex Scholnick; and the closing "(Happily Ever Evil) Let Us Prey" is a nice technical shredder with less predictable time and tempo shifts. The singer is a decent dramatic clean throat pitching it higher to a positive effect whenever needed.

Dawn Of The Shred Full-Length, 2016

THREE YEARS OF WINTER (UK)

A power trio from Nottingham specializing in death-peppered retro thrash with also a few abrasive crusty overtones, with Venom a close soundalike on at least half of the material. "Hate 2.0" is a surprisingly effective aggressor, but don't expect such outrages on very regular bases the dominant tone being mid-paced and quasi-doom also recalling another British act, Sacrilege, their debut in particular (check the perennial dirges "Covenant" and "Bitter Harvest"). The singer comes as a mix between Cronos and Paul Evo from Warfare, an inebriate semi-cleaner with just a few attached antics added to his dispassionate rhetorics.

Corruption, Greed, Deceit Full-length, 2018

Official Site

THREEFOLD RUIN (CANADA)

The debut: this is intense aggressive thrash/death which lashes with very little remorse throughout, with death metal clearly dominating the scenery thanks to unrelenting explosions like "Iskalawag" and "Dulom", short brutal bombs topped by not very comprehensible guttural death metal vocals. The closer "Moon Maniac" is an epic mid-pacer but generally this is not stuff for the faint-of-heart.
"Season Two" is an even more brutal, also more complex, proposition, full-fledged death metal for more than half the time, a calamitous exhausting riff-fest which isn't a total stranger to more technical developments ("Weapon", "Enemy"), the surreal spastic wonder "Sanctuary" a sheer Cryptopsy and Deeds of Flesh defier. "Plague" is a disorienting thrash/death/hardcore amalgam, a weird accumulation of aggressive rhythms and furious tempos, "Curse" trying to keep thrash in check with a portion of intricate thrashy riffage. "Ash" is an entangled epic number, the quirky melodies on "Blessed" bringing Voivod to mind, the dark atmospheric arrangements on the closing "Defend" another delightful ingredient to a very entertaining, least ordinary opus.

Season One Full-length, 2021
Season Two Full-length, 2021

Official Site

THRENODY (CANADA)

Based on the IInd demo, this band play mild power/proto-thrash with alternative elements among which the best thing are the very good melodic lead sections, and partly the more intense rhythms on "Free Of You" which try to capture the pounding magic of The Black Album. The singer isn't bad at all, though, trying to impersonate James Hetfield, but his timbre is more melodic and more lyrical, to these ears for the better.

Body and Soul Demo, 1992
II Demo, 1993

Official Site

THRESHER (USA)

A Christian power/thrash metal band; the style is in the vein of early Deliverance. Songs like "Final Frontier" also bring them closer to classic Christian heavy metal bands like Bloodgood and Barren Cross.
These veterans are back on the scene, and this time they manage to release a full-length which sounds pretty old school with early Deliverance again being the main influence, plus the more thought-out side of the Bay-Area (Metallica, Testament). The songs are longer mixing crushing mid-tempo sections with intense speedy ones. The opener "Sanctuary" combines both sides in a cool way, thrashing hard, but "Faith Awaken" concentrates on the stomping heavier side sounding quite close to late-80's Metallica. "Amazin Grace" could be viewed as the filler, a clumsy proto-stoner number, fully canceled by the furious, but complex, thrashing on "Here I Am". "Altar of Sacrifice" is not a Slayer cover, but is the other unmitigated failure being slower power/thrash metal, recalling the milder half of the demo. No more setbacks of the kind as the three remaining numbers mosh out in an intense fashion, adding this effort to the better comeback albums of recent times also strengthening 2009's reputation as "the year of the comebacks".

Totally Possessed Demo, 1989
Here I Am Full-Length, 2009

My Space

THRESHING SLEDGE (FRANCE)

An admirably brutal underground recording sees an act willing to take part in the establishment of the death metal movement although at this stage the delivery is still thrash, but very aggressive and bashing the band creating a chaotic, but listenable, wall of sound which comes close to the Wehrmacht "atrocities" coupled with a more complex approach ala Gammacide on the clever, more technical basher "Why". The singer has an intense semi-clean baritone which also holds the odd melody whenever needed.

