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

TIANANMEN (AUSTRIA)

Based on "The Irony Of Fate": we have whole 16 tracks here, but this isn't thrash/crossover; the songs are lengthy and have been "infected" by the modern sound of the time. With so many compositions at hand it's hard, of course, to talk about a homogenous style so different parts from this album will take you diferent directions: Metallica's Black Album, mid 90's Overkill, 90's Prong, 90's Accuser, alternative, Pantera of course, even touches of grunge; quite a mixed bag. The classic thrash metal fan wouldn't be able to enjoy this stuff very much, but there's a lot which could appeal to the metal fan in general.

Tiananmen Full-length, 1995
The Irony Of Fate Full-length, 1996

TIBERIUM (UK)

A 3-song demo of heavy thrash sounding like a mix of early Celtic Frost, Onslaught and Venom's more recent period, after the reformation in the late 90's. The music is not very fast, but the riffs pack a punch, although being of the simplistic type, ably supported by vocals which offer another blend of the aforementioned bands (Tom G. Warrior and Cronos).

Demo Demo, 2007

TIBERIUS (POLAND)

Typical modern post-thrash of the laid-back melodic variety, in mid-pace, with cool clean vocals awkwardly intercepted at times by brutal death metal ones. If you manage to adjust your senses to the peaceful tone of this effort, you will actually enjoy these catchy tunes which produce a couple of memorable melodic passages and choruses.

Born Hope EP, 2010

TICKET TO HELL (MEXICO)

The debut: a thrash/death hybrid with a more classic edge; the music mixes furious blast-beats with cutting thrashy riffs. The tempo is predominantly fast, leaving a little room for heavy stomping numbers like "Eyes Of Fire".
"Operation: Crash Course" is an intense affair blending thrash and death metal, both of the direct and more technical type. To these ears the slower numbers deliver in a better way ("Bluescreen Circus") carrying a curious epic shade with them ruined by the thin guitar sound which is particularly annoying on the leads which scream sky-high starkly contrasting to the brutal low death metal vocals. Some of the band members are also involved in the much slower doom/death metal outfit Majestic Downfall.

Man Made Paradise Full-length, 2008
Operation: Crash Course Full-length, 2010

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TICKLE (USA)

This obscure act is a typical product of the 90's, providing the next in line portion of all the 90's styles: groove, industrial, alternative, grunge, rap-metal, and everything in-between. There are times when the music thrashes quite sharply, but be sure that the next eclectic deviation isn't too far. Still, there's no other band from their contemporaries to sound exactly like them; if you can imagine a blend of Faith No More, Clawfinger, Mordred, Biohazard, Pro-Pain, Prong... do I have to go on?

Tickle Full-Length, 1997

TIDAL WAVE (UKRAINE)

These guys aim at the more technical/progressive side of the genre and waste no time raising the complexity to a considerably high level, with the 11-min opener "Home of Death", which despite some intriguing moments ala early Testament, loses momentum with an overlong softer interlude and a couple of sudden more aggressive outbreaks. This opus is followed by much less complex and immediate material, which lacks any more technical moments, and is nothing really special. "Crazy Scientist" comes in the middle to increase both the complexity and the intensity, but the awkward bluesy/jazzy tunes inside ruin the intentions. The ballad "Don't Regret" is cool, though, but make sure to skip the other one: the overlong closer "Say NO Yourself" which is a total waste of 12-min, and does nothing to add up to the metal mood of the album, except for an even more embarrassing speedy part at the end. As a whole we have a very uneven effort which more inspired moments are hopelessly buried in the average unfocused rest.

Poison Of Sorrow Full-length, 1997

TIDES OF TECHNOCRACY (USA)

The debut: modern thrash/death that is both metaphysical and atmospheric ("The Powers That Bleed") without too much speed involved; and rowdy and progressive in equal dozes (the title-track). Expect a few mellow hard'n heavy tunes ("Dissent of the Inebriated") as well, those ruined by the harsh shouty death metal vocals and the screechy blacky rasps that sometimes accompany them. The more technical shredder "Event Horizon" seems to be the highlight on this diverse operatic recording which also pulls all the stops on the varied gothic, atmospheric thrash closer "Halcyonic Retribution".
"Thread of Three Fates" is a decidedly rowdier offering, with rude awakenings (the brutal blasting blackers "The Ventriloquist" & "Lost Connection") provided to both good and not so good measure, the sing-along pacifier "Artisans of Ash" a needed respite with its stylish infectious lead sections. The madness goes on afterwards with the unfettered death-laced "The Data Mines" and the corrosive thrasher "The Silhouette Society", the patiently-woven stomper "The Transhuman Condition" trying to restore some balance again towards the end, before the final "Dissentient" shatters it all to pieces with another gust of aggressive deathly barrage.

The Great Betrayal Full-length, 2021
Thread of Three Fates Full-length, 2024

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TIEFLADER (GERMANY)

Based on the full-length, this band offers a mix of groove, hardcore, and post-thrash. The guys, however, fail to come up with the best from the hardcore side never speeding up feeling comfortable enough to stay in boring mid-paced waters with rare borrowings from stoner/doom.

HSlt nicht an fnr Dich EP, 1999
Ganz aus Metall EP, 2001
Schneller als du Denkst EP, 2003
Steht unter Strom EP, 2003
Geht Durch Die Wand Full-length, 2009

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TIGER JUNKIES (JAPAN)

This band is a joint effort of Joel Grind (Toxic Holocaust) and Yasuyuki Suzuki (Abigail), so expect nothing too different from the black-ish thrash of those two bands. This is energetic melodic stuff exiting the thrash metal field at times ("It's Fucking Happy Time"), and finished with a cover version of Abigail's "Satanik Metal Fucking Hell". Oh, and let's not forget another, better one: The Exploited's "Porno Slut", which is the most aggressive track on the album.

D-beat Street Rock N Rollers Full-length, 2008

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TILIKUM (BRAZIL)

This set is performed by only one musician, the name Otavio Henrique "Tavico", the style selected being crusty abrasive thrash/death of the old school, "I Ate Her Remains" on the verge of becoming something more stylish if it wasn't for "Children of Lobotomy", a corrosive post-thrasher which is handsomely supported by "ROT", but dissipated by the headbanging vigour of "Psychosis", the hysterical very shouty singer ruining the otherwise intriguing industrial pounder that is the title-track.

Flowers in Antarctica Full-length, 2024

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TILL THE END (POLAND)

Based on "The Aftermath", this act indulge in modern thrash/death that is served both intense and rowdy ("Beneath", the proto-blasting "Veins of Earth") and twisted and technical ("A Grave Can Wait"), the hectic shredder "Heartfire" hinting at the dazzling brutality movement (Suffocation, Cryptopsy, etc.). "The Black Rain" evokes thrash as the guiding light for an epic quasi-progressive journey, but such entangled rides are a rarity, the brutal shouty death metal vocalist a strong intimidating presence the entire time.

Code of Blood EP, 2019
Radiant Blast Full-length, 2019
The Aftermath Full-length, 2020

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TIM DRAKSLER (SLOVENIA)

This is the name of this multi-instrumentalist who is in charge of everything here for the production of this modern technical/progressive thrasherism which relies on drama and atmosphere as well as the odd stylish melodic lead section (check out "Longing for Clarity"). The man reaches heights on virtuoso pieces like the diverse "Beyond Sanity" which blends aggressive shred with enchanting melodies the latter taking over on the closing "Endless Forms" which is a lead-driven instrumental with a few impressive bassisms. This is an inspired effort which should expose the guy to wider circles who should, by the way, make some amendments in the vocal department: his hoarse semi-death metal antics are not a match to the much better music.

Morbid Desire EP, 2012

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TIME FOR VULTURES (ITALY)

The modern thrash/post-thrash saga still continues here and there in the new millennium, and this act are another proof of that. The guys keep the dynamics high with ripping marchers like "Ivory March" and more intense headbangers like "V.O.M.B.E." and the more varied shredder "Macrominus". "Bury Me Down" is a nice dramatic doomster, and the closer "Corpses and Unicorns" is another fast-paced cut with shades of melo-death. The vocals are not bad attached semi-clean shouty ones, and add up to the energetic feel of the album.

I Full-Length, 2017

TIMEBOMB (ITALY)

Based on "The Full Wrath of the Slave", this band plays decent hardcore-ish thrash with both modern and classic overtones entwined on almost every track topped by brutal death metal vocals of the intelligible shouty kind. The guitars deliver with a nice cutting edge aptly avoiding any dragging groovy moments opting instead for a smashing steam-rolling sound on the slower passages.

Fury EP, 1994
Hymns for a Decaying Empire Full-length, 1996
The Beat Is Here, Fellas Full-length, 2001
The Full Wrath of the Slave Full-length, 2003

TIMELORD (USA)

Based on the full-length, this band come with a potent mix of the basic metal genres: power, speed and thrash. The cheesy moments from the power/speed metal scene are all over the album, and although the musicianship is on a high level, the speed/power metal fans will probably be happier with this one; actually the overall sound isn't too far from the Germans Scanner, only edgier. "Sparks of Rebellion" is a nice spark of a more thrashy song-writing, being a nice speedy killer, and "The Alchemist" is another good more technical speed/thrasher, but the guys have a long way to go before they reach the best models offered by acts playing similar mixtures (Hellfire, Manticora, Eidolon, etc.).

Dawn of Dissent EP, 2005
Dawn of Dissent Demo, 2005
Regeneration Full-length, 2007

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TIMOT (USA)

Cool semi-progressive old school thrash which hits the top with the opening instrumental piece "Symphonic Progression", an immaculate array of riffs, rhythms, and tempos, a slow-builder with a gradual escalation from mid-pace to a fountain of speedy crescendos at the end. "Aerial Holocaust" is a more immediate semi-speedster, and "Horde of Death" is another more pensive exercise with balladic sections, heavy seismic guitars, and a portion of dynamic gallops. Speed takes over ("Taken", "Distraught") from then on, the vocalist keeping up with the energetic approach by unleashing a few piercing screams to spice his otherwise levelled, not excessively adventurous clean performance.

Taken EP, 1991

TINIEBLAS (VENEZUELA)

Both albums offer good classic thrash metal, at times quite fast and aggressive akin to Destruction and Paradox, at times more melodic, recalling Hermetica and Horcas. Don't get misled by the epic length of some of the songs: this is straight-forward stuff, without any technical pretensions; simplistic and enjoyable.

Consagracion Full-length, 2002
Hijos Malditos Full-length, 2003

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TINNITUS (USA)

Based on the "Hadopelagic Zone" 3-track EP, this act offers a complex blend of thrash, death and black metal which has its moments when the guys don't blast like demented ("To Deflect the Asteroid"), but come with clever technical decisions. The latter are featured on the slower numbers ("Hadopelagic Zone", which is a cool creepy atmospheric cut) and are kind of undeveloped since a more energetic approach could have made them stick out more. Well, the band have been on an 8-year long hiatus; it doesn't hurt to test the soil first before embarking on another longer journey...

Hadopelagic Zone EP, 2010 Perfectly Endarkened EP, 2012

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TINTA LEAL (FRANCE)

Modern melodic thrashcore with a few more interesting classic references to the early Suicidals; this is party optimistic music which could have been served with a bigger number of speedy catchers: most of the numbers are in the mid-paced parametres including most of the short (1-2min) ones. The singer is a drunken semi-declamator but suits the merry tone of the music.

Take Control! Full-Length, 2013

TIP THE BALANCE (GERMANY)

This is very diverse progressive power/thrash which changes the influences at will coming with a strong orchestral atmosphere the latter enhanced by a creepy keyboard presence. The intense thrashy rhythms get lost at times in the sea of other nuances which is a pity since when the band start pulling technical tricks out of the bag, the approach reaches Zero Hour ("Protector of the Brave") heights with ease. Alas, the pretentious pompous atmosphere reigns supreme for most of the time marring the other attempt at progressive/technical thrash greatness "Wardrums". The main singer is a clean mid-ranger, not bad, but he's often interrupted by a very gruff death metal-ish one which by all means adds up to the diversity but kills the more lyrical sections. The guys are also active with the progressive power metal stalwarts Janus Experiment.

Tip the Balance Full-length, 2014

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TIPPER GORE (USA)

Based on the "Driven By Terror" demo, this act, who rose from the ashes of the thrash/crossover heroes Axite, provides a pretty decent blend of power, speed and thrash metal which rips with sharp edgy riffs and varied tempos among which the up galloping one is very well incorporated ("Infernal Inferno", "Puppet Regime"), and applied frequently to a positive effect. "Untold Truth" is a raging speedster with early Kreator an obvious influence, and "Death Watch" is a cool nod to the Bay-Area. The vocals are forceful semi-declamatory ones which get the message through without much actual singing.
The "Fuk You Very Much" demo is a more moderate affair, the gallops put under tight reins siding more with the US power metal brotherhood than with thrash, the title-track ensuring some more energetic approach with bouncier rhythms, but also with cool melodic implements.

. Demo, 1989
Driven By Terror Demo, 1989
Demo Demo, 1990
Fuk You Very Much Demo, 1994

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TIRAN (RUSSIA)

The full-length debut: old school speed/thrash metal with hysterical semi-black metal vocals mixed with very low-tuned death metal ones; not a very convincing mixture and as such fails to deliver the whole time. In the music sector there's also a hesitation between death and thrash metal the battle being won by thrash metal to which belong the better songs: the atmospheric, but also fast "Provokator"; the intense Germanic speed/thrashers "S.O.D.O.M." and "Panzer, Vorwarts!"; the chaotic frantic "Panika". The end is preserved for a cover version of their compatriots Korrozia Metalla's biggest hit "Russian Vodka". Cheers!

"Reborn Chaos" is a more capable follow-up thrashing intensely with cool melodic insertions, now the vocals turning into vicious raven-like ones, but fitting well into the speed/thrash picture which slows down for the stylish progressive "Travlia" in the middle, a mid-tempo number with very good bass support. "Forever Unerground" after it is 2-min of fast aggressive thrash mixed with heavy stomping moments which transforms into the faithfully done cover of S.O.D.'s "United Forces". Time for more thought-out technical thrash with "Reborn Chaos", a mostly instrumental piece, again with fine melodies, gracefully finished with the peaceful flute-driven outro "When Dawn Comes...". The musicians also have another project, the epic heavy metal act Chernye Serdca.

Proklyatie EP, 2007
Demonia Full-length, 2009
Reborn Chaos Full-length, 2011

Official Site

TIRANT SIN (USA)

Based on the "Mutant Supremacy": this is the band which later evolved into one of the greatest death metal bands of all times, under the name of Cannibal Corpse. It's interesting to hear the early attempts at singing of Chris Barnes, who here takes it easy content enough to let loose some sinister semi-whispers, which actually work quite well with the fast aggressive thrash/proto-death metal riffs. "Mutant Supremacy" offers nice melodic lyrical deviations, among the furious riffage; "Exhausted" slows down, mixing dark guitars in the early Celtic Frost vein with more intense up-tempo thrashing; "Crucified in Blood" is a great mid-paced crusher, ornate by cool female vocals, again in a Celtic Frost ("Into the Pandemonium") tradition; the hidden track is more of a power/thrash blend, and is the softest song here. This was quite a worthy effort, showing a band aptly testing the soil before entering the death metal arena on a full-time basis, but one could have hardly expected how far this bunch would reach...

Chaotic Destruction Demo, 1987
Desecration of the Graves Demo, 1987
Mutant Supremacy Demo, 1989

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TIRE BUDDYS (USA)

Wild raucous thrash/crossover the guys messing around with short ripping cuts, the chaotic semi-stylish "Bazooka Joe" providing moments for the unorthodox seekers, whereas the title-track is one violent piece of music bordering on grindcore. Overall, the band bash with passion as also evident from "We Are Few", another brief gust of aggression, the cool semi-clean/semi-declamatory vocalist serving additional bile behind the mike.

Sound It Demo, 1988

TITAN (GERMANY)

From the band's four demos, this is the one which relates them to the thrash metal genre. The guys try hard to sound technical and complex, compared to their straight-forward speed metal approach on the earlier efforts (which are quite good, by the way), and although their skills haven't exactly grown by leaps and bounds, the final result isn't completely without merits (the multi-layered epic speed/thrasher "History of Terror"). The band do a much better job on the more direct thrashing pieces, like "Holy War" and "The Last Nation" the latter trying to imitate the hectic patterns of Living Death's "Protected from Reality", but gives up just when it's about to come close. As a matter of fact, they achieve something more coherent in the technical sector with "Burning Ground", which despite its clumsy moments (some slow very complex ones, some quite sudden fast outbreaks, etc.), is an intriguing piece of more technically-minded thrash. The title-track isn't too far behind, but there the guys fail to develop the technical moments completely abruptly switching onto direct intense up-tempo riffage. "With the Devil" is a frantic aggressive piece which, again suddenly without warning whatsoever, turns to a very elaborate chaotic mid-section with a meandering lead which sounds intriguing, but leaves a certain aftertaste as though it could have been better. Whether a work of genius, or a hit-and-miss affair, with separate moments working better than the whole, would be to anyone's judgement; but there are definitely parts which will make you go back to it now and again, just to make sure that you haven't missed something greater on the previous listen. Later in the 90's the guys switched to black metal, and changed their name to the still operational Saxorior, with whole full-lengths released so far.

Crusaders of Death Demo, 1989

TITANIUM (VIETNAM)

Thrash metal from Vietnam: not a very common phenomenon on the scene, but in this case this is hardly worth hearing. This is pedestrian boring modern post-thrash with repetitive rehashed riffs which make all songs sound very close to each other. The tempo is mid of the monotonous sleepy type, and the only good thing would be the nice melodic leads. There is one headbanging track near the end, as well as one overlong balladic closer which at least shows the musicians (and partially the singer who is hardly impressive with his mid-levelled impotent tember) in a much brighter light.

Nh8n Full-length, 2010

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TITANS EVE (CANADA)

Based on the full-length: these Canadians provide modern melodic power/thrash metal with a clear sound quality and cool expressive guitars. The approach hesitates between optimistic epic numbers ("Serpent Rising") and vigorous speed/thrashers ("Tides of Doom"). The balance between the two sides is achieved to an extent although the guys feel more comfortable with the slower material which has echoes of the 80's American metal scene (Jag Panzer, Omen, etc.) on the more classic-based moments. The singer isn't bad, albeit not emotional enough for this kind of music, singing in a hoarse semi-clean tone.

"Life Apocalypse" will make your life "apocalypse" with its constant speedy barrage which manages to take over almost completely over the several not very convincing epic moments. The more aggressive attitude is well accentuated on full-ahead headbangers like "Road To Ruin" and "The Abyss" which will keep your adrenalin high due to hyper-speedy moments some of which come decorated with sparce blasting sections. The dominant fast-paced delivery in the end is relieved by the short acoustic instrumental "A Wound That Never Heals", but expect the next "Hollow Gods" to blow your socks off with hyper-blasts ala Dimmu Borgir and Emperor. Yes, the diversity here is bigger, but hardly to a very positive impression, the final winners in the long run being the direct short blitzkriegers ("Divided We Fall") which should have been more. The guys have hardened the course quite a bit, but they hardly need assistance from the more extreme side of metal which would eventually turn them into just one of the many extreme metal purveyors of recent years who try to pack as much as possible without any certain focus.
"Chasing the Devil" doesn't bear any surprises for the band fans the speedy moments prevalent this time making this album an updated version of the "eagle fly free" 90's power/speed metal scene. The thrash metal fans may not be enormously entertained although the closing "The Endless Light" should make quite a few heads bang in unison as a farewell touch to this decent, but hardly exceptional product.

Into The Fire EP, 2009
The Divine Equal Full-length, 2010
Life Apocalypse Full-length, 2012
Chasing the Devil Full-Length, 2015

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TITANSKULL (USA)

Old school power/thrash which moves onward in a relatively peaceful mid-tempo, the catchy sing-alonger "It's Alive" pairing well with the leisurely balladic stroller "Always Now" and the frolic but intimidating speedster "Out of Time". Thegalloping mood of "Burn It Down (The Pyre)" is also served with a thin technical layer, and the stomping character of "Through the Gates of Horn" easily borders on the doomy and the semi-balladic. Not much thrash here if we exclude the few intense pounding passages on the gigantic 10-min closer "The Gods All Sleep".

Titanomachy Full-length, 2022

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TIWANAKU (USA)

This band with a very interesting exotic name (which actually has a meaning: this is a very old site in the Andes in South America, where the first extraterrestrial visitations are supposed to have been held) which at one stage included Wade Black: the singer who sang for Crimson Glory, Seven Witches, and Leatherwolf, play outstanding technical thrash/death. "Illusion" is a fabulous explosive opener boasting some of the finest technical, but also quite aggressive, riffage around plus a very interesting duel between gruff death metal vocals, and screamy Rob Halford-like ones. "Magnacore" is a more peaceful number staying within the mid-range, but in terms of technicality it goes even further, also coming with cool keyboard implements. "Shockwaves" is a great progressive thrasher with stupendous intense technical guitars seamlessly jumping from fast-paced sections to slower atmosphetic ones in no time. "What If" begins as a ballad, but later rages on in a mighty thrash metal fashion, offering the most conventional, but still quite stylish riffs. This demo serves fine as a teaser, but hopefully the guys are still around; there's a lot more to show...

Tiwanaku Demo, 2003

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TME (SWEDEN)

The guys from Vintersorg, without Vintersorg, entertain themselves here playing a more classic blend of thrash and death metal, and as such offer energetic, frequently brutal sound, with blast-beats ornating almost every song, providing on the way epic deviations ("Mankind's Last Cleansing"), Swedish school nods ("Away From Decay"), heads-down thrash numbers ("Hell Incarnated"), and even pure black metal ala Dimmu Borgir ("Superiour") with a more death/thrashy twist.

Worlds Collide Full-length, 2007

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TO DUST (SWEDEN)

Based on "Against the Real", this act pull out the traditional for their country melo-thrash/death, maybe a tad more varied and more melodic. Still, the shadow of Dark Tranuillity ane arly In Flames can't be escaped too far and the listener can't help but feel strong currents of deja-vu while savouring this album. Make sure not to miss the lead-driven balladic deviation on the closing "Ghosts"; pure elegiac bliss.

State of Nothing Full-length, 2012
Against the Real Full-length, 2015

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TO THE DOGS (USA)

A black/speed/thrash amalgam which moves within the hyper-active parametres the whole time, relying on raging bullets like "Sacrifice", "Funeral" and "Nomad", those cuts reminders of early Bathory, above all, the intense shouty death metal vocalist fitting the speedy riff-fest, which slows down a bit on the hardcore-ish cruster "To the Dogs".

Light the Fires Full-length, 2022

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TO THE MARROW (GERMANY)

Modern thrash/death played with a tinge of technicality; the guys alternate slower, pensive numbers with short raging ones the effect from the latter being a pretty squashing one since on those the guys unleash quite a bit of hell with the sparce participation of the blast-beat. Otherwise the overall approach doesn't stray too much from the so well established Swedish formula and consequently the initial element of surprise will wear out soon. Some of the musicians also play in the more classically-oriented thrash metal outfit Sniper.

To the Marrow Full-length, 2012

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TO THE PAIN (USA)

Based on "7", this band play modern power/thrash which relies on heavy volcanic riffs the latter not very far from touching doom ("Killzone"). Consequently the dynamic moments aren't many at all and little excitement is generated at the end the pedestrian hoarse semi-clean vocals not contributing much to it.

To the Pain Full-length, 2013
7 Full-length, 2015

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TOAST (USA)

A violent blend of thrash and hardcore, manic shreds of the less serious, punky type topped by screamy hysterical vocals. This is mostly fast, uncompromising stuff sitting somewhere between The Accused and Attitude Adjustment.

Spazz/Toast Split, 1996

TOBLAKAI (AUSTRIA)

Based on "The Book of the Fallen", this act indulge in retro black/thrash which comes with an epic mostly mid-paced clout, the husky witch-like vocals leading a tolerable, even melodic ("The Wolves of Winter") on occasion show, the diverse progressive saga "Punitive Army of Three" reaping the wind here in team with the closing doom-laden elegy "Battle of the Spire", a venerable nod at mid-period Bathory. Some of the musicians also play with the melo-deathsters Doomed to Fail.

One EP, 2019
Puritans Hand Full-length, 2020
The Book of the Fallen Full-length, 2022

Official Site

TOBY KNAPP (USA)

"Guitar Distortion": is it not a coincidence that two guitar wizards have decided to release all-instrumental thrash solo albums at exactly the same year? One of them has already made a name for himself after his participation in a full-time band (Tony Fredianelli) whereas the other one was just starting his career. And what a start it is: grandiose instrumental thrash with elements of death and a little bit of power metal, with a constant interchange between fast and slower sections. Toby Knapp's style is more furious and aggressive than the one of the Apocrypha mainman, with more frequent time changes and very wild guitar shredding; it has to be heard to be believed.

Knapp toned it down considerably on "Infinite Opposition" which was much softer heavy metal shred with very little from the raging flamboyance of the debut present. Less than a year later he came up with a band: Darken under which name he released one demo and one EP of pretty good technical death metal. This project was very short-lived replaced by the man's new act Onward with whom he moved onto much more melodic stuff paying tribute to the 90's power/speed metal scene with three albums released so far. In the meantime, to keep himself busy, he plays in two other bands: the death metal-based Godless Rising, an excellent guitar virtuoso-inclined act, and Seeking Obscure, and also founded the black metal outfit Waxen which is virtually one man: Toby Knapp himself playing all the instruments. He never forgot about his solo career, though, and kept on releasing works under his own name: "Polarizing Lines", an almost purely instrumental effort of laid-back progressive metal shred with two more intense speed metal pieces; and "Misanthropy Divine" which is close to the Onward style, just heavier and more complex with nods to thrash (check out the awesome bonus track "Misanthropy's Reprise": technical instrumental thrashfest at its best), also featuring vocals courtesy of Dean Sternberg from Into Eternity.

"The Campaign": the year is 2010 and Knapp is ready with another solo effort which sees him returning to a more aggressive thrash territory, but don't expect the wild brutal shred from the debut; still this work delivers on all counts. The opener "The Campaign" is a great way to start the album being instrumental power/thrash in mid to up-tempo with excellent leads. "Conspire" is vintage galloping speed metal also introducing the good clean mid-ranged vocals which are featured on half of the tracks. "Towards Power Unimagined" is another all-instrumental track, very cool technical power/thrash with hard-hitting and mellow parts alternating the whole time. "We Are Legions" is a more brutal affair starting with vicious death metal vocals later developing in a good technical thrash/death metal fashion staying in a heavy mid-tempo. "Telekinesis" is brilliant technical thrash, all-instrumental again, with plenty of hooks both technical and melodic. "Wicked" will make you grit your teeth being a very bland pop-metal piece which doesn't have place even on a Cinderella album (I can't stop wondering why so many bands keep ruining it all by including the very odd totally misplaced number in an otherwise excellent release; the examples are too many...). After you skip this non-sense, you'll come across "Reanimation", a furious black metal-laced composition with technical thrash implements and suitable husky black metal vocals. "Plutonium Race" is another all-instrumental tribute to the 90's power/speed metal scene, a very enjoyable diverse piece. The final "Lack of Inspiration" is heads-down headbanging thrash of a more ordinary nature with vocals again, a nice mosher with Bay-Area overtones. With Onward no more Knapp may focus more on his solo career now which should be only beneficial to the fans judging by the high diverse quality of the material on offer here.

"Polarizing Lines" is another very good effort with more concentration on power and speed metal, purely instrumental with Knapp delivering in a way no worse than Yngwie Malmsteen and Marty Friedman (although to these ears his style is the closest to Steve Vai, only faster and heavier) providing loads of brilliant melodies and hooks. There are also quite a few riffs to enjoy apart from the guitar lead-based wizardry, especially on the speed metal delights "Polarizing Lines" and "Wizard Archer"; watch out for the awesome speed/thrash shred "Stormraising" which will "raise" more than just a "storm" around you. Still, the highlight remains "Into the Quantum", one of the best compositions Knapp ever produced; it starts in a peaceful balladic fashion with great tunes, before turning into stupendous technical thrash, only to accelerate near the end in a controlled speed metal manner with the calmer beginning wrapping it up nicely as a final touch; gorgeous.
"From the Aether" sees the prime axeman bringing back some of the speed/thrashy vigour of his older works, and also the more riff-fixated heroics, the opening "Scavenger of the Gods" ravaging the neighbourhood with its fast ripping riffs, Knapp unleashing stellar lead guitar pyrotechnics on top of those, the title-track arming itself with more technical proto-death armour, a dramatic shredder with a heavy rhythm-section rumbling underneath, all the way to "The Emerald Tablet", a vigorous galloper, vintage old school speed metal which is suddenly superseded by the violent death metal cumulatives on "Labyrinthine Windings", another more technical, also more brutal proposition Knapp unleashing hell on that one, bringing back all the velocity and vehemence form his first instalment in the span of 4-min. "Honorius" calms the ball down but remains within the active speed/thrash parametres, with Knapp more lyrical and more melodic on the exquisite lead section. "Psychic Contagion" is a tight dense tech-thrasher with sweeping speedy accumulations, the possible highlight on this sheer no-brainer, although both the speed metal racer "Scythian Sea" and the valiant galloping closer "The Greater Fortune" are top-shelf numbers, Knapp finding his stride once again, shredding, speeding and thrashing with the finest with consummate professionalism and panache, making another mighty contribution to the world of metal.

Guitar Distortion Full-length, 1993
Infinite Opposition EP, 1996
Polarizing Lines Full-length, 2005
Misanthropy Divine Full-length, 2008
The Campaign Full-length, 2010
From the Aether Full-length, 2022

Official Site

TOE TAG (USA)

The The Accused members entertain themselves here in way quite similar to the music of their main band; it turned out they were actually warming up for the The Accused comeback release "The Curse of Martha Splatterhead" with this band, although as of present this act is still active. This stuff here is more melodic with more aspirations towards crossover/hardcore, but the same tongue-in-cheek attitude is introduced. Some more sharpness could have been added to the proceedings, though: now the sound "cries out" punk as well at times, in a manner not far from The Offspring.

Machete Killah Single, 2007
C.S.M.F.D. EP, 2008
Piss Boner and a Handful of Dirty Words Split, 2009

My Space

TOKKATA (GERMANY)

"David and Goliath": great progressive thrash which sounds like a little companion piece to the 80's works of Mekong Delta, or even Deathrow's "Deception Ignored", or Skeptic Sense's "Presence of Mind". Three of the four tracks are elaborate, but logical pieces with mind-blowing time changes, stylish riffs and great leads (they are within the 6-7min range). There are slower atmospheric moments immediately followed by more intense technical passages which all of a sudden turn into a more straight headbanging moment. There are some surreal melodies which could startle you on first listen because of their very unconventional nature, but this demo is a grower, and later you will find yourself liking them more and more. The shortest song: "Silent Born", which is the demo opener, is the only immediate one here being a very potent speed/thrasher in the early Angel Dust vein. These guys were perfectly in unison with the tastes of the time, and could have been one of the leaders of the progressive/technical thrash metal scene in Germany which appeared at around the same time. The band members later played in the power metallers Mystic Alliance who appeared very soon after Tokkata became history. The band were renamed The Alliance in 1997, and produced one album ("Time", 1997) of shabby modern post-thrash.