Apathetic Death Demo, 1990

Official Site

THRESHOLD (FRANCE)

A solid take on progressive thrash metal; the guys vary things from more aggressive parts to haunting atmospheric passages. The style isn't too far from the works of the bands from the progressive/technical thrash metal wave which started in Germany at around the same time, including close resemblance at times to Anacrusis' last two opuses, but the guitars here are heavier and more aggressive, and the music is maybe a bit less adventurous. At quite a few places the guitars thrash quite intensely: check out the smashing "Heady Steams", or the fast technical thrasher "Mother Country". The songs are ornate with acoustic passages and more quiet moments of a varied nature which are accompanied by eerie chants the latter nicely contrasting to the sharp aggressive guitars. This is a really engaging listen which will also make you headbang on quite a few moments, a perfect combination of though-out and intense music. The singer is the mild disappointment here with his low-tuned, gruff, muddy vocal delivery.

Within The Expanse Full-length, 1991

THRESHOLD OF PAIN (CANADA)

Based on the demo, this obscure formation pull out laid-back thrash/crossover with open punk overtones the jocund tone also preserved on the more "serious", longer material ("Blood On My Hands"). later on the delivery loses the intensity settling for insipid mid-paced rhythms which go nowhere except hitting the ballad bottom on "Trap Door". The singer doesn't really sing, but recites in a dispassionate, listless manner seldom acquiring a meanish pitch to spice his monotonous tirades.
"The Riddle...?" is a calm power/proto-thrash offering which has certainly acquired a few groovy tricks along the way, the more belligerent "Blank Society" even introducing a harsh death metal throat as an antidote to the otherwise cool clean antics of the singer. The latter is by all means better utilized on the cool soulful ballad "Smiling Face", the deathly throat coming to play again the aggressive shredder "Bloodred Moon", the second half of the album peppered with mild rock-ish and grungy vaudevilles.

Demo 1 Demo, 1989
One O' One Full-length, 1992
Surface Dwellers Full-length, 1994
The Riddle...? Full-length, 1995

Official Site

THRESHOLD THREAT (RUSSIA)

Melodic alternative post-thrash with progressive pretensions, but the balladic leanings (there is one pure ballad in the end) and the soft riffs may not delight the regular thrash metal fan. Funky and industrial overtones have also been added here and there, and "At Deadlock" may remind you of Mordred's "In this Life".

Demo Demo, 2007

Official Site

THRILL KILL (GERMANY)

Another belated rendition of then 90's groovy post-thrash canons; this is a more energetic effort than the lot, though, supplied by short thrashcore accumulations ("You Cannot Change Me!", the title-track) and interesting, near-technical listening experiences ("New Blood"). The poppy friendliness of cuts like "Gunshot Bride" and "Light a Fire" reveal another less pretentious side of the band, the harsh shouty death metal vocals not really accommodating those last motifs.

Splatter House Full-length, 2020

Official Site

THRINA (GERMANY)

Modern thrash/death with plenty of melodic hooks, and rough shouty death metal vocals; there are sparse more aggressive blasting sections, but generally the laid-back tone of the album is seldom broken, and the guys' sense of melody should be acknowledged (check out the melodic hooker "Kamerad" and the more engaging, longer "Fruhlingswandern"). Not very desirable metalcore breaks sneak on "An Hutten" and elsewhere, but overall this isn't such a trite listen having its more interesting moments here and there.

Vertonte Zeilen Full-Length, 2011

THROAT VIOLENCE (USA)

This 2-song EP sees a band mixing thrash and death metal offering both fast aggressive and slower heavier moments; the sound quality is poor, but the guitars can still clearly be heard as well as the gruff forceful vocals ala L.G.Petrov (Entombed).

Throat Violence EP, 2007

My Space

THROAAT (USA)

This is an interesting mix of black metal and old school speed/thrash submerged in loads of atmosphere which definitely favours black metal more, giving the more thrash-based material ("The Crypt") an ethereal, majestic aura. The delivery is mostly mid-paced touching mid-period Bathory ("Radiation") on the more officiant compositions. Some of the band members are also active with the black/death/doom metal hybriders Ordeals.