"The Waiting": the guys didn't have to keep their fans "waiting" and here they are with a second demo the same year. The title-track opens this ambitious effort with some impressive progressive thrashing in the vein of Mekong Delta again and Target: puzzling riff-patterns, sudden time-changes, and weird twists await you for over 8-min the adventurous musical delivery topped by better, more dramatic clean vocals; it's the same singer, but his performance now is more convincing although still playing a secondary role to the superior music exploits. "Money Rules" is another surreal speed/thrasher, a befuddling shredder second to none with atonal guitar decisions and interesting melodic deviations some of them in the lead department where the guy hits the top in the middle with a standout Alex Scholnick-like ethereal passage. Then comes the monstrous 12.5-min opus "Death Dreams (In Your Mind)" which thrashes wildly for at least half the time and there's no boring moment later the listener encountering some abstract shreds with a dirge-y reverberation; an awesome composition achieving a seldom heard symbiosis between impetuous fast-paced sections and labyrinthine bewildering ones. This is another no-brainer for the technical/progressive thrash lovers showing arguably the most talented underground heroes in Europe, and probably worldwide; the best metal outfit who never reached the official release stage, one of the most notable representatives the German progressive/technical thrash metal wave of the early/mid-90's.

David and Goliath Demo, 1991
The Waiting Demo, 1991

TOKSOSTOMA (POLAND)

3 songs of cool black/thrash, quite speedy and brutal, but offering nice mixtures between raging speedy riffs and calmer less intense ones: the very nice diverse "The Emptiness Within Us", where the ultra-fast passages will bring you straight to Hellwitch and Necrodeath (the main influence on the band) territory. "The Dogs Of War" is another delight, blending the dominant furious thrashy riffs with cool melodic jolly crossover ones, producing a cool listenable contrast.

When The World Turned Grey EP, 2008

TOLERANCE (CANADA)

Based on the "Pointless" demo, this act serve inspired progressive power/thrash which is ultimately marred by the very bad sound quality and the not very convincing dispassionate clean vocals. The band try hard to thrash with brains, but there's also a fair number of more immediate cuts ("The Underdog") which kind fo work better since the longer, more complex ones get lost in too many ideas which make them somewhat plodding exercises in style and little substance with too many balladic/semi-balladic digressions.

Blinded by Darkness Demo, 1993
Pointless Demo, 1994

TOM ANGELRIPPER (GERMANY)

Hats down to Tom Angelripper that he finds time to play some music outside his main band, with whom he kept himself quite busy during the 90's. Here he entertains himself in a pattern similar to what the Tankard guys did with Tankwart: this is jolly, sung entirely in German, rock'n roll thrash not too far from Motorhead or the Sodom albums from the mid-90's. It's not heavy or brutal, but is enjoyable uplifting music, which could serve perfectly as a background on many parties. At about the same time Angelripper put up another formation with a similar sound: Desperados.
"Nunc Est Bibendum": Mr. Angelripper finds some more time to record under his own name, and the fans of his side projects (Desperados) will be happy to hear this frolic thrash'n roll which gets nicely speed metal-lish ("In Junkers Kneipe", "Wie das Glas in Meiner Hand") on occasion, but stoner/doom has been touched ("Bier") has been touched more than just now and then. The drinking party goes on unabated spiced with nice rockish tributes to rock/metal legends ("Lemmy Macht Mir Mut"; "Bon Scott Hab Ich Noch Live Gesehen"), famous metal festivals ("Auf nach Wacken"), popular German tunes ("Ein Heller und ein Batzen": remember Accept's "Fast as a Shark"), and, above all, drinking (the sing-along 90's power/speed metal hymn "Drink Doch Ene Met")!
"H.E.L.D." is the expected merry roller-coaster sung entirely in German again, full of catchy memorable hooks also accelerating on occasion (the crossover joy "Ein Bisschen Alkohol" and "Im Suff"). The rest of the tracks are more on the stomping mid-paced side, but all contain the playful dancey attitude which Angelripper has made his staple with the albums released under his own name. Watch out for "Auf Gedeih Und Verderb" near the end, a formidable (compared to the dominant material here, of course) thrash/crossover cut comprising some really heavy macabre riffs.
"Bier Ernst" is a marginally more aggressive offering the epic sing-alonger "Flasche zu Flasche" a relatively more amicable moment; "Wir Trinken Wenig" and "Bier Bier Bier ist die Seele vom Klavier" are the staple for the man frolic roller-coasters where the party attitude is simply contagious with the sing-along choruses and the welcoming jumpy rhythms, the soothing ballad "Hatten wir Lieber das Geld Vergraben" another capable addition to this uplifting opus which again concentrates text-wise on our favourite alcohol.

Ein Schoner Tag Full-length, 1995
Ein Trochen voller Gluck Full-length, 1998
Ein Straubb bunter Melodien Full-length, 1999
Ich Glaub' Nicht An Den Weihnachtsmann Full-length, 2000
Bon Scott Hab' Ich Noch Live Gesehen EP, 2004
Nunc Est Bibendum Full-length 2011
H.E.L.D. Full-Length, 2014
Bier Ernst Full-length, 2018

Official Site

TOMAHAWK (CHINA)

Bland tepid post-thrash; a clumsy inexpressive affair suddenly livening up in the middle with the brutal unbridled blasting outbreaks on "In Broad Daylight" to make things even more embarrassing for the listener who may have not lasted till this moment.

Dead City Full-length, 2001

TOMBSTALKER (FRANCE)

Based on the split with Glass Coffin, this act plays old school thrash/death metal close to the Swedish field (Unleashed, Entombed, Merciless) with the odd black-ish blast-beat added. The sound quality isn't very clean making the gruff death metal vocals not very audible at times.

The other split, with the black metallers Dawn of Wolves, shows no changes in style the guys producing the same death/thrash mixture "courting" both styles sustaining a steady fast pace throughout, loosening it up a bit on the final more relaxed Motorhead-ish "Bleak".

The self-titled EP is another short (four songs) thrash/death roller-coaster producing the same energetic music, this time coming closer to the more modern currents of the Swedish movement (more recent Dark Tranquillity).

Demo Demo, 2009
Glass Coffin / Tombstalker Split, 2009
Cemetery Wolven Ritual Split, 2010
Tombstalker EP, 2011

My Space

TOMBSTONE (CANADA)

This is choppy modern thrashism which is quite frequently pure 90's post-thrash the seismic drama stirred on numbers like "Destiny Awaits" and "X-Treme Personal Violence" dictating the plot although "Collapse the System" is a really cool galloping digression with classic overtones. The vocals are throaty and shouty, strictly on the death metal side, but are comprehensible and not that off-putting.

Broken Covenant Full-length 2020

Official Site

TOMBSTONE BLUE (USA)

Modern post-thrash accompanied by overshouty death metal vocals; a blend that isn't striking by any means but delivers with its consistent pounding nature which flirts with both more energetic (the lively "From This Earth") and more playful numbers ("Eden Pose") throughout, the decorous tone seldom broken, the doom-laden "Dying Art" and the semi-balladic sleeper "Home" slowing down the proceedings unmitigatedly.

Unbound Full-Length, 2018

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TOMBSTONER (USA)

Based on the full-length, this band play classic death/thrash which is mostly on heavy mid-tempo side for at least half the time, the faster-paced material ("Breaking Point") recalling mid-period Carcass. "Grave Dancer" is a cool more intricate energizer, and "Frozen in Fear" follows a similar more twisted trajectory, the dirgy doominess of "Armageddon" infecting the cumbersome "The Witch" and the more overtly doom-prone closer "Trepidation". Some of the band members also perform in the death/black hybriders Demopolis.

Descent to Madness EP, 2020
Victims of Vile Torture Full-length, 2021

Official Site

TOMBSTONES (USA)

This supergroup (members coming from Church of Misery, Impetigo, Dethroned, Loathsome, etc.) indulges in classic death/thrash metal which is both heavy proto-doom and quite fast bordering on grind. Both sides alternate not evenly, but create a positive effect, including the short hardcore-ish bursts which are the more dynamic and more light-hearted side of the album. Stevo Dobbins (Church of Misery, Impetigo, etc.) provides the vocals which are down-tuned, but are strangely comprehensive, at times coming with an intriguing semi-clean pitch ala Bobby Gustafson (Overkill) which is especially evident on the short declamatory breaks.

Not for the Squeamish Full-length, 2010

My Space

TOMES (USA)

A power trio playing modern thrashcore on the more comprehensive, melodic side of the spectre so expect mostly mid-paced riffage with a huge doom metal behemoth ("Earth Echo") thrown in the middle. The rest is playful stuff without too many thrashy merits. The singer shouts quite a bit overtaking the whole space when in action.

Tomes Full-Length, 2015

Official Site

TOMMY CONCRETE AND THE WEREWOLVES (UK)

Based on "The Necromancer", this act which not surprisingly features Tommy Concrete, a former member of the punk/thrashcore legends The Exploited, settles for a larger-than-life mixture of black, thrash and doom metal all the three genres represented on the imposing 8.5-min opener "I Feel the Power of the Devil". Later on the environment remains long and complex as the majority of the tracks easily go over the 7-min mark, but thrash metal isn't given too many chances to shine as black metal and other eclectic insertions take over to make this a larger-than-life, often quite brutal and blasting, opera Tommy shifting quite far away from the much more simplistic approach of his former colleagues.

This Can't Get Any Worse Full-Length, 2014
The Necromancer Full-Length, 2016

Official Site

TOMMYKNOCKERS (FRANCE)

Based on the debut, this is mostly doom metal with elements of thrash; heavy slow music interrupted with up-tempo thrashy passages (the short ripping headbanger "Wolves' Gang Amend Us", the thrash/crossover happiness "Attitude"). The doom metal fans will have a field day with stomping behemoths like "Spirit Extinction" and "25 Cormwell Street", but these ears more readily fell for the doom/thrash hybrids like the surreptitiously energetic "Devil's Deal", or the more complex prog-thrasher "Particles of Saliva" which tries to hold onto the Bay-Area idea with more intriguing, more technical decisions. The vocalist is a decent mid-ranged semi-cleaner, emitting the odd angrier tone ala Phil Anselmo at times.
"Mean Things" is a cool blend between groovy post-thrashers ("On Your Knees") and some really potent thrashing exercises ("Mental Patient"), both sides ably intertwined, the really hard-hitting "Peace Is War" rising heads and shoulders above the rest in terms of brutality. The guys' earlier infatuations with doom become only too evident on the slow-burning behemoth "The Last Parade", before "Uranus" starts shooting sharp lashing riffs in a steady semi-intricate fashion, the high energy staying around for the uplifting speed metal-based "Silent Combustion" and the corrosive modern thrashing piece "Sister of Fate".

Masses in the Rhythm Full-length, 1992
From Zero... Demo, 1995
Songs of Nothing Full-length, 2004
3 Full-length, 2006
Necessary Evil Full-length, 2011
Mean Things Full-length, 2024

Official Site

TOMMYKNOCKERZ (AUSTRIA)

This outfit provide crunchy mid-paced modern post-thrash which shreds its way with steam-rolling guitars and aggressive semi-shouty death metal vocals. A more serious approach can be felt on the semi-balladic "In My Dreams" which also contains a nice speedy section. The rest has a heavy, but pretty peaceful tone which flops on the overlong doom/ballad "Clouded World" which is 8.5-min of sleepiness. Laid-back punkish jokes come at the end to put a finish to this not very interesting entry into the 90's groovy catalogue.

In the Course of Time... Leading to Decrease Full-Length, 1996

TONDRA (USA)

Based on the split, this is pure Hellhammer/old Celtic Frost worship; slow doomy riffs topped by brutal mid-ranged death metal vocals. At the end, naturally, comes the Hellhammer cover of "Reaper". The mainman Rob Graves had another project previously: the thrash metal outfit 8mm Overdose (one full-length released) who had actually changed their name from Machine (two full-lengths released), and are currently still operational under the moniker Corrupt Absolute. Here Rob is helped by the former Nunslaughter vocalist Don of the Dead.

Frost and Freezing Sun EP, 1999
Cracking the Hoarfrost/Into the Psyche Delve Split, 2006

Official Site

TONIC BREED (NORWAY)

Based on "Outsold", this act play interesting modern progressive thrash which is both melodic and semi-technical both sides having enough time to evolve due to the lengthy compositions. Some cuts are of the doomy variety ("Bad Company"), but the dynamics doesn't get lost a lot there as the guys shred with conviction adhering to the casual fast-paced motif ("Rebellious Tendencies"; the intense beginning on the title-track; the closing ripper "There's Just One Escape") here and there. The overall tone is quite officiant with Nevermore coming to mind on a few moments, among other practitioners from the progressieve metal spectre. The singer is quite good with an attached clean timbre, never risking his voice beyond the mid-range.

On the Brink of Destruction Full-Length, 2010
Outsold Full-Length, 2014

Official Site

TONKA (NORWAY)

What can you expect from a band with such a strange name (this is actually a Bulgarian female name, but I doubt if the band are aware of that)? Never mind the name, otherwise you might be missing on some good stuff; Tonka play fairly cool, stylish, dark semi-technical thrash with heavy mostly mid-tempo compositions which hasn't an exact analoque on the overcrowded metal scene. The song structures are a bit strange sounding and complex for a thrash metal outfit, but they would surely grow on you. This isn't stuff for headbangers although the guys sometimes spice things with more energetic tempos: "Pornochild", and their slower, almost balladic side is the more attractive one: the gothic, atmospheric "The Last Abduction", "N.N.S.B.T.". Some songs are interesting takes on technical, progressive thrash with a late-period Coroner flair: "Behemoth & Leviathan", "One". For fans of less ordinary, unconventional thrash this album is a must.
"Beast of Soil and Burden": if this isn't a pleasant surpasie, I don't know what is: underground heroes from the cold Scandinavian North are back after a lifetime of hibernation. And not only that, but the guys are determined to claim the crown which proved so elusive to them some 16 years ago. The opening "This Present Darkness" (there was no song of this title on the debut) is a great progressive power/thrasher superseded by the more officiant doomy "Universal Heaven". The ship-sinking rhythms encountered so far forebode a slightly one-dimensional affair, but comes "The Visionary" and "visionary" technical riffs are served immediately the latter having strong echoes of Coroner and Despair. "Darkness Before Justice" returns to the heavier patterns on which the guys have seemingly worked on during their dormant period since they sound quite proficient, almost as good as energetic lashers like "Rest of and Age Of Unrest" and the cool alternation between fast thrashing and quiet meditative sections titled "Ex Nihilo". "Blinding Silence" is a faster-paced progressiver influencing the closing "Ravaged Mind" which thrashes intensely in proto-up tempo manner adding another portion of more inventive technical riffage. The fans should welcome back these talented folks who may eventually stick around for longer this time and produce a few more efforts of high quality progressive power/thrash in the years to come.

...This Present Darkness... Full-Length, 1999
Beast of Soil and Burden Full-Length, 2016

Official Site

TONY FREDIANELLI (USA)

After the demise of Apocrypha, Tony Fredianelli was still eager to play more quality speed/power/thrash metal, and the result of this is this solo album: quite cool instrumental thrash which is much faster and frenetic than the heavier pounding style of Apocrypha, and way more technical. If Fredianelli had failed to convince you with his performance on the Apocrypha albums that he was one of the best guitarists on the planet at the time, with this effort he would win even the most sceptical metal fans; simply put, an instrumental thrash masterpiece.

Breakneck Speed Full-length, 1993

Official Site

TONY HERNANDO (SPAIN)

All-instrumental music, made by this Spanish guitar virtuoso, which on "Actual Events" comes served with a pinch of thrash. Yngwie Malmsteen and Impellitteri are obvious influences on the guy's style, but Hernando never aims at speed for its own sake, and gives quite a space for the riffs to develop. The thrashy riffage is mostly of the heavy mid-paced type ("Totem", "State of Mind"), but on "Land With No Sun" at the end the instrumental transforms into a marvellous faster thrash shred for a while. Actually every composition starts with an agressive thrash riff except for the two short melodic instrumentals that later flow into the lead guitar performance which is indeed worthy of Malmsteen himself on the best moments.