Reflections in Darkness Full-length, 2017

Official Site

THROCYTE (ESTONIA)

Tight concrete modern thrash/death which exudes both melody and intensity in almost equal dozes, the more death-oriented material ("Give Up", "Genital Autopsy") coming with a pinch of technicality. "Circus" is a sprightly speed/thrashing digression, the very brutal guttural death metal vocals ruining the party atmosphere on this one. Elsewhere they seem suitable especially on short bursting bombs lime "Burning Sky" and "Don`t Speak", the closing "Degenerate" slowing down for a couple of more officiant moments. Some of the band members are also involved with the death metal formation Catafalc.

Disaster Full-length, 2020

Official Site

THROES OF PAIN (SPAIN)

These Spaniards pull out pedestrian modern thrash with very brutal death metal vocals which surprisingly sound intelligible. The tempo is too sleepy for such a release, though, and the really bad clean vocals should be removed for the future. The guitars chug in a derivative mid-pace producing little excitement, but a lot of boredom.

Insanity EP, 2011

THRONE (SERBIA)

Primal raw black/thrash metal mixing the energetic barrage of early Bathory with the cold misanthropic doomi-ness of Khold. Both sides are put together on almost every track, with only "Nocturnal Ritual" raging on until the end also bringing Burzum to mind. The singer is a scary rasper whose delivery is pretty comprehensive despite the noisy background.

Into the Grimness Demo, 2009

My Space

THRONE OF DEATH (CANADA)

Vivid dynamic old school thrash with somewhat screamy high-strung vocals; the music packs a punch, though, and the fans will have their fun on this capable alternation between moderate mid-pacers (the title-track) and more intense speedsters ("Good and Broken"). There are a few attempts in the second half for a more serious song-writing ("Prisoner of War"), but the performance there is a bit clumsy with not very imaginative riffage involved.

Monsterborn Full-length, 2014

Official Site

THRONE OF HERESY (SWEDEN)

This formation play lashing semi-technical modern thrash/death which also emits atmosphere ("Devoid The Usurper") from the slower moments which will remind of early Morbid Angel with a more energetic twist. The problem is that the speed from the beginning gets replaced by more officious doom riffs later which by all means deliver, but in a battle-like Bolt Thrower, Amon Amarth-esque way ("Visions Of Blood", the steam-rolling closer "Bring Out Your Dead").

The Stench Of Deceit Full-Length, 2012

Facebook

THRONE OF SERPENTS (USA)

Cool classic power/thrash metal with stylish lead guitar work which overshadows the simplistic riffage. The music ranges from all-out thrashers ("Breath of Pestilence", "The Last Nail") to power/speed metal numbers in the tradition of the 80's American scene ("Beneath the Surface"), to cool balladic moments ("In the Throes of Mourning...Sorrow Envelops Me", "Of Obsession And Pain"). The singer is not an asset with his indifferent unrehearsed voice who sometimes completely loses his blend.

Baptized in Blood Full-length, 2007

My Space

THROUGH THE FALLEN (USA)

Modern power/thrash with a contrasting vocal "duel" between growling death metal and passionate clean tirades the latter at times acquiring a gruffer James Hetfield-like flair. The music picks up speed ("Revolution") on occasion, but for most of the time the guys are content enough to follow on the steps of acts like Trivium. The leads are on a really high level gracing every song among which "Forever War" is a cool dynamic progressiver, and "Too Little Too Late" is an inspired headbanger with Metallica overtones burying under a pile of fiery riffs the otherwise cool balladic closer "Sin Of A Broken Man".

Eternal Divide Full-Length, 2014

Official Site

THROUGH THE FLESH (USA)

Based on the second demo, this trio plays a surprisingly modern-sounding for those early times groovy mix of power and post-thrash with a healthy portion of doom. Some of the compositions (the gigantic 11.5-min saga "Killings Gods (Assassin in Black)"; the 10-min doom odyssey "Bloodshed") are long, a bit boring and monotonous, with a slight alternative edge ("The Bleeding Begins") as well, livened up by the good clean vocals ala John Garcia (Kyuss).
"Nails" is sustained in a similar vein if we exclude the weird creepy oddity "Cygnus Dying" which still borders on doom quite a bit but think the jumpy Confessor-esque approach; and the interesting doom/thrash concoction "Life's Blood" that also mirrors the somewhat ponderous title-track. The vocals hold their own in the described above manner, and the sound quality is excellent, giving this short curious effort more credibility.