High Full-length, 2000
The Shades of Truth Full-length, 2002
III Full-length, 2004
Actual Events Full-length, 2009

My Space

TOO LATE (USA)

Modern thrashcore which is briskly executed with short (2-3min) tracks which are seldom more rigorous Slayer-esque cuts ("Thamus" which even goes towards death metal) staying within the mid-paced parametres the heavy sound topped by vicious, shouty death metal vocals.

Too Late Full-Length, 2016

TOPOR (POLAND)

Pretty decent classic speed/thrash gets exuded from here, the band at times corrosive and corey (�At the Gates of Valhalla�), at others laid-back and welcoming (�Zimna jak Stal�), the vitriolic aura of �Fight for Metal� contagious enough to sweep other hyper-active pieces like the catchy �Wieczna Kazn� and the raging proto-death monster �Sail for Revenge�. Stylish technical rhythms pop up on �By the Sword�, but such freedom of expression isn�t given room elsewhere, the guys entertaining the audience with abrasive mid-pacers (�Egzekutor�) and merry crossover escapades (�Bestii Znak�), the singer a passable clean semi-reciter. The musicians are also active with the black metallers Abusiveness, the tech-death formation Deivos, and the orthodox death metal cohort Dira Mortis.

Wieczna Kazn Full-length, 2023

Official Site

TORA (FINLAND)

These are three songs of modern post-thrash with angry death-ish vocals. The guitars are a bit buzzy and the attitude is less serious with a hardcore nuance except for the laid-back ballad "Maxim" which has a strangely captivating, psychedelic vibe ala mid-period Amorphis.

New Anatomy EP, 2011

TORANAGA (UK)

One of the finest UK metal bands, Toranaga offer an interesting, occasionally semi-technical, fusion of power, thrash and even doom metal. The songs are mostly mid-paced and heavy with clever semi-technical riffs calling to mind Satan/Pariah. It would require more concentration on the side of the listener as this isn't very catchy stuff, but is definitely worth checking out. "Bastard Ballads" is a really good debut providing six songs of mid-paced to up-tempo intriguing power/thrash metal which hits the top on the more intense thrasher "Soldiers Be Brave" and the superb 9-min technical piece "Time To Burn" which thrashes with force for most of the time.
"God's Gift" is pretty much in the same vein, but is slower with some of the compositions being interesting crosses between doom and thrash ("The Shrine", "Psychotic") starting in a slow doom manner, and speeding up admirably later; quite a cool touch, by the way, recalling the Americans Dementia. "Hammer To The Skull" abandons this formula paying tribute to the American power metal scene. The real thrashing begins with the awesome "Food Of The Gods", one of the band's finest achievements. And finally two pure doom metal delights as a finishing touch: "Disciples" and "Black Is The Mask"; great numbers, with faster-paced endings. "Execution" is the last song: fine speed/power/thrash metal with good smashing riffs.
Their farewell work, the "Eden-Beauty And The Beast" EP, abandons the thrash metal idea and opts for heavy/power metal with progressive tendencies which definitely has its moments, but would probably be of little interest to thrash metal fans.

"Righteous Retribution": the band join the thrash metal resurrection movement and show their relatively familiar face from their early stages serving an acceptable slab of the good old power/thrash which alternates between hard-hitting headbangers ("The Ultimate Act of Betrayal") and more relaxed power metal hymns ("I Must Destroy") which occasionally grow into heavy doom-laden pieces ("Return of the Gods") in the middle. "Prove Me Wrong" arrives to stir the heads with intense galloping riffs, but in the second half the approach is more on the heavier, power metal side with frolic melodies ("Rise From The Flames") galore. This effort hardly beats any of the guys' previous achievements, and may not make them major contenders for the metal throne at present; but will make a few heads nod in agreement with this faithful rendition of the old school canons.

Bastard Ballads Full-length, 1988
God's Gift Full-length, 1990
Eden-Beauty And The Beast EP, 1991
Cynical Eyes EP, 2011
Righteous Retribution Full-Length, 2013

Official Site

TORAX (CZECH)

These Czechs play energetic retro thrash which is unfortunately obstructed by the rough sound. Otherwise this is fairly well constructed music which mixes fast and slow rhythms topped by not very appropriate gruff shouty vocals. The approach is mostly straight-forward, but there are several more quiet moments which are an "oasis" among the dominant merciless shred which comes close to Viking and Torture, and also give this effort a nice more serious colouring.

Co Zase Mas EP, 1995

TORCHBEARER (SWEDEN)

This band's music contains moments from all main extreme styles: black, thrash and death metal. The music is a mixture of the three, with death and thrash metal slightly predominant (some nice attempts at technical play could be heard, especially on the debut), whereas the vocals are strictly in the death metal-camp with occasional interferences from screechy black-ish rasps.

Yersinia Pestis Full-length, 2004
Warnaments Full-length, 2006

Official Site

TORCHURE (GERMANY)

The debut shows an act who are intent on spicing the dying retro thrash formulas with a hefty portion of doom/death. The resultant mixture has its moments, but often does it sound like an underdone slab of either isolated deathly brutalisms ("Abysmal Malevolence"), or morose monotonous doomisms ("Resort to Mortality"), or casual energizing speedy thrashisms ("Genocidal Confessions"). This isn't a very homogenous effort, but fans of the style should be able to savour the headbanging potential of cuts like "Apathetic", or the officiant pensiveness of the closer "Beyond the Veil". Worthy of mention are also the short atmospheric instrumentals scattered among the compositions.

"The Essence" tries to capture "the essence" of the band's style and as such tries to compensate for the relative lack of speed on the preceding album with the rigorous opener "Invisible Truth", pure death metal madness which carries on with a pinch of atmosphere on "Sinister Seduction". Expect supreme doom on the twisted gloomy "Voice of Power", the band's finest achievement. "No Rest in Peace" brings back the attack from the beginning which is missing from the dramatic title-track, but is brought back with style on the technical diverser "Cry of Madness" that indeed ends with "a cry of madness" in the form of a wild blasting exit. "Traces" is another clever piece with death metal taking the upper hand to produce a varied metal opera for about 7-min. Again there's a certain presence of short instrumentals which are very appropriately used creating an additional boost to the dramatic approach that gives both albums a fairly individualistic nature.

Beyond the Veil Full-length, 1992
The Essence Full-length, 1993

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TORITON (USA)

Just one guy is behind these three tracks of energetic Motorhead-ish speed/thrash with a few more evil blacky overtones also reflected in the good cover version of the Japanese Sabbat's "I'm Your Satan" at the end. The man sings in an evil semi-declamatory fashion not really singing much, but providing the appropriate oral assistance to this direct, simplistic barrage.

Contract Killer EP, 2012

Official Site

TORKE (ARGENTINA)

These Argentine lads pull out rigorous old school thrash which lashes fiery riffs to no end those coming a bit abrasive, but appealing nonetheless. Few will be the ones to stand still on spontaneous headbangers like "Noise in the Dark" and "Al Medio de la Sien" which bring the worlds of both Slayer and the Bay-Area together. "Destino" is a more ambitious progressive thrasher with pounding technical riffs assisted by virtuoso screamy leads. "Innocence Profaned" carries on with the more technical execution, albeit on a more restrained mid-tempo base. The title-track moshes hard with reckless abandon and a few more stylish flourishes, and "The Violence Virus" is vintage raging Slayer. "Resentido" is another excellent technicaller with squashing rhythms taking turns with intricate decisions and very good melodic lead sections. All the way to the closing "Thrash un Sue", another relentless mosher, by all means deserving its title, finishing this very cool effort with the requisite doze of high energy.

Natural Retaliation Full-Length, 2016

TORK RAN (FRANCE)

This ultimately obscure trio should find a much wider exposure since the music featured on this compilation (which contains every single track the guys had composed, including the early stages of their career when they were known first as Fracture, and then as Pendragon) is pretty decent classic thrash which, throughout their career, ranges from more aggressive bash ala Rigor Mortis and Devastation, to dark haunting tunes in the spirit of Deathwish (those sides, very unfortunately, presented as live performances with an awful sound quality), to quite stylish, abstract technical stuff, which is simply a wonder to listen to (check out "Scourge of God", "Iron Wars", as well as every other track from the 1990 "Tales of Death" demo), to which belong more than half of the material. Lyrical moments are inevitable (the compilation is whole 38 (!) songs long): "Romeo & Juliet" is a nice romantic cut with very cool lead guitars. The aforementioned demo is a real keeper, whereas the rest is not as shiny, the band having apparently made the wrong choice presenting most of the tracks as live versions. The singer is good, though, with a forceful semi-clean tone quite close to Jon Van Doorn (Deathwish).

Tales of Death Compilation, 2011

TORMENT (COLOMBIA)

There's only one person behind this project, the name Camilo Soler, who acquits himself with dark heavy riffs on a noisy background which takes away from the guitars' sharpness although the man produces some stylish moments ("The Edge Of Destruction", "To Miss The Life Is The Result": check the cool leads on this one) bordering on the technical and the headbangable. "Last Days" is a stage sweeper, a wild thrasher with a rapidfire approach, but the guy tears it loose on the brutal death-laced "Planet Of The Humans". Near the end the songs become longer with clear progressive pretensions, but one may mourn the loss of speed the closer "Alone" turning into a merry heavy metal anthem, not a very fitting finish to this vigorous effort. The man hasn't practiced a lot in the vocal department: his rough death metal timbre creates noisy rather than singing atmosphere.

Inspired for the World Demo, 1997

TORMENT (GERMANY)

Based on "Tormentation": playful roller-coaster thrash metal with a punk-ish attitude: think Motorhead and Venom. "Tormentation" is an enjoyable, light-hearted work, providing cool energetic tracks, full with simplistic, catchy speedy riffs. The title track is a fine slab of more intense speed/thrash, but rest assured that you'll come across pure punk numbers with no traces of thrash whatsoever: "P.C. (Porn Casting)". "Laws Of The Street" is a total nod to Motorhead, but "In The Name" increases the intensity again, thrashing without mercy, creating a cool headbanging atmosphere, which goes on on the very good follower "Traitor's Fate": an all-out thrashing delight, the best track here. In terms of originality this release will never score high, but it's always refreshing to hear catchy old school riffs to make us jump around for a while.

"Tormentizer" (these guys like to "torment" people, even only with their names and titles... I hope) is relatively faithful to the band's staple melodic merry-go-round speed/thrash although more aggressive surprises are nowhere to be heard this time, and the music often goes towards the crossover side with barely signs of thrash. The sole exception is the edgier and a bit faster "I Hate The System", and probably the speed metal killer "Wind Of Change". The last couple of tracks are pure punk, with the closing "Tribute" speeding up for some more crossover happiness.

Bestial Sex EP, 1987
Experience A New Dimension Of Fear... Full-length, 1991
Spermatized EP, 1997
Not Dead Yet Full-length, 1998
Tormentation Full-length, 2005
Tormentizer Full-length, 2009

Official Site

TORMENT (ITALY)

Based on the EP, these Italians offer intelligent old school speed/thrash with sophisticated technical moments. Speed and technicality finely co-exist on almost every composition with the aggressive bashing shreds at times taking over (Suffered Life"). "Scars Remain" is a creepy bulldozer sustained in a suggestive mid-tempo for most of the time, and the final "Upset Reality" will "upset" your "reality" with a portion of nice puzzling riffs and a few intense galloping rhythms. This is a really good effort which should easily find a place on the metal scene, even with these unsuitable gruff low-tuned death metal vocals.

"The Damage Is Done" indeed; it was already done by the band's previous efforts, but this new proposition sees them strike hard once again. The guys bash without mercy producing venomous toxic crescendos along the way the approach now coming close to mid-period Death ("Spiritual Healing", in particular), but the more familiar speed/thrash delivery appears in the middle on "Chaos Lords" although the death metal shades are preserved later on the shorter numbers near the end, exhibiting a lot of power and drama, the closing "Forced Cynicism" a sweeping thrash/deathster with very piercing screamy leads and furious tempos. The singer now sings more comprehensively, and it seems as though the musical approach has been adjusted to his brutal rendings which in this case is only a plus.

The debut is already on an admirable level music-wise, the band thrashing in a clever semi-technical manner again reminding of early/mid-period Death with its sophisticated proto-death undercurrents which bear the more complex "Pathology" which opposes to the rest of the material the latter shorter and more dynamic among which "Illusive Tranquillity" is clearly the highlight, a cool stylish headbanger also recalling early Pestilence; with the speed/thrashing closer "Living Mannequin" a close second.
"The War They Feed" is pure thrash from beginning to end, and is a fairly cool effort as a whole, with stylish semi-technical walkabouts ("Nothing to Tell") standing indignant next to more aggressive death-laced shredders ("Paralysis"), the headbanging side of the spectre nicely expressed with the short concrete cuts "The Tunnel" and "Explode". "Survival" shows bigger ambition, but such attempts simply can't stand a chance against the energetic more direct numbers.

Suffocated Dreams Full-length, 2008
Scars Remains EP, 2010
The Damage Is Done Full-Length, 2012
The War They Feed Full-length, 2020

My Space

TORMENT (USA, FL)

For a full-length this album has a fairly muddy sound quality which severely obstructs the band's efforts to make themselves heard which is a shame since they don't sound so bad producing heavy more elaborate power/thrash which doesn't often leave the settled mid-tempo also serving a cool acoustic ballad ("Pyramid") amongst the monotonous mid-pacers which may make the listener lose interest near the end where the sound also becomes worse with an echoing garage-like noise accompanying the guys' musical endeavours that also include a weak clean mid-ranged vocal performance.

The Apparition Full-Length, 1988

My Space

TORMENT (USA, OH)

Very good power/speed/thrash metal on both demos reminiscent of Helstar, Agent Steel, Liege Lord and Laaz Rockit (the early days, before "Annihilation Principle"); the guitar work is brilliant with great leads and sharp riffs. There are times when the music loses its thrashy edge, but remains enjoyable and energetic, and one can't help but notice how much the 90's power/speed metal scene owes to bands like that. The vocals are another highlight here being a nice blend of John Cyriis and Warrel Dane (his higher vocals, used on the Sanctuary albums). Later the band changed their name to Ritual and managed to come up with a very cool full-length release, pretty much in the same style.

Demo Demo, 1988
The Gathering Demo, 1989

TORMENT DEFINED (USA)

This is brutal death/thrash metal with semi-technical inclinations (think Carcass' "Necrotism...") and atmospheric keyboard-infused sections the latter bringing the approach close to Cradle of Filth-esque gothic/black metal. The tempo is quite fast with frequent technical chops and compulsive blasts filling in the picture. The raven-like vocals are typical black metal, but kind of suit the intense hectic delivery which stays much closer to death metal.

Sigils of the Ancient Ones Full-length, 2000

Official Site

TORMENT TOOL (GERMANY)

The debut: this is a slightly uneven mix of retro and modern thrash metal which has quite a few classic "sparkles" (the moshers "Fuel of Hate" and "MAD", and especially the brisk explosive "Silent Death"), but for most of the time doesn't really offer anything too exciting or new moving in a predictable mid-pace with semi-sharp/semi-melodic riffs with rough proto-death metal vocals. "Thrash Attack" should have been done in a more vigorous intense manner: this is just ordinary modern semi-thrash, compensated by the jolly crossover piece "BGW" and the cool speed/thrashing closer "Dark Reckoning".
"Under Friendly Attack" offers a less "friendly attack" which is much more on the classic side this time, the riffs now biting harder leaving more lasting marks and developing more in the speedy dimensions, at least in the beginning. The second half isn't as exciting the mid-pace taking over bringing the album down to the power metal fields until the arrival of the speed/thrashing winner "Pieces of Perversion". "Morbid Tranquility" is a heavy steam-roller with doom metal echoes wrapping it up along with the short closing balladic instrumental "Fallen Wolf's Revenge". All in all, there shouldn't be disappointed since the delivery isn't far from the one of the debut consequently not providing anything for one to consider this band stars of the show at present.
"Shadow Existence" attempts something more elaborate with longer, more craftily-woven compositions, the combination between all-out moshers ("Dying Humanity") and this newly acquired approach (the 8.5-min roller-coaster "Secret Resolutions") not bad the latter side definitely worth exploring further, also producing the varied intense rifforama "Tools Of Mass Destruction".

Dawn of War Full-Length, 2010
Under Friendly Attack Full-Length, 2012
Shadow Existence Full-length, 2018

Official Site

TORMENTA (BRAZIL, Ribeirpo Preto)

Classic thrash which mixes both speedy aggressive thrashers ("Juizo Final") and more melodic power/thrash metal concoctions ("Obsesso"). The vocals are weak, in the semi-death/semi-hardcore field, and don't have the height which would have been well fit to the music.

Tormenta EP, 2006

Official Site

TORMENTA (BRAZIL, Sao Paolo)

Based on the "Deathless Strength" demo, this is aggressive thrash/proto-death, but much better than the messy efforts of many of their contemporaries. There are surprisingly good guitar melodies that fit perfectly into the very fast pace of the music which isn't too far from early Destruction and Kreator, but with a more aggressive attitude. The vocals are close to Mille Petrozza.

War Sons Demo, 1987
Deathless Strength Demo, 1988

TORMENTED (CANADA)

Although their EP dates back from 1992, it's 11 years later when the guys were back with a new release, this time a full-length. Based on "Combustible", the band wander through the metal spectre borrowing elements from thrash, speed, power and even classic heavy metal. Most of the time this mixture works well, and this is one of the reasons why Tormented don't sound like anyone else in particular. The only album I can think of, is After All's "Mercury Rising" which is another release of a very mixed, but also cool, nature. Towards the end the music loses its thrash appeal moving towards the heavy/power metal field.

The debut EP is pure speed/thrash, and quite intense at that. The guys don't rely on speed the whole time, but mix things up in a way similar to Destructor and Hallows Eve, although the better moments are the ones where the band thrash with no remorse: "Psycho Circus Clown", "Two Door Enclosure", where the approach will also recall Nasty Savage's "Indulgence". The singer sings in an authoritative, semi-clean fashion, and is the perfect match to the intense music coming close to Nasty Ronnie's antics on the more declamatory notes.

Tormented EP, 1992
No Resurrection Full-length, 2003
Combustible Full-length, 2004

Official Site

TORMENTED SOUL (AUSTRALIA)

This Australian trio provides us with very heavy crushing thrash which sounds computerized and industrialized, mostly because of the drum machine used for the recordings, but has a genuine classic vibe. This is dark sinister music which seldom speeds up, but when it does, it takes no prisoners: "Eyes of Fire" is a great example of the latter. "Web of Illusion", on the other hand, is pure crushing doom, very well done. "A Lament for the Dead" is a brilliant orchestral instrumental accompanied by a fine lead guitar. Two vocal styles can be heard on almost every song: one from the low-tuned death metal type, the other clean, but synthesized. This is really good stuff, if you manage to overcome your prejudice towards the computerized sound (if you have any, of course); will also appeal to fans of Skrew and Die Krupps, apart from all classic power/thrash metal fans.

Tormented Soul Full-length, 2004

TORMENTER (USA)

The debut EP: competent Bay-Area thrash in a good energetic tempo with nice lead guitars, sharp speedy riffage, and rough semi-clean vocals. The guys thrash on with no remorse ("Remorse Is For The Weak": like the song-title says very well; it boasts a great melodic lead which will make you hum around), settling for speed metal for a while with the more melodic but cool "Hammerhead", which also sounds more modern. After that the attack continues with the excellent "Assault From Beyond The Grave" which could be even on the Testament debut; again fine lead performance ala Alex Scholnick on this one. Furious straight thrash follows suit on "Pay The Price", before "Massacre On The Frontlines" offers again a more melodic speed metal twist; did I mention to check the supreme leads on this one as well? The end is preserved for a cover of their main influence: Testament's "Over the Wall".

"Hunger for Violence" features three tracks already heard on the previous EP (?!); the new material consists of 3 other songs, which are softer, with a speedy Exciter ("Hunger for Violence") feeling, or with a touch of the 80's American power metal scene ("Dead Man's Walk").
"Pulse of Terror" contains the aforementioned new material from the second EP, but the rest of the songs are in a more intense thrashy manner: "No Anesthesia", the brutal death metal shredder "Pulse of Terror", the nice Bay-Areasque semi-technicaller "Messiah On Trial". Another maddening thrasher awaits you in the middle: "A Season in the Plague" (count your fillings after that!), before "Severe Enforcement" adds more complex, but not much slower, performance ala Paradox's "Heresy". "Assault from Beyond the Grave" is a great Testament-worship, a sure leftover from "The Legacy", followed by two more tracks of the more technical type: "Dismantle the World" which is a diverse slower, and "Pantheon of Lunacy" which is more dynamic and direct despite the peaceful balladic beginning. The band have done a good job here providing music well conformed with the ongoing classic trends without sounding trite and derivative.

"Prophetic Deceiver" is a really nice speedy roller-coaster with potent melodic guitars which this time stray from the Bay-Area influences and branches out into more flexible speed/thrash which is simply a wonder to listen to with the enchanting Oriental motifs ("Prophetic Deceiver") applied, or with the blistering solos ("Exile from Flesh") which appear all of a sudden. "Critical Stasis" is a fine atmospheric stomper with a faster twist, but the short "The Final Form" will rip your head off, a fierce piece with a proto-death metal flair. "Cosmic Collapse" is an entertaining closer lasting for over 6-min trying to insert more intriguing technical riffs into the already quite appetizing picture that may suffer a bit from the very shouty death metal vocals which even smell John Tardy (Obituary) on the more "emotional" moments. This is classic thrash at its absolute best and a major contender for "a thrash metal album of the year" award.
The "Phantom Time" EP starts with a great lead-driven intro before "Manifest Supremacy" starts "manifesting supremacy" with fast lashing riffs which are even more accentuated on the shorter "Parasital Exposure". Then "Command Control" takes "control" with great melodic lead sections and raging riffs which stay around for the next "Re-encryption". The end is a cover of Metallica's "Motorbreath" done faithfully only the rough deathly vocals being the more prominent alteration.

Assault from Beyond the Grave EP, 2008
Hunger for Violence EP, 2009
Pulse of Terror Full-length, 2010
Phantom Time EP, 2013
Prophetic Deceiver Full-length, 2014

Official Site

TORMENTIA (POLAND)

Based on "Pro Patria", this Polish formation play modern thrash/post-thrash which mixes fast-paced shorters ("Total Chaos") with slower, longer epicers ("Orleta Lwowskie") the latter sounding like an almost different act with the doomy pace and the keyboard insertions taking over completely. Generally the focus is more on melody that is also reflected in the good leads and the nice hooks which could have benefitted by a more melodic vocalist: the throat here is strictly death metal-ish trying to sound more sentimental and mellower on the more laid-back passages.

Krew za Krew Full-length, 2009
Pro Patria Full-length, 2010
W Obronie... Full-length, 2012

My Space

TORMENTO (BRAZIL)

Intense retro thrash with a few hardcore overtones; this is rough abrasive stuff which contains a fair amount of energy despite its dominant stomping, mid-paced nature. The riffs squash massively sometimes coming with a pinch of proto-groove, and steam-rollers like the closing "World Bomb" would be sitting pretty well even on "Burn My Eyes" or "Vulgar Display of Power". The singer delivers with his attached semi-shouty tone which isn't far from the one of Robb Flynn.

Against the Wall Full-length, 2011

Official Site

TORMENTO (COLOMBIA)

Very roughly-produced intense thrash/death which is built around relentless speedy crescendos the latter not very easy to decipher because of the awful sound quality and the really bad guttural death metal vocals. An inspired mess as a whole often reflected in long meandering compositions where death metal seems to be more widely covered. The last track is a mixture between Hellhammer's "Massacra" and Kreator's "Tormentor", the final and the only more sensible mish-mash.

Tiempos de Agonia, Tiempos de Muerte Demo, 1991

TORMENTOR (ARGENTINA)

This is corrosive old school thrash which is supported by throaty gurgling death metal vocals, the heavy steam-roller "Cruz Y Espinas" assuredly leading the show, also describing the prevalent approach, "Des-Imagen" producing the odd bout of energy, "Vos Ser Vos" going away with the most stylish near-technical performance, a potent minimalistic pulverizer with cool intricate riffs.

Demo Demo, 1999

Official Site

TORMENTOR (CZECH)

Based on the "Revenge Of Death" demo: this band play aggressive thrash metal bordering on proto-death with very raw bad undeveloped vocals. The overall sound comes as a poor man's Rigor Mortis; the guys play with intensity and enthusiasm, but the simplistic riffs aren't very nicely contrasted to the more stylish leads, and the bass is put so much upfront that it stifles the guitars to a big extent. Still, it isn't a complete waste, and "Co Je ?!" is a nice little speed/thrasher.

Revenge Of Death Demo, 1988
Process Of Deformity Demo, 1989
Resurrection Demo, 1990
Resurrection/Stillborn Best of/Compilation, 2002
Revenge of Death/Process of Deformity Best of/Compilation, 2002

TORMENTOR (GERMANY)

The debut: the "violent world" we live in requires "violent" albums and here comes this one from Germany which raises the flag of (hate!) mid-period Kreator, also reflected in the band name mixed with more relaxed speed metal sections (the Angel Dust-worship "Feed With Aggression"). The loss of speed in the middle pulls the album down a bit although "Speaks Your Testament" tries to capture the effective mid-paced shredding of "People of the Lie", and succeeds in a way. The "tormented" vicious vocals are just an arms' length away from the early Mille delivery and suit fine the closing Kreator cover of... "Tormentor", of course!
"Morbid Realization" is the next chapter from the band's journey as the retro thrash idea is nicely reflected in blitzkrieg ragers like the title-track and the short direct "Comprehension Failed", or in the form of friendlier power/speed metal anthems like "Endless Emptiness" and the more diverse thrasher "Walk Past Myself". Both sides are mixed well as the guys manage to achieve good balance between them.

Violent World Full-length, 2012
Morbid Realization Full-Length, 2017

Official Site

TORMENTOR (HOLLAND)

From the very beginning the band have married the aggressive thrash/death metal hybrid, and this is what you will hear on all their demos. The musicianship is good, the pace is fast, and technical licks pop up here and there. The overall style is similar to early Pestilence with passages bringing to mind the Floridian scene, too.

Coming Out Of the Ice Demo, 1989
The Iron Gibbet Demo, 1990
Rise in Arms Demo, 1991
Return To Nemeton Demo, 1992

TORMENTOR (HUNGARY)

Tormentor literally started the more extreme side of the Hungarian metal scene with the excellent "Anno Domini"- black/thrash similar to Venom, Bathory with some slower, even epic moments ("Elizabeth Bathory"- the black metal acts love her!), something which Quorthon (R.I.P.) would start doing on his later works. The comeback album is a big disappointment, having nothing to do with black metal, opting for some experimental pop-metal sound with numerous nods to the Hungarian folklore heritage; could be listenable if one doesn't know that it had come out of the hands of the legendary Attila Csihar and Co.

Anno Domini Full-length, 1988
Recipe Ferrum! 777 Full-length, 2001

My Space

TORMENTOR (MEXICO)

Based on the "Visions of Darkness" demo, these guys come up with aggressive thrash/proto-death metal which follows the Brazilian patterns too closely: early Sepultura, Volcano, Sarcofago, etc. The influences are very clearly displayed with the Sepultura cover of "Morbid Visions". The sound quality is awful, and is a serious obstacle for the listener to get a good idea about the music.
The self-titled demo is a more atmospheric offering which still retains the speed, but this time the overall approach is closer to early Celtic Frost and Hellhammer with only "Tortura" thrashing out with force recalling the unbridled energy of the preceding material. The singer is a scary death metal growler seldom assisted by a more vicious raven-like rasp.

Rehearsal Demo, 1989
Visions of Darkness Demo, 1989
Visions of Darkness Best of/Compilation, 2004
Hybrid Race Split, 2007
Tormentor Demo, 2011

TORMENTOR (POLAND)

A decently-executed mix of old school and more modern proto-groovy thrash with more brutal death-tinged vocals; the approach is mostly mid-paced without too many fast surprises. What may be a surprise, though, is the cool version of Joe Satriani's "Midnight" which is done in a faithful quiet manner the guitarist showing himself as a capable musician albeit for just under 2-min. Some of the band members previously had another act: Sleep-Walker, where the style was pretty much the same.

Demo Demo, 1995

TORMENTOR BESTIAL (BRAZIL)

Based on "Supplicium Plus Quam Bestia", this act provide brisk explosive retro thrash, building their repertoire around ripping headachers like "Nephilins" and "The One" the latter also suggesting at bigger musical proficiency with a couple of more entangled riff-patterns embedded. The more interesting musicality stays around for the galloping delight "Make Your Choice" and the more melodic speedster "Doravante Brasil" these cuts' catchiness overwriting the pounding quasi-groovy nature of "Scars" and the friendlier power metal nature of "Fucking Duality". The high-strung semi-clean/semi-shouty vocalist accommodates all nuances even singing with more passion wherever necessary.
�Eternal Nightmare� is not a full-on tribute to the Vio-Lence classic of the same title, but is a decent pounding earth-shaking listening experience, with not much actual thrash taking place actually, the seductive melodies embedded working fine next to punishing rhythm-sections like the one on �When You Believe It's All Over� and the stoner/doom jump-arounder �One Night of Sex and Cursing�. �One Night with Lilith� flirts with doom on a near-full-time basis, and the only genuine energetic occurrence in the second half is the sprightly title-track, which is still more on the power/speed metal side where also the short non-fussy �Dubai� belongs.

God Save, Satan Deprave!!! Full-length, 2009
Again Full-length, 2012
From the Past, to the Future EP, 2016
Supplicium Plus Quam Bestia Full-length, 2019
Eternal Nightmare Full-length, 2024

Official Site

TORMENTOR SQUAD (FINLAND)

Quite good Germanic thrash along the lines of early Destruction and Kreator; fast intense stuff with rough, but effective semi-death metal vocals which strangely remind of the Killjoy efforts to sing on the Necrophagia albums.

Fight, Kill, Die Demo, 2007

Official Site

TORMENTRESS (SINGAPORE)

The EP: four girls from Singapore have gotten together with the intention to shatter your senses with energetic old school speed/thrash in the tradition of Exorcist and Znowhite. There's a slight crossover aesthetics in the sound ("State Of Fear"), but the guitars lash with power all the same. The girl behind the mike performs in a vicious manly manner sounding somewhere between Sabina Classen (Holy Moses) and Dawn Crosby (R.I.P.)(Detente, Fear of God), not as extreme as the former, but definitely more aggressive than the latter.

The full-length is surprisingly more restrained the girls not pressing the pedal to the max this time coming up with cool relaxed speed/thrash which isn't a "stranger" to a few mid-paced cuts ("The Great Oppression",) and the obligatory nods to crossover ("Seven Feet Under", "Materialistic War") the latter the most energetic part of the album if, of course, we exclude the nice cover version of Kreator's "Tormentor" (but of course!) at the end which still could have been notched up a bit in the aggression department.

Thrashing Disorder EP, 2009
Operation Torment Full-Length, 2014

My Space

TORMENTSTORM (USA)

There's only one person in charge here, the alias Malice, and he produces cold misanthropic death/black/thrash metal which is mostly on the heavy, almost doomy at times, side with the casual throw of the more aggressive death metal-based cut ("Barbaric Overthrow"). The numbers are generally long (6-8min) and the "ominous" dark riff-patterns which are seldom interrupted by harsh raven-like semi-whispered vocals may wear out at some point also because of the very thin guitar sound and the not very original song build-up.