Nails Demo, 1990
Wounds Demo, 1991

THROUGH TORMENT (MEXICO)

The debut: this outfit provide violent speedy retro thrash/proto-death which shifts towards pure death metal on the blasting "Belial". "Snake" is a very cool stylish progressive thrasher with elusive black-ish atmosphere, and "Necromancy" is a nice pagan epicer which grows into the closing "Wisdom", another more restrained exercise in evil, sinister pagan thrash to which the shouty black metal vocals are the perfect fit.
The sophomore juggles through the three earlier mentioned genres with bouts of later-period Mayhem-esque surreality ("Deadflesh") sneaking in unobtrusively, standing proud next to more overt expressions of blacky-ness like "Incineration" and more dynamic thrashy explosions like "Damnation". "Offering" is a nice semi-chaotic engager, the possible highlight here with its twisted rifforamas, the same crooked formula applied on the more diverse "Entombment" the guys wrapping it on with style with the epic doom-laden "Triumph", another display of visionary musicianship which should find fuller realisation on future efforts regardless of how far they will move from the good old thrash.

Occultus Full-Length, 2015
Deathrites Full-length, 2019

Official Site

THROWDOWN (USA)

Based on "Deathless", this band offers a melodic brand of the so popular 90's aggro-thrash although the riffs crush well by being quite catchy at the same time, but the approach is pretty derivative recalling Machine Head (their various periods) quite a bit with a few stoner nods towards Down (after all, the band's called Throwdown). Still, some headbanging surprises "roam" around ("Headed South"), and the vocals are suitably angry with a cool melodic blend as well, not far from Phil Anselmo, although the clean timbre, which interferes from time to time, could have been spared, despite its similarities with the more recent James Hetfield singing style.

"You Don't Have to Be Blood to Be Family" is more relaxed music-wise, sounding less angry with elements of metalcore settling in. The groove isn't as eventful and often drags with heavy repetitive riffage.

Throwdown EP, 1999
Beyond Repair Full-length, 1999
Drive Me Dead EP, 2000
You Don't Have to Be Blood to Be Family Full-length, 2001
Face The Mirror EP, 2002
Haymaker Full-length, 2003
Vendetta Full-length, 2005
Venom & Tears Full-length, 2007
Deathless Full-length, 2009

Official Site

THROWER HATE (POLAND)

The thrash/death metal cross had been ruling supreme at that time so one shouldn't be surprised hearing an intense, but also atmospheric, blend of the two genres ala Benediction and the Swedes Unleashed with gruff low-tuned vocals. The guys lose it near the end, with a few vicious blasting sections on the otherwise not bad complex "Kolorowe Zycie" (watch out also for the merry tunes finishing it), but overall this is not bad if we exclude the raw sound quality which makes the guitars noisy at times, deafening the other instruments.

Mosaic of Death Demo, 1992

THROWN INTO EXILE (USA)

Based on "Safe Inside", these folks provide dynamic modern thrash which goes along the well established lines without offering anything too striking. The attempts at more progressive song-writing diminish the energy, and are inferior to the more immediate material among which one may spot the invigorating headbanger "Start Making Sense". The harsh-clean vocal duel is another annoying side of this fairly pedestrian album.

Thrown into Exile EP, 2013
Safe Inside Full-length, 2016

Facebook

THROXIC (CHILE)

Based on the full-length debut, this act play fierce lightning-speed retro thrash which is inevitably graced by shades of hardcore the latter suiting better the rough, unpolished production. The guys know no mercy thrashing like demented till the end, and the headbanging fun will be guaranteed especially on the purer thrashy entertainments ("Rise the Revolution", the early Metallica worship at the end "Ready to Punish"). The vocals are harsh and throaty, and shout intelligibly for most of the time. Some of the band members also play in the deathcore formation Broken Neck.
"Rage and Rebellion" doesn't slouch and the guys mosh with passion the whole time although the overall delivery is a tad more controlled featuring a couple of less energetic stomps ("My Brain, My Riot!", the modern groover "Antipatriots") here and there. The hardcore "sting" is also felt including on the varied merrier closer "Infesting The Enemy".

Burning the Liars EP, 2014
Rise the Revolution Full-Length, 2015
Rage and Rebellion Full-Length, 2018

Official Site

THRUST (MEXICO)

Modern power/thrash which exudes less bridled energy ("Destroy the World and Die") occasionally, but most of the time this is a heavy mid-paced show ("Useless (IV)", "Stain of the Greed") the quarrelsome semi-shouty/semi-clean vocals doing a pretty decent job, emitting more aggression on the closing raging headbanger "We Will Never Let You Down".

Pain & Vengeance Full-Length, 2020

Facebook

THRUSTOR (USA)

This is the new band of the Sardo brothers (Phil & Tony) who released a solitary demo in the distant 1983 under the name Spectre, one of the earliest speed metal-fixated efforts from the American scene which remained in the annals as the place from where John Cyriis (Agent Steel) started his career, and where one can hear the demo versions of two of the best songs from the Agent Steel catalogue: "Taken by Force" & "144,000 Gone". This album isn't so deeply immersed in speed, if at all, but offers decent power/thrash clinging between the modern and classic trends. The more vivid moments are the re-mastered version of their first composition "Sceptre", also featured on the Sceptre demo, and the 80's American speed/thrasher "Night of Fire"; "Fire at Will" also "fires at will" more aggressive faster riffs on occasion, but most of the time the music is mid-paced and heavy. The bonus material at the end is in the form of the original "Sceptre", where one can again appreciate this primal spontaneous slab of early speed metal, and the nice galloping power/thrash instrumental "Baptized in Blood", also composed in 1983, and quite a pioneering piece for that period, but not released anywhere until this time.
"Abysmal Fear" is more uneven, but is almost as good mixing staple power metal hits ("Struck By The First Stone") with surprising brutal thrash/deathsters (the very appropriately-titled "Brutal Assault") splitting the albums into two contrasting sides. Later on one can hear the energetic speedster "Into The Blackest Hate", the dramatic power/thrasher "Shroud Of Blasphemy", the speed/thrashing fury "Into The Blackest Hate", etc. Things get a bit messy in the middle with the uncontrolled blasts on "Tormented Contradiction" which ruin an otherwise good pounding semi-technical piece. Then comes the slower doom-esque "Abysmal Fear" before "Nocturnal Within (Forever Dark)" shows more technical prowess within just 3.5-min. Don't expect two of a kind here, though, and "Burnt Offerings" is another heavy dramatizer with dark doom overtones the latter overtaking completely the following instrumental "Screws To The Skull". The brutal rhythms return for one last time on the closer "Chamber Of Lost Souls" which is a wild technical thrash/deathster consolidating the uneven character of this album which tries to embrace quite a bit when a more concentration on the technical side could have probably produced better results.

Night of Fire Full-length, 1999
Abysmal Fear Full-Length, 2012

Official Site

THUD BUKIT (USA)

A duo, one of whom is the bassist/guitarist Ron Dorn (ex-Impaled, Infanticide, etc.), mix death and thrash in a not sloppy, semi-entertaining manner, retaining the chosen mid-paced template al over, the steam-rolling approach dissipated at times by vehement death metal sweeps (the short ripping "Plague Rats", "Got to Get Home"). Some playfulness ala Six Feet Under ("The Bus Is on Fire", the rock-ish sing-alonger "Song NUmber 10") gets displayed towards the end, not making the most of the vicious guttural death metal vocalist.

W.T.A,F. Full-length, 2020

Official Site

THUMP-N-CRUNCH (USA)

Based on the "Objection Overruled" demo, this act specialize in potent "crunchy" power/thrash which shreds hard at times, still in a dominant mid-pace without any faster temptations. The guitars come with a strong noisy edge, but the guys mosh on unperturbed and create very cool music with a few delightful technical hooks on "Theoretic Poison" and "Inspector Snake" the latter a major galloper with razor-sharp riffs. The singer is another asset with his emotional high-strung performance recalling both Bruce Dickinson and John Arch.

The self-titled demo is another killer the guys sticking more to the more conventional American power/thrash metal patterns, but the crunchy rhythms on "Beyond Recognition" and the good soulful ballad "Father" ensure pleasant moments with this slightly roughly-produced effort which also serves something more progressive on the final "Opposition" with a flavour of Fates Warning, except for the brutal exiting break which will make quite a few fans jump in surprise.