Into the Ominous Door Full-Length, 2013

Official Site

TORMENTULA (USA)

Two girls and a man/boy are responsible for this evil hellish black/thrash metal which brings together the two extremes of the style: the monotonous doom music of Thorns and Khold, and the speedy antics of Bathory and Darkthrone. Both approaches alternate throughout the album with the slower tracks kind of delivering in a better way with their more proficient musicianship whereas the faster material is just mindless lashing of very simplistic raw riffs. "Pustule-Lined Crevices (Of Voluminous Anal Discharge)" is an effective doomy/black sleeper ala early Barathrum. The star of the show is Miss/Mrs. Alice Bludgeon, the singer whose very vicious husky voice, coming as a very drunk and angry Dawn Crosby (R.I.P.), will scare you on quite a few times.

Submit Your Unworthy Soul Full-length, 1999

Official Site

TORN FABRIKS (PORTUGAL)

Based on the full-length, this act specialize in dynamic Germanic retro thrash which rips through the speakers with passion and gusto, the tempo kept to up for most of the time, the quarrelsome deathly vocalist stirring more drama on the side. The delivery comes close to more recent Kreator ("Leave Me Be") at times, with more technical propositions ("Against All Odds") offered as well, the dominant speedy showdown best exemplified by the raging "We, Torn Fabriks". Some of the band members are also active with the thrashers-turned-gothicers Morbid Death.

Mind Consumption EP, 2021
Impera Full-length, 2022

Official Site

TORN FLESH (USA)

Simplistic thrash/crossover, quite catchy and melodic, losing its edge quite often, like on the heavy metal number "World Pollution", but makes up with more energetic ones, like "Kill the Dead". In other words, if you can imagine a mix between thrash/crossover and Motorhead...

Crux Of The Mosh Full-length, 1989

TORN WITHIN (CANADA)

A side project of members of the technical death metallers Neuraxis; the style here is not as technical and is more thrash-based, with a certain amount of Swedish death metal present.

Allied with Bitterness Full-length, 2004

Official Site

TORNADIC (USA)

Four tracks of crisp energetic classic thrash, "The Capturing" also dealing with a few portions of more stylish technical riffage, whereas "Lethal Dreams" is a meeker less expressive mid-pacer, the very shouty screechy blacky/death vocals ruining the facade somewhat. More bridled energy comes pouring out of "When You're In The Pit", but "DSTP" is a more laid-back cut, with nice melodic Oriental tunes embedded into its volatile structure.

Awakening EP, 2022

Official Site

TORNADO (BELARUS)

A 4-track demo of crunchy post-thrash which most interesting part are the acoustic guitar sections inserted here and there. "Burn A Green Flag" is a cool industrial cut with dance potential akin to Front Line Assembly, but is still better than the established jumpy groovy boredom which is ably assisted by angry shouty vocals.

Apeman Demo, 1997

TORNADO (FINLAND)

Based on "Black President", this band play intense merry-go-round old school thrash (for "black presidents" only, though) which is more on the playful side, with frolic rhythms rolling from all corners and contagious rodeo-instigating gallopers ("Flesh Crawling Nightmare"). "T-Minus 10" is a thrash/crossover delight, but the second half hits harder with pure thrashers spraining necks with ease ("David & Goliath", "World Pieces", "Stop the Madness (Part I And II)", etc. The singer has a very cool clean high-strung timbre which leads the proceedings, reminding of both Jello Biafra (Dead Kennedys; too many presidents here today...) and Mike Muir (Suicidal Tendencies), creating additional uplifting atmosphere making this cool album a major anti-depressant.
"Commitment to Excellence" is sustained in a very similar vein although there a couple of more serious, nearly progressive thrashers ("Spirit and Opportunity") thrown in, one of which is the speed/thrashing roller-coaster "The Flight of Yuri Gagarin" that nearly catches the unbridled vigour of much shorter rippers like "Endless Forms of Torment" and the excellent semi-technical "Chaos Among the Ruins", with the cover of S.O.D.'s "United Forces" adding more fuel to the fire towards the end.

Amsterdamn, Hellsinki Full-length, 2011
Black President Full-length, 2015
Commitment To Excellence Full-Length, 2018

Official Site

TORNADO (GREECE)

This is a side-project for members of Released Anger. The music isn't radically different from the one of the father band being pretty decent classic speed/thrash starting with two cool energetic headbanging instrumentals which reveal the guys' infatuation with the Bay-Area and early Megadeth. Then comes "Sent to the Land" which shows the band's more technical clever side. The initial impression goes high after this potent trio, but "Where I Dream" is a mild heavy/power metal rocker. "Human Race" has no choice but bring the thrashing back, and this is exactly what happens served with nice melodic leads. "Republic Terror...The Big Chess" is another major energetic all-instrumental piece (the guys shy away from their, otherwise not bad, singer too much), again a bit more technical with a Megadeth flavour, followed by another singerless number: the brooding doom thrashiness "Countdown to Demise", another more than obvious allusion to Dave Mustaine and Co. The vocalist eventually comes back for the closing "Fire at Will!" which is a nice exit with its stylish up-tempo riffs and technical breaks recalling Megadeth's "Holy Wars". This is really cool stuff, and hopefully the guys won't be content with just this release unless, of course, they're afraid that this act may overshadow their main one which is totally possible, by the way, listening to the quality material offered here.

Fire at Will Full-length, 2009

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TORNADO (ITALY)

Based on the "Primo" demo, this act specialize in intense old school thrash which is spearheaded by some of the most hilarious, high-pitched heluim-induced vocals in metal history: the guy screams his lungs out, sometimes recites with all the pathos he can summon, trying to match the hyper-active musical fiesta. The vocalist's performance is so over-the top that the efforts of his colleagues will remain in the background. He handles the balladic "A Silvia" pretty well, though, whereas on the fast-paced material ("Entita Maniacale", "Politici Corrotti") he mostly shouts with passion and emotion, toning it down at the end for the Led Zeppelin cover of "Good Times Bad Times". The sound quality is terrible, obstructing the guys' endeavours to the max. Some of the band members were also involved with the speed/thrashers Fallen Fucking Angels, and the heavy metal/hard rock purveyors Turtleback.

Primo Demo Demo, 1991
Promotional Demo, 2001
Rude Demo, 2005

Official Site

TORQUE (USA)

The first Phil Demmel's (ex-Vio-Lence) project, before Technocracy; the style is a capable mix of the Bay Area thrash, not far from later period Vio-Lence, of the late 80's/early 90's and the modern 90's post-thrash ala Pantera and Machine Head. Apparently Machine Head had been impressed so much with Demmel's performance on this effort and the other project that they invited him to join their crew (actually Demmel and Robb Flynn have been long-time friends).

Torque Full-length, 1996

TORQUEMADA (ITALY)

A band obviously enamored of the modern sound of mid-90's Sepultura sticking pretty closely to those mid-paced heavy riffage, so well introduced on "Chaos AD". The Italians adhere to groove more frequently but do this with taste and manage to come up with cool atmospheric sections. Faster more energetic passages are also present, those reminding of late-period Massacra ("Sick, "Humanize Human"). Still, this effort can hardly make many heads turn as for most of the time the music flows one-dimensionally providing an output too similar to the one offered by hundreds of acts at the time. "Come the Morning" is a cool ballad, placed at the end, seemingly not to break the monotonous feeling established before it.

Sevenfold Full-length, 1996

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TORQUEMADA (SPAIN)

Based on the demo, this act indulge in diverse progressive speed/thrash that isn't very far from the Danes Manticora ("Animales de Ciudad" on the more interesting moments. However, clumsy mid-pacers like "Aquelarre" don't add much pleasantries to the picture. "Miedo" is the other more noteworthy moment, a fast-paced roller-coaster which is ably supported by the cool attached clean vocals. Some of the band members are also active with the progressive metal formation Acid Rain.

El Enviado de Dios Demo, 1995
The Hand of God Full-length, 2013

TORREFY (CANADA)

These youngsters "thrashed and burnt", like the album-title (the debut) says so well, but before that they manage(d) to grant us with decent old school thrash with echoes of their compatriots Sacrifice. The approach here is perhaps a bit friendlier with more retouched guitars and more proficiently executed melodic leads (check the ones on "Incineratorr" which are a true wonder to listen to). "Direwolf" is a cool more thought-out number, and "Thrashcan" provides 6-min of clever semi-technical thrashing which also finds match later on the closing progressive opus "The Unholy Offspring of Lightning and Death" which "sacrifices" a lot of the hard thrashing for the sake of more atmospheric build-ups. The singer is a scary deathy semi-shouter whose rendings may be a bit on the hysterical side.
"The Infinity Complex": the imposing bass-driven intro inaugurates a really high-class display of classic progressive thrash which is way superior to the not very interesting debut, the opening "The Singularity" bemusing the listener with a cavalcade of spastic speedy, technical riffs and kind of chaotic screamy leads. "Hypochongea" is 8-min of varied progressive thrash with a pleiad of tempos and time shifts; and "Blinding the Beholder" is glorious technical speed/thrash in the best tradition of Paradox and the guys' compatriots Vektor with smattering tempo-changes bordering on proto-death. The latter band are a clear influence on the newly acquired style by the guys as evident from "Thrashist Dictator" which disguises the clever thrashisms in the beginning with a quiet, balladic section; later on we have first-class technical thrash ala mid-period Megadeth and Vektor again which stays around for "Killed to Death", a twisted, unpredictable composition with a not very logical, still compelling though, alternation between faster and slower passages. The title-track is classic speed/thrash at its most schizophrenic with melodic/balladic quirks served in the middle; and "Celestial Warfare" is an engaging progressive thrash opus with loads of venomous spastic riffage and shades of more brutal death metal-ish guitar work. All the way to the closing "Trial by Stone", another dazzling display of complex musicianship serving nearly 10-min of elaborate rifforamas, less tamed blast-beating parts, and cosmic arrangements not far from recent Vektor again and even Bal-Sagoth and Hollenthon. This is a very ambitious encompassing recording which throws a lot of music at the fan, and the latter may need more than one listen before he/she learns to savour the delectable motifs embedded all over.
"Life Is Bad" continues with the ambitious layouts and execution the legthy larger-than-life compositions again containing a lot of music with quirky energetic technicallers ("Eye of the Swarm") colliding with more simplistic alluring numbers ("Eye of the Swarm"), the imposing extreme metal diversity of "Arbor Requiem" the centrepiece of the album although the highlight award goes to "Cells", a cleverly-concocted roller-coaster with speedy bllitzkrieg rhythms, with the pounding atmospheric saga "Torrn Apart by Machinery" not far behind.
�Necronomisongs� spreads its wings even more widely, with encompassing progressivers (�Of Wind and Worm�) bringing the winds of death even, the more concrete shredder �Street Reaper� pairing well with the more intricate layout of �Arachnomancer� and the semi-balladic (in the first half) spacey-ness of �Nature vs Torture�. The melodious progressivisms of �Apex Shredatorr� are surely the highlight, backed-up by some delectable lead sections from �Total Perspective Vortex�.

Thrash and Burn Full-Length, 2014
The Infinity Complex Full-Length, 2016
Life Is Bad Full-length, 2020
Necronomisongs Full-length, 2024

Official Site

TORRENT (BELGIUM)

Based on the "Beyond the Waves" demo, these guys play simplistic speed/thrash along the lines of the Germans Vectom. The music is energetic and up-tempo, but sometimes slides down to pure power/speed metal, especially in the lead sections ("Condemned to Life") and during the choruses. The last track "Fortune of Lies", which is a cool instrumental, makes up for some flaws encountered earlier featuring good Destruction-like riffs.

Poltergeist Demo, 1987
Beyond The Waves Demo, 1988
Rehearsal Demo, 1988
Triumph Of Death Demo, 1989
Rehearsal Demo, 1989

TORRENTIAL DOWNPOUR (USA)

This is quite unconventional stuff, based on the full-length debut: a weird mix of raging modern thrash, quite twisted at times, and ambient peaceful piano-driven passages which last for too long and would definitely kill the thrasher's desire to headbang since the guys take it easy and don't bother to thrash their souls out very often although when that happens, there'll be a lot of moshing around. There's a bit of industrialized thrash ala Meshuggah and 90's Voivod, as well as fast post-blackish passages accompanied by keyboards ala Bal-Sagoth.

Torrential Downpour EP, 2008
Torrential Downpour Full-length, 2009

Official Site

TORRID COMPLEX (USA)

The debut: this is heavy post-thrash with stoner/doomy shades; the music isn't a total waste moving around in a less ordinary, semi-jumpy manner (check out the galloping insertions on "Alcala's Fate") the gruff semi-clean singer adding more to the seismic tone of the delivery. The middle surrenders to balladic pieces which may make one sleepy and nostalgic (why!?), but the cutting riffs on "El Toro" should put you back on track as well as the final portion of the headbanging rifforama which is the closing "Liberty".
"Left Behind" is a more dynamic affair with more energetic cuts ("Crawl") crawling in amongst the heavy ten-ton crushers ("Gassed", "On Your Feet") where the sludge core-isms of EyeHateGod and Crowbar are just an arm's strecth. Purer attempts at doom ("One in the Chamber", "Blind Man") work even better whereas the Led Zeppelin cover of "Immigrant Song" adds a desirable psychedeic flair to the seriously heavy proceedings.

Liberty Of Death Full-Length, 2013
Left Behind Full-Length, 2019

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TORRID FLESH (USA)

Based on "Ravaged Lands", these guys offer straight-ahead classic thrash/death, quite well played, fast and energetic, with very brutal death metal growls. To these ears the slower steam-rollers seem to deliver the goods in a better way: "Asylum of the Damned", "F.F.P.O.S.", which come with loads of heavy riffs to crush your skull. The pure furious blasting death metal numbers are hard to be ignored, either: "Hieroglyphic Corpse", a nice technical piece which also adds vicious snarls to the picture; or the 2.5-min of Suffocation-like technical brilliance "Void of Light". "One Hundred Million Cries" is a nice try to adapt their aggressive style to a more progressive song-writing which loses a lot of the heaviness, but makes up with cool more melodic hooks. The remaining four tracks are much shorter, but the sharp technical riffage returns, and we have another 11-min of fast-paced technical madness, spiced with the casual pounding break and finished with the short peaceful lead-driven instrumental "Beyond". Some of the band members were earlier involved with the black/death/power metal hybriders Satan's Host.

"Chain of Command" is even better: fabulous technical thrash/death metal which catapults the album straight to the top with the very first song: "Lycanthrope" which is a non-stop smashing technical aggressive riff-fest. Then comes "Gutless" which continues the assault started with the opener and sounds quite close to it, both in terms of brutality and technicality. "Sinners Fate" is all-out merciless thrash/death metal, still quite technical after which the music takes a turn towards pure death metal, on the title-track: a marvellous 7.5-min opus which brings the best from the works of acts like Morbid Angel, Pestilence, and Atheist. "The End" is pretty much in the same vein, more straight-forward maybe, followed by "Chemi Kill", a steam-roller ala Bolt Thrower with fast-paced moments. "Murder 13" is the only number which slows down and turns into a smashing mid-tempo thrasher. The closer "March Towards The Fire" is furious death metal madness still finding room for more intriguing guitars.
The debut is anther commendable affair, the band focusing on the death metal side of their repertoire at this early stage, moshing with both heaviness and volcanic seismicity ("Chaos") and with intriguing progressive accumulations ("Poverty"). There isn't much speed at play the guys preferring to march on in slow motion with stomping cuts like "Sycodic Boredom" with even doom touched on the melodic shorter "Matter of Will" and the longer morose closer "Read Between the Lines".