Objection Overruled Demo, 1991
Thump-N-Crunch Demo, 1992

THUNDER FORCE (BELGIUM)

This is dramatic classic thrash that loses several points due to the not very rehearsed semi-declamatory deathly vocals, but makes up with fervent high-speed riffs on "The Land Before Dawn" and "The Mortuary" where some proto-death shades boldly come to play. "Scars of Madness" is another short piece of semi-polished brutality, before the guys embark on a more emotional quasi-progressive journey with "Radiating Emotion", the dynamics on that one still quite high, handsomely transferred on the hectic galloping closer "Mortal Shame".

Radiating Emotion Demo, 1989

Youtube

THUNDER LORD (CHILE)

Based on the "Thunder Attack" demo, this band play good classic speed/thrash metal ala Warrant, Vectom, Tyrant (Ger) (similarities in the vocal department with this band as well) and the first Paradox album. The music is not very fast, and sometimes recalls the 90's speed/power metal scene, but there are enough cool thrashy guitars to keep the thrash metal fan concentrated.
"Heavy Metal Rage" is a cool tribute to all things old school concentrating more on the speed metal side the aforementioned influences still standing on their sleeves. The music is fast and energetic with melodic guitars and the staple gruff semi-clean vocals. The cheese is aptly avoided the whole time the band marching on with intense riffage the more melodic relief coming from the lead department. The closing "Heavy Metal Rage" should have done more, though, in order to deserve the album-title: it's a milder power metal rocker with retouched galloping riffs and epic colourings throwing a slight shadow over an otherwise cool nod to the days of yore.

Thunder Attack Demo, 2004
Thunder Strike Back Full-length, 2005
Hymns of Wrath in This Metal Age Full-length, 2008
Heavy Metal Rage Full-length, 2011

Official Site

THUNDERATION (POLAND)

This band provide decent semi-progressive classic power/thrash which starts promisingly with the excellent diverse opener "Bonequake", before "Rift" offers a more linear pattern, and "Free At Last" deletes all positive impressions with a never-ending array of quiet, meditative sections. Later on the band manage to produce a few more interesting rhythms, but their impact is still not sufficient to make this effort a sure pick for the thrash metal fan.

Where Are the People? EP, 2016

Official Site

THUNDERBLAST (COLOMBIA)

These guys were formerly known as Sidereal under which name they released two demos of classic power/heavy metal in 2001. Based on "Invaders from Another World", the style has shifted a bit towards a more hard-hitting delivery with touches of speed/thrash, but there is at the same time a certain amount of cheesiness sneaking here and there, an obvious nod to the 90's power/speed metal movement which infuses the album with plenty of catchy melodies, for better or worse. The title-track provides heavy shattering riffs, and "When Zombies Rise" is a sharp cutting mid-pacer, but the real thrashy highlight here would be the short blitzkrieg "bullet" "Mutate". There are a few speed metal joys to be heard, and as a whole this isn't a bad effort on the softer side of the genre also supported by very good clean dramatic vocals.

Warzone Full-length, 2004
Invaders from Another World Full-length, 2011

Official Site

THUNDERFUCK (USA)

Lashing bashing thrashcore expressed with short direct tracks and shouty agonizing death metal vocals. Things get out of control at times when the guys move onto pure grindcore, but this isn't really a complaint the band providing numerous chances to pogo into oblivion because this is what this compulsive, spontaneous effort is all about.

Thunderfuck Full-Length, 2012

THUNDERHELL (VENEZUELA)

A capable cross between modern and classic thrash with playful speedy rhythms becoming heavily groovy ("Murderer") on occasion, with "Southern Whorehouse" being a nice tribute to the rock'n roll boogie of Motorhead, sustained in a good Southern vibe, with an appropriate half-sober vocal support.
The full-length is another merry roller-coaster the hardest-hitting track on it being the title-one from the EP; the other material sounds a bit more optimistic and melodic, but equally as speedy: check out "City Of Doom". "Murderer" is almost doom, but there are plenty of energetic rhythms to be encountered on this frolic merry-go-rounder which gives a nice Motorhead-ish twist to the southern country-esque sludgefests on the closing "Southern Whorehouse".

Hate EP, 2010
Hell Trip Full-Length, 2012

Official Site

THUNDERWORKS (USA)

Modern power/thrash/post-thrash/doom; a varied amalgam which is more on the calmer side with friendly mid-paced rhythms provided aplenty those accompanied by sparse but quite impressive bassisms and some tasteful melodic lead sections. The only shadow in this relatively optimistic picture is the gruff low-tuned death metal vocalist who doesn't interfere a lot, and is actually a tad suitable for the more officiant, doom-laden material (check out the doom metal behemoth "Beyond the Seventh Sea": vintage early Cathedral!).

Thoughts & Thunder Full-Length, 2014

Official Site

THWART (USA)

This is a modern brand of progressive power/thrash which definitely has what to offer to the more demanding side of the audience although as a big advantage is the very dynamic execution that seldom stops for a pause, calling death metal ("Parasite") for help on occasion. The clean/death vocal duel would be an acquired taste, though, as it's omnipresent the deathly throat hampering the clean vocals' much better, attached performance. Still, one would be an incorrigible cynic to bypass the unbridled vigour of shredders like "Season of Fire" and "Veil Yourself" where the headbangers will easily receive their portion of raging speedy crescendos, with a few calmer moments arriving in the second half (the atmospheric epic closer "Illusions").

Once Human Full-Length, 2018

THY FALLEN KINGDOM (SINGAPORE)

The full-length: the Far East comes to us with this slab of dynamic retro thrash with modern production which is modeled along the Bay-Area lines: think early Exodus, above all, and Death Angel. The tempo is up with several more lyrical deviations ("Imperious Regime") which are short and don't detract from the assault-like listening experience. There's not much variety in the execution except for the more clever, technical approach epitomized on the closer "Possessors of Absolute Power" which could occupy a niche on Heathen's "Victims of Deception". The singer has a mean semi-clean voice which he doesn't strain too much, but leads the show with authority.

All That Is Left EP, 2009
Fear The Hunter Full-length, 2014

Official Site

THY GATE BEYOND (ITALY)

The album title (the debut) won't keep you guessing what the name of the game is here. With their two releases this band established themselves on the front row of Italian thrash metal showing that they really possess the power to thrash, and in quite a good way at that: vintage Bay Area sound with early Testament being the prime influence. Engaging head-banging thrashers ("Art Terrorrist") are mixed with some impressive technical pieces ("Our Lady of Lunacy").
"Enemy at the Gates": the band are back after a long hiatus eager to thrash the neighbourhood and beyond. The opening title-track is already a major neck-sprainer its vitriolic character greatly helped by the excellent production. The attack continues all the way shooting fiery riffs at close range those becoming mildly technical ("My Brain Is Dead... Reactivate It's Too Late"; the short ripping technicaller "The Culptit Chaos" already heard on the debut) on occasion. "Horror Paradise" would be a crowd mover with its stomping mid-tempo riffs and a sudden speedy exit as well as the cool bonus track "Parabellum" which is a nice varied speed/thrasher with good screamy leads. The band traditionally don't disappoint, but during the time they were away the Italian thrash metal scene has been enriched with young talented acts, and now it may be a bit tough for them to stay on top.

"Survive at Last And You'll Be the First" stays faithful to the blitzkrieg style of the debut, and there'll be hardly a fan disappointed the guys thrashing their hearts out with clever more technical "winks" provided ("Commandments", "I Win") handsomely here and there. "Thrashmegistus" is a cool "occult" thrasher aptly supported by the new version of "The Gate Beyond" which isn't really altered dramatically. "React" arrives near the end to make the more serious fans listen with care to the more stylish execution again; and the final "No Light Out There" is another remorseless headbanger finishing this album with the high note it richly deserves.

The Power To Thrash Full-length, 2003
Survive at Last And You'll Be the First Full-length, 2006
Enemy at the Gates Full-Length, 2013

Official Site

THY NATURE (ITALY)

Later members of that band went onto bigger glories and lay the foundations for some of the finest technical exports from Italy: Gory Blister, Sadist, Node, Will O'Wisp, etc. On this 3-song effort the band insert quite a lot of music and some of the shreds here can seldom be reached even by the most talented acts around. The compositions are lengthy (7-8min) and the riffs come piling up to a somewhat disorienting effect at times the relentless shredding accompanied by stylish bassisms. Speed is hardly covered the guys obviously fascinated with the labyrinthine structures of Atheist only that the passages are longer here the Italians obviously having more patience building those complex landscapes without ever losing the plot. Some more aggressive rhythms sneak in at the beginning of "Bewaring of Myself" as well as nice angelic female vocals as opposed to the main shouty death metal ones, but later on this song is another immaculate display of technical musicianship to which the Italian music scene was a "stranger" at the time. It's kind of sad that the guys never lasted beyond the one-EP-wonder stage...