Torrid Flesh Full-length, 2006
Chain of Command Full-length, 2007
Ravaged Lands Full-length, 2008

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TORRID REIGN (USA)

A good mixture of American power metal and thrash, similar to Attacker's "Second Coming" and Liege Lord's "Master's Control"; the music is mid to up-tempo, doesn't speed up a lot, and meaty, really heavy riffs could be heard here and there ("Deadly Trance", "No Questions Asked").

Trial of Madness Demo, 1986

Fan Site

TORSION (HOLLAND)

Earlier these lads were called Medusa Touch where the style was more on the epic power metal side. Here the delivery hasn't been changed drastically, but it has been upgraded to more aggressive thrashierparametres. "The Artist" sounds like a leftover from the Medusa days, a slow-burning power metal anthem, but "The Mirror" comes alive with a more intense rhythm-section mirroring the early Wargasm and LaazRockit exploits with sharp hard-hitting riffs. "Assorted Crimes" is a wonderful progressive thrasher, an impressive collection of gradually escalating intensity and more laid-back sections, an eventful journey also utilizing the vocalist more fully, the emitting composed equanimity behind the mike with a levelled mid-ranged semi-clean timbre. "Headbanger Suite" doesn't quite deserve its headbanging title being a moderate epic power metal hymn, a boisterous mid-pacer with a memorable chorus. Some of the band members also attempted a heavy metal enterprise in 2012 under the name Tsumania (one full-length).

Demo Demo, 1990

TORTOISE CORPSE (UK)

Based on "World's Got A Problem": this is melodic speed/thrash metal which sounds like a mix of Destructor, or Blood Money ("Atomic Attack", "Psychotaff") on the faster parts, and Venom and Motorhead for most of the time, spiced with pure classic hard'n heavy tunes. There's an American band who resemble these guys' music a lot, Beowulf. As a result this work would find wider audience, which is good, as the thrash metal fan might find it too soft for his/her taste.
"Standard Of Misery" is a much better effort, so much better that you might want to listen to the first album once again in order to check whether you haven't missed the most of it the first time. The music is decidely more thrashy, with much heavier, but also slower, guitar work, and some tracks are openly aggressive thrashers ("Tyranny of Heaven", but please, ignore the fucky... sorry, funky ending) and they clearly outnumber the "remnants" from the debut ("Haemophilia"). The songs are longer, but the technicality hasn't been increased a lot. Some 90's modern elements have been introduced, but most of the time the music stays on classic ground, sounding quite close to Abomination's early period.

World's Got A Problem Full-length, 1991
Standard Of Misery Full-length, 1996

TORTUOSA (CHILE)

A classic/modern thrash hybrid which marches in a somewhat disoriented mid-tempo manner, and although it does avoid the groove for most of the time, it doesn't win too many points in the originality department save for the choppy semi-technical "Se lleva Dentro", and the intriguing quirky "Sueno Frustrado", a more melodic and a tad more complex proposition, the harsh semi-death metal vocals keeping the noise emitted from this side within the acceptable parametres.

Virtud o Vicios? Demo, 1999

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TORTURA (MEXICO)

The EP: this trio from Mexico come up with brutal vicious thrash metal following closely the raw models from the early Brazilian metal scene: Volcano, Holocausto, Sextrash, etc. if we exclude the more stylish, short, screaming leads. The vocalist will stun you with his hysterical, high-pitched shriek, quite similar to the early Whiplash Tony delivery. Mentioning the Americans, the music on the best moments actualy recalls them ("Power and Pain"), too, although the aim here is at thrash, rather than speed metal.
The full-length debut is another concoction of raw, primitive thrash this time spiced with numerous crossover tricks, and consequently the approach isn't as aggressive anymore. The guitars are more clearly heard this time, and the singer doesn't shout/scream as annoyingly. The delivery is pretty stripped-down bordering on hardcore accompanied by chaotic leads coming out of nowhere and noisy drums which deafen the simplistic, but sincerely energetic, riffage.

"Heretic Glory" comes with a more proficient delivery although it's pretty much no-bars-held stuff the guys bashing with passion reaching "Pleasure to Kill"-esque extremity with ease with remorseless cuts like "Sacrilege" and "Catholic Intolerance" which are just on the edge of falling into a death metal territory. The marginally more complex material ("Betrayed By Faith") resembles Destruction and By War regarless of the several more abrasive hardcore allusions.

Souls of the Hole EP, 2008
Race Against Hangover Full-length, 2011
Heretic Glory Full-Length, 2017

Official Site

TORTURA (SPAIN)

Based on "Vesania", this act indulges in modern thrash/death which gets oddly complex at times without holding onto those moments for too long, ending up sounding pretty ordinary in the long run with sudden unexpected shreds of technicality (the bombastic deathster "La Gran Mentira") thrown in here and there. Still, the guys thrash admirably ("Yin-Yang") creating a lot of dynamics, even adding the odd more classic riff (the Bay-Areasque "Tortura") on occasion. The vocalist is a rough death metal gruffer who takes quite a lot of space, trying to sound authoritative and intelligible to mixed results.
"Hado": the intro is a sheer delight with melodic stylish guitars warming up the audience, and the band try hard to provide similar entertainment later on with the melodic technical thrasher "Proyecto De Muerte" and the more diverse shredder "Su Ley" which serves great melodic Oriental hooks on top of some delectable technical decisions. The title-track gallops with the finest once again the band really finding their stride later on with the excellent dramatic thrash/deathster "Acepta El Golpe" and the more moderate semi-technical thrasher "Tu Reflejo". This offering sounds way more appetizing than the debut seeing the guys improving in almost every department except for the not very pleasant rough shouty, death metal vocals.

Vesania Full-length, 2000
Ego Full-length, 2003
Hado Full-Length, 2016

Official Site

TORTURE (GREECE)

The debut: a power trio from Greece which specializes in retro speed/thrash, crossing several influences. The opener "No Escape You're Dead" is vintage early Whiplash, a fast headbanger, but the very next "Sick Dreams" is already a different story, a heavy dramatic steam-roller with vague technical allusions, and a maddening speedy outro. "Torture" has no choice, but to be a standout piece, and it doesn't disappoint with its straight fast riffage, a major headbanger. "Warthrash" carries on in the same merciless vein, but "Psychopath" is a seismic proto-doomster, leaving the damage for the following "Natural Born Killers" which is uplifting speed/crossover with a slight surrealistic Voivod flair. "Inside Hell" is all-out thrash, a song taken directly from Destruction's "Sentence of Death"; and "Born Lived And Died" is another aggressive proto-death offering with a few more relaxed crossover sections. The last two songs would be a bit of a disappointment with their laid-back gothic-laced delivery, the closing "My Friend Has Left" alone being a melancholic Katatonia-sque piece, purely instrumental. There isn't much coherence to be witnessed here as though the band are not sure whether they want to be a full-time thrash metal outfit; but when the guys step on the pedal, they deliver no worse than the aforementioned acts.
"In Thrash... ...We Trust": we, too, guys so we should be happy with what you have to offer... and indeed, fans of the debut will rejoice as now the band sound even closer to Destruction (their more recent works) as well the Schmier side-project Headhunter on the mellower material ("Pay In Pain"). The abrasive sound, whether intentional or not, kind of impedes the proceedings not giving a big edge to the guiatrs which serve something more intriguing on "Intrinsic Sadness", but the rest is strictly for the German Holy Three and their clones excluding bad rock-ish jokes like "Fucked And Hacked".

Rotten System Full-length, 2011
In Thrash... ...We Trust Full-Length, 2016

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TORTURE (USA)

A great band from the heydays of thrash metal; "Terror Kingdom" is just a decent beginning, though, with a somewhat basic, stripped-down Venom-esque flavour the latter finely captured by the mid-paced power metaller "Into The Darkness", before the speed/thrashing madness begins with "Whips Of The Antichrist", a relentless echo of Whiplash's mercurial debut, with "Power Metal" being another rowdy speed/thrasher, not too much power metal here. The title-track is the undisputable highlight, a more contrived speed/thrash riff-fest with quite a few twists and turns later elongated a bit on the full-length, also presented with a better sound quality which here is too hissy and thin marring the guitarists' efforts, above all.
The full-length is a revelation with steel technical riffs galore played with a very aggressive attitude and make this album an instant classic, standing right next to exhaustive representations like Slayer's "Reign In Blood" and Sepultura's "Beneath The Remains" as one of the most pummelling listening experiences from the 80's. The opener "Ignominious Slaughter" will literally slaughter you with its uncompromising fast delivery. Then the music takes the other extreme with the heavy, atmospheric, 11-min long "Dwell into Surreality", which sounds nothing like the preceding track. The next two numbers mix the fast and slow riffs, adding some more technical guitar work. They set the scene for the mighty opus "Terror Kingdom", slightly altered from its shape on the EP, which in its 8-min provides a breathtaking riff-fest of smashing speed and technical precision. "Whips" is a brilliant instrumental piece of furious more technical thrash, followed by another long, complex song, "Deceiver" which is a great combination of both intense and technical riffs, this time spiced with heavy, mid-paced riffs ala late 80's Slayer. These guys looked really well equipped to reach far, but they disappeared after this one, leaving behind one of the undisputable peaks of the thrash metal genre.

Terror Kingdom EP, 1987
Storm Alert Full-length, 1989

Official Site

TORTURE DC (USA)

Based on the demo, this one-man show, the name Tom Persons, serves intense hyper-active old school thrash which does come with a sniff od hardcore ("Buried Alive"), also form the confrontational semi-declamatory vocal department. "Sea of Blood" is a cool basher with thin semi-technical qualities, and "Bleeding Parts" is another less ordinary saga with echoes of both early Rigor Mortis and DBC. "Criminal Sin" races with the speed of light, but it's "Terror" that shines the brightest, a nice intricate bass-driven diverse piece which shows the band in a fairly proficient light. Persons later took part in other acts around the globe like technical deathsters Psypheria and Dismal Lapse, the death metal stalwarts Pessimist, etc.

Bleeding Parts Demo, 1989
Sea of Blood EP, 2022

Official Site

TORTURE DEVICE (NORWAY)

These Norwegians provide modern post-thrash/power metal with very abrasive guitars and very gruff shouty semi-death metal vocals. There's energy ("Bleed"), but there are also calmer, semi-balladic moments ("Winter Pale") as well as mixtures between the two tendencies ("Illusion of a Dream") which are the highlight, alternating fast with slow sections in a competent, albeit predictable, manner.

Winter Pale EP, 2011

TORTURE GARDEN (ITALY)

Based on the "The Next Emotions" demo, this not very known formation deliver sloppily produced semi-technical retro thrash which wanders in a prevalent mid-pace without too many highlights if we exclude the trippy interludes on the crossover-ish "Endless Night" and the more boisterous shredding on "Another Sin". The rest is skippable by any standards including the flat thin clean vocals.

Sea of Madness Demo, 1992
The Next Emotions Demo, 1993
Patchwork Demo, 1995

TORTURE OF HYPOCRISY (POLAND)

The demo: intense all-instrumental retro thrash metal ala Gammacide with the odd blast and quite stylish screamy leads. This is fast stuff with casual slower breaks and sharp riffage which doesn't stray from several more intelligent technical decisions.

The full-length introduces a "random" singer who's on the intense shouty side still holding a few melodic surprises along the way. The "random" musical delivery is now more simplistic and more modern the guys notching up the guitars' edge a bit, but not varying the approach too much sounding like the next modern thrash outfit nowadays. The tempos alternate the whole time, but the cliched decisions are just too many to make this music really stand out.

Random Perspectives Of Reality Demo, 2010
Random Augmentation Full-Length, 2014

Official Site

TORTURE SQUAD (BRAZIL)

A thrash/death metal outfit; their early works cling towards the death metal side, and are not something really special, but with "Pandemonium" the guys hit the mark. Death metal is still present, but the concentration is on classic thrash (with touches of the modern school, too), and recalls many heroes from the 80's. The intro might stretch your nerves a bit being about 3-min long without too much happening, but once the opening cords of "Horror and Torture" reach your ears, you'll know that this will be a thrashing delight all the way. That same song blast-beats for a while, but in a pleasant way, and remains one of the finest achievements of the band. Later on the sound gets more aggressive, mixing thrash and death metal in a very good way: "Towers on Fire", "World of Misery", "Leather Apron".

"The Unholy Spell" is a bit rougher, but offers the same frantic fusion of the two styles with more nods to death metal probably, and after a few listens you may find that the guitar work is even more intriguing than the one on "Pandemonuim", with more choppy and crunchy rhythms, to the point that some songs can easily be placed in the technical thrash/death metal field: the excellent speedy "Spiritual Cancer" in the best tradition of the French Massacra; the Morbid Angel-esque "Abduction Was The Case". The speed and brutality come too much on tracks like the raging "The Host" which still offers loads of technical riffs, but "Welcome Home (The House Of Eternal Night)" is a very welcome home... sorry, break, being a much calmer speed/thrash metal number, followed by another full-fledged, but more aggressive thrasher: "Under The Wings Of The Empire". The bonus track at the end is a live recording of one of their earliest songs: "A Soul in Hell".
"Hellbound" bears no surprises: a frenetic, occasionally technical mix of thrash and death metal this time paying tribute to thrash metal more. Seldom does the music go into furious death metal territories ("The Fall of Man") although there are short blast-beat sections on almost every track. "Cyberwar" is a very cool classic thrasher, and the closing title-track is a nice take on a more serious progressive song-writing with good melodic guitar work.

"AEquilibrium" is an expected wild amalgam of thrash and death metal favouring more death metal for a change from its predecessor, and as such the furious blasts have been increased present on every track to mixed impressions. The music is pretty fast with the heavy pounder "Storms" and the atmospheric gothic-tinged "The Spirit Never Dies" being the exceptions (the latter finishes in a brisk speedy manner, though, with nice melodic leads assisting). The more clever technical leanings hinted at on previous releases spring up on "Black Sun" which is a nice energetic more intriguing thrasher.
"Esquadro de Tortura" pours tones of aggression from the very opener "No Escape from Hell" which is an explosive thrasher its ferocity ably translated on the next "Pull the Trigger" and "Patria Livre". "Wardance" is an excellent progressive piece with numerous tempo acrobatics including a few less controlled blast-beats. The more ambitious delivery stays around for "Architecture of Pain" which shreds with passion and a strong sense of technicality. "Never Surrender" eventually touches death metal in the beginning before it turns into a beautiful melodic symphony with great melodic leads and some epic touches. The niceties continue with another more technically-inclined number, "In the Slaughterhouse", and the curious technical/progressive oddity "Conspiracy of Silence" which is an unusual blend of spasmodic speedy passages bordering on hardcore, brutal death metal sweeps, and more elegant cleverly-concocted breaks. The tiring execution of these cuts leaves the band more relaxed near the end with the direct lasher "Nothing to Declare" ("nothing to declare" here, really; just stripped-down violent bash), and the brilliant short elegiac instrumental "For the Countless Dead". But there's no end to ambition, and here comes the closer "Fear to the World" which is another less ordinary composition with a wide gamut of tempos and moods recalling more recent Paradox. The bonus track "A Soul in Hell" is a more immediate headbanger further nailing this album's prospective reputation as the band's magnum opus.
"Far Beyond Existence": the vigorous mosh from the previous instalments has been preserved here the band bashing out without much restraint regardless of the songs' length the average of which is 6-min. The speed has been reduced to an extent for the more laid-back playful "Steady Hands", but the rest often goes towards death metal due to the brutal ways of execution the title-track one of the fuller tributes to the good old thrash with its pounding stomping rhythms. "Torture in Progress" is a bluesy, progressive, doomy all-instrumental jam session placed at the end with a bunch of guest musicians.
�Devilish� is a shaky unfocused achievement in the guys� (and a girl) discography, the drier more clinical riffs of the opener �Hell is Coming� later matched by the impetuous semi-technical developments on �Buried Alive� and the devious �Sanctuary�, the radio-friendly heavy/power anthem �Warrior� a sure filler, later supported by the even softer spacey �Uatuma�. The brutal deathly expletives on �Mabus� and �A Farewell to Mankind� are a small compensation for those unimpressive presences, but there�s more ballast later, like the idyllic soporific �Find My Way�, the band diversifying their palette without making any strides at greatness� on the contrary.