Thy Nature EP, 1995

THY RITES (BRAZIL)

Based on "Nekrolatreia", this multi-instrumentalist, the alias Nekrotizer, serves furious retro black/speed/thrash with vicious shouty deathly vocals. The unbridled hyper-blasts on "The Cursed Slumber" aren't exactly the leitmotif here, but this is by all means rousing hyper-active stuff with speedy roller-coasters like "Engraved into Darkness" and "Carrionscape" offered regularly, the fiesta seldom acquiring milder mid-paced parametres.

Thy Infernal Coronation Full-length, 2008
Invoker of the Venomous Unlight Full-length, 2014
Daemoniacal Terror Full-length, 2019
Nekrolatreia Full-length, 2021

Official Site

THY WILL BE DONE (USA)

"Was And Is to Come": typical modern thrash/death metal; despite more intense death metal parts the music is not very aggressive and the guitar work is quite melodic and catchy. "In Ancient of Days" is in the same vein, maybe a tad more melodic and groovier, with a more frequent adherence to straight thrashy sections ("Ex Morte Vita", "A Solemn Oath"), and with fewer death metal leanings.

Was And Is to Come Full-Length, 2007
In Ancient of Days Full-length, 2009

Official Site

THYABHORRENT (NORWAY)

This band, previously known as just Abhorrent, was formed by Stian ``Occultus`` Johansen, who had a short spell with the black metal legends Mayhem, replacing the committed suicide Dead (R.I.P.). This 3-song EP offers an evil mix of black and thrash, which recalls early Mayhem at times, but is closer to bands like Bulldozer and Bathory. "Condemnation" is a good mid-paced thrasher, with sharp riffs, whereas the other two songs are more chaotic, jumping from one extreme to the other. Two vocal styles cross paths: one a low death metal grunt, the other a vicious black-ish rasp.

Death Rides At Dawn EP, 1991

THYBREATH (SPAIN)

The debut: this Spanish act provide dark pounding thrash of the old school which betrays its origins with the annoyingly abrasive guitar sound and the harsh quarrelsome vocals. The guys deliver seismic steam-roller stuff reminiscent of early Xentrix and the balladic/semi-balladic passages aren't late to spring up ("Ego"). The problem is that this heavy wall of mid-paced rhythms will wear thin well before the end the guys leaving the more dynamic moments for the final duo "The Master Piece" being an interesting diverse shredder, and the closing title-track is a dramatic piece with a few faster sections which aren't enough to compensate for the previous tedious performance.
"Where the Gods Fall": the delivery hasn't changed dramatically from the debut and the guys carry on with their monolithic steam-roller approach which now flirts with groove, industrial and epic doom to muddled results. The listener will get tired sooner this time listening to this monotonous never-changing affair which only strife at redemption would be the cool dramatic accumulations on "Where the Gods Fall".
"My Own Hell" is decidedly a more dynamic recording the guys moshing with more energy initially, and although the approach later returns to the staple for the band heavy, not very eventful formulas this opus is way livelier with jumpy roller-coasters like "The Sea of Death" and the more epically-executed "Bloodshot Eyes" throwing the sense of variety on more or less regular bases, with "The Crab" even sneaking a couple of more stylish technical riffs into the melee.

Thybreath Full-Length, 2013
Where the Gods Fall Full-Length, 2015
My Own Hell Full-Length, 2019

Official Site

THYLACINE (AUSTRALIA)

A heavy groovy affair which obeys the 90's post-thrash canons with gruff aggro-death metal vocals. The music also borrows from sludge and stoner the band never tempted to attempt something livelier and dynamic, and this unmelodic chugga-chugga saga may get on the listener's nerves way before the end.

Salvation By Bloodshed Full-Length, 2017

THYRANT (SPAIN)

Modern thrash/death which could be very uplifting ("Bury Me") with epic gallops incorporated, but generally the delivery isn't very dynamic the guys settling for heavy quasi-doom rhythms excluding the short jumper "Damned at Midnight" and another more optimistic galloper, "E.O.S.". The rest is way more officious and progressive-prone like the imposing 11-min closer "Carving the Throne".

What We Left Behind... Full-length, 2017

Official Site


Copyright (c) 2007-2024 THE THRASH METAL GUIDE