Shivering Full-length, 1995
Asylum Of Shadows Full-length, 1999
The Unholy Spell Full-length, 2001
Pandemonium Full-length, 2003
Hellbound Full-length, 2007
AEquilibrium Full-length, 2010
Esquadro de Tortura Full-Length, 2013
Possessed by Horror EP, 2015
Return of Evil EP, 2016
Far Beyond Existence Full-length, 2017
Devilish Full-Length, 2023

Official Site

TORTUREBITCH (GERMANY)

Based on "Inhuman Declaration of War", this act indulge in decent retro thrash which is sustained in a ripping ultra-dynamic fashion, the guttural intense death metal vocals adding more to the sizzling drama which at times comes close to the fierce expletives of the Finns Impaled Nazarene ("War"), only spiced with an over shade of proto-death. "A.G.A.B." is a pure hardcore outburst, and "Fuck World Trade" is a belligerent Slayer-esque thrasher. There's seldom mercy shown here if we exclude the speed metal anthem "Burn the Evidence", and the closing punky sing-alonger "Bottles of Beer".

Alcoholic Panzer Blasphemies Full-length, 2015
Messiahs of the Nuclear Age Full-length, 2017
Inhuman Declaration of War Full-length, 2021

Official Site

TORTURED DEMON (UK)

Based on the full-length debut, these ambitious teenagers from the English North indulge in pretty decent modern thrash; the threatening groovy stomps on "Cold Blood" will bring the thrashcore movement to mind, but overall there's no energy lost here with energetic cuts like "A Knee To The Face of Corruption" and "The Invasion" strolling around, the more complex shredder "Sufferers of the New Plague" also introducing passable cleaner vocals to the proceedings.
�Rise of the Lifeless� produces an impression similar to the one from the debut, the lads lashing with passion for most of the time, with curt energetic cuts like �Virtual Death� and �Disfavour� tearing the aether, the moshing fervour of �Conflict of Interest� easily matched by the deathly vigour of the brief �Erase Your Life�, the progressive gravity of the closing opus �The Damage Is Done� doing away with several more lyrical passages amongst the dynamic skirmishes.

Tortured Demon EP, 2020
In Desperation's Grip Full-length, 2021
Rise of the Lifeless Full-length, 2023

Official Site

TORTURED SOULS (GERMANY)

Blistering retro thrash which possesses its heavy pounding side ("Portrait of Human Decay") as well, the unrestrained bashing aesthetics unleashed on "In the Name of God" openly bordering on hardcore. The more diverse shredding on the still restless "Tortured Souls" is surely a plus, but expect "Reign in Blood" to materialize before your hapless ears on the ravaging "Abduction, Abused and Murdered". "Pirit of Sulamith" is a relatively peaceful mid-tempo trot, the shouty hardcore vocals notching up the drama at every opportunity with their quarrelsome presence, including on the several live cuts in the second half. Some of the musicians also played in the deathcore short-timers EX.

Human Decay Full-length, 1997

Official Site

TORTURED SOULS (UK)

Stalwarts from the UK underground (Hellbastard, Tysondog, Blitzkrieg, the heavy metallers Chaos Asylum) have joined efforts here for the creation of some decent but not very stellarly produced old school thrash which moves from heavy stomping rhythms ("Deadlock") to more energetic shredders ("HFID"), the semi-clean shouty vocals assisting with panache although they can't be clearly heard at times. The end comes in the form of a passable cover of Metallica's "Seek and Destroy", a tendency probably brought by the Blitzkrieg lads.

The Total Tortures Demo, 1990

My Space

TORTURER (CANADA)

Based on the full-length, these folks provide old school thrash/death which straddles between the Floridian school and the wild hybrids of the French "resistance" (Loudblast, No Return, Agressor). Stylish more technical variations like "Schizo" will make the fanbase quite happy whereas impetuous speedsters like "Torturer" and "Chemical Fear" will make them jump around with joy, neglecting not very eventful mid-pacers like "Nocturnal Hell (Slaughter)" on which the intense overshouty death metal vocals may seem like the only more audible merit. Some of the band members used to create something similar under the No Pity moniker a few years earlier.

Call of Madness EP, 2014
Die in Pain Full-length, 2018

Official Site

TORTURER (CHILE)

Based on "Rise From the Ashes", the band's style has a few distant echoes of the brutal side of the Brazilian metal scene (Sepultura, Sarcofago, Vulcano, etc.), the difference coming from the fact that Torturer are better musicians and manage to combine the brutal thrashing with genuine stylish technical moments. The style may also remind you of early Pestilence and mid-period Sadus, so apart from all-out death/thrashers one can hear quite a few more intriguing elements: the atmospheric "Xenophobic", with a great lead middle break; the short technical "Ralco"; the almost progressive-sounding "Mental Storm" which apart from serving plenty of atmosphere and mood, doesn't forget to thrash along with the best; the larger-than-life diverse opus "Torquemada (Server Of God)": a fascinating mix of brutal death/thrash metal and genuine technical decisions; the less-than-2min of instrumental technical brilliance "Spiral Madness"; and, certainly, the 9-min closing opera "The Wounds Of Conversion" which covers all possible tempos and moods known to the thrash/death metal world concentrating on the furious more extreme side again.

"The Flames Of Purification" shows that the band fans have no reasons to worry, and the comeback period is equally as compelling as the early one. The style is again quite intense thrash/death, at times straight and to the point ("Into The Labyrinth"), at times carrying a nice technical edge ("Psycho"). Except for the raging death metal opener "The Flames Of Purification" and the complex brutal Morbid Angel-like "Santa Inquisicion", the music isn't very fast or aggressive, and is more faithful to thrash than death metal. One of their major influences Sadus are honoured with the fierce cover of "Sadus Attack".

The debut is already an interesting listen combining mid-period Sadus with early Death to a fairly positive effect. The guys start moshing from the very first track ("Arachnophobia") which is a wild shredder with proto-death overtones. "Insane" is a curious piece with creepy twisted doomy riffs and several more intense galloping rhythms in the second half. "Evil Confession" is vintage Sadus, an aggressive fierce piece with great leads. The title-track is an ambitious progressive composition with complex technical musicianship ala Pestilence and Atheist and again, brilliant melodic lead guitars which are on a pretty high level the whole time. "Into My Own" is a stomping heavy thrasher with a few more intriguing hooks near the end. "Twilight Zone" is an outstanding technical instrumental, a compelling mix of technical and fast raging riffs; but "Back To Reality" will bring you "back to reality" being fast harsh stripped-down thrash/death metal, the sound getting a bit rawer for the closer "Demoniac Possession" which is a cool faithful cover of the Chilean thrash/death metal veterans Pentagram.
The EP will glue you to the player from the very beginning with the great 1-min lead-driven intro "Dimensi=n Cero" which is "rudely" interrupted by the aggressive thrash/death ripper "Codigo de Destruccion" which is vintage "Spiritual Healing". The infatuation with that Death album carries on with the more technical "Bestia Omnipotente", and the more speed metal-based "Guerrero Apocalfptico". "Santa Inquisicion" is a furious technical deathster with a few slower pounding sections, and "Kingdom of the Dark" follows it closely being a bit slower and more straight-forward. The leads here are not as striking sticking to short screaming, not very melodic, pyrotechnics.
Although not releasing albums on a very regular basis, this act is easily one of the most impressive representatives of the genre in South America, producing an effortless blend of the extreme and the technical ranking right beside masters of the craft like Sadus, Death, Pestilence, Atheist, Messiah, etc.
The debut split with the French death metal outfit Misanthrope is four songs of fast, intense thrash/death, ripping tight stuff clingng more towards death metal perhaps, with Sadus again a pretty close soundalike. A pretty good beginning for the band boasting a fairly good sound quality, crisp guitars, and a touch of technicality here and there.

"Torturer": the back are back from their 10-year hibernating period with a double album, and the fan can't possibly be any happier. CD1: the opener "Guerras" is smashing heads-down retro thrash, opening the way for the death metal "carnage" which the following "Matando Angeles" serves with gusto. "Black Riders Attack" is a polished speed/thrash "attack", but its intensity is absorbed by the epic quasi-doomster "Fighting For All" which is a new addition to the guys' repertoire with several more dynamic passages. Finally time for something more technical with the short stylish shredders "Bitacora Del Torturador" and "Death Smells Silence", before the closer "Screaming from the Deep of Sea" wraps it up with panache being an encompassing progressive death metal saga carved by brutal technical death escapades.

CD2: we have a different approach here with the opening "Te Ajusticiare" being a creepy, doomy semi-technicaller. Then comes "Destructores De La Vida" which is a glorious thrash/deathing speedster; however, the continuation would be a bit of a surprise the band again choosing the atmospheric doomy field to explore on the sprawling 8.5-min opus "Desperate!". Progressive death metal rules supreme on the next "Mente Asesina" this cut boosted by a few atmospheric keyboard sweeps. A doomy break is taken again with the short instrumental "Ascencion", and this break extends for another 7-min thanks to the closing "Libertad (Q.E.P.D)" which is an epic hymn involving clean singing as opposed to the main gruff forceful, shouty death metal vocals; this is a lyrical balladic composition which may scare the band's hard-core fans, but will enchant numerous others who will wonder at the guys' wide palette and a stack of original ideas which may eventually lead them out of the thrash/death metal realm. Only time will tell...

"Conjuro IV"; the guys have "conjured" another opus which sees them thrashing with a lot of vigour once again easily entering the realm of death metal on brutal shredders like "Bestial Invocation" and "Twisting". The approach remains pretty much the same throughout with slower, more atmospheric passages scattered around, but that's it from the more diverse sector as the band have decided to bash without remorse leaving the more original ideas from the preceding double opus behind, with only the short "Ralco" serving something more technical and less standard.

Hater of Mankind/Kingdom of the Dark Split, 1991
Oppressed By The Force Full-length, 1992
Los Ultimos Tiempos EP, 1995
Rise From the Ashes Full-length, 2000
The Flames Of Purification Full-length, 2003
Torturer Full-Length, 2013
Conjuro IV Full-Length, 2016

Official Site

TORTURESLAVE (GERMANY)

A retro/modern thrash hybrid, quite ripping and intense, spearheaded by very shouty semi-hysterical vocals. Music-wise this is a near-winner with hectic semi-technical headbangers ("Allholy", "The Deathmaker") flying in quick succession, the more death-laced material ("I Won�t Bow") staying within Gothenburg school waters. The mid-tempo urgency of "Wolf Without a Pack" and "Fathers of the Fourth Reich" are surely welcome respites, but still the laurels remain with the fever-ish fast-paced outbursts like "The Apex Sin".

Tools of Torture Full-length, 2021

Official Site

TORTYR (SWEDEN)

Thrashcore done by stars from the Swedish metal circuit, old comrades of Dan Swano, and also full-time participants in the death metallers Tormented: Andreas Axelsson (Edge of Sanity, Marduk, Tormented), Roberth Karlsson (Facebreaker, Pan.Thy. Monium, Edge of Sanity, Scar Symmetry), plus the other two Tormented members. The music on offer is heavy abrasive, mid-paced to fast, pretty one-dimensional and simplistic with short 1.5-2min tracks also sharing some of the dark hell-ish atmosphere of the early Bathory albums.

Warvictims/Tortyr Split album, 2007
Ingen Kommer Undan Full-length, 2009

Official Site

TORUS (GERMANY)

This is the continuation of the modern thrashers Thrash 'Em Down; the style on display is modern thrash/post-thrash with guttural death metal vocals. All the compositions are named after women's names, some of which ("Catherine") are a bit edgier and more prone to thrash, whereas others ("Ursula") are just mild balladic pageants. "Margaret" is a more ambitious longer composition with more intriguing embellishments; and "Barbara" is a mechanical dry shredder with echoes of early Meshuggah, opposing to the closing "Lilith", another more encompassing epicer.

Damsel Full-length, 2021

Official Site

TORUS (ITALY)

Power/thrash of the old school, excluding the short piece of deathly brutality �Titans' Fall�, this one served at the beginning, and misleading the listener big time as to what to expect from this recording. �The Ring of Fire� establishes the more peaceful tone with well-measured mid-tempo riffs, but watch out for the dark macabre �Humankind Coded Creation� and the short outburst of aggression �Lord of Sweet Waters�, those two shattering the prevalently mellow foundations, also supported by the cool mid-ranged clean singer. Earlier the band were known as Thrash 'EmDown when the style was, naturally, old school thrash.

Torus Full-Length, 2024

Official Site

TORVA (USA)

Based on the "Torva Messor" EP, this band play classic power/thrash of the heavy mid-paced variety, with a few progressive pretensions on the longer numbers ("Messor") where also some really captivating melodies can be heard. "Without a Cause" upgrades the delivery to more volatile speed metal parametres, and "Acid Funeral" brings things on the other extreme being a ship-sinking doomster. The singer accommodates both sides with his inebriate, semi-clean timbre, becoming more aggressive with a death metal-ish flavour on occasion.

Attainder of Treason EP, 2014
Torva Messor EP, 2018

Official Site

TORVARA (SWEDEN)

A 4-track demo of furious unbridled black metal with several interferences from thrash; the music is insanely fast bordering on grind at times, and the singer croaks in an unholy, not very intelligble, manner. "End" (which is, of course, the last song) contains a cool heavy doomy passage ala Celtic Frost.

Piedmont BM Assault Demo, 2009

My Space

TORVO (BRAZIL)

Based on "Into the Pressure", this band play brisk modern thrash/post-thrash which isn't devoid of some groovy developments ("Live Like a Puppet"), but the energetic creepiness of "Confuse" and the headbanging vigour of "Rage Inside You" and "Pain" lead the show assuredly regardless of the presence of a few not very carefully plotted balladic propositions ("Take Control"). The singer is a mean semi-shouty semi-cleaner who doesn't shine too bright, but makes sure his spiteful antics are well heard.
"Emptiness" is a slightly more aggressive animal, the band shredding with might and verve, "War Against What?" recalling the more timid exploits from the preceding endeavour with a more subdued groovy layout, but "Like's a Live" and "Fiction" take no prisoners, their impetuous flair mortified by the semi-balladic pacifier "Why Now?". Expect doom ("Old Man", "Theatrical Jungle") to overtake the scene in the second half, the delivery coming alive for a bit on the confrontational stomper "Distraction".

World of Glory and Hate Full-length, 2011
Into the Pressure Full-length, 2018
Emptiness Full-length, 2023

Official Site

TORZER (BELARUS)

Based on the full-length, this act provides an atmospheric mix of thrash and death metal of the classic kind, dark macabre music with fast outbursts not far from early Nightfall, plus interesting mellow balladic/doom decisions: "Silence has Frozen My Heart...", a great melancholic composition ala My Dying Bride and early Katatonia; followed by the similar funereal instrumental "To Tame the Hate" which benefits from the absence of the not very convincing gruff low-tuned death metal vocals.

Once Upon a Midnight Dreary EP, 2000
Consciousness of Hate Full-length, 2002

TOSCREW (HUNGARY)

Based on the full-length, this act provides an extreme blend of thrash, death and industrial post-thrash distantly reminiscent of The Project Hate, but less operatic. The delivery meanders ranging from stylish technical pieces ("Hagyd Noni"), to doom/death mixtures ("Elveszve Benned") of the sterile clinical kind, to sinister creepy black/doomsters ("Beavatafs") ala Khold. The amalgam works most of the time offering bleak musical landscapes with the crow-like black metal-styled vocals an apt assistance.

Kolonc EP, 2008
Antiego Full-length, 2011

My Space

TOSSIC (ITALY)

The band's debut is decent melodic thrash/power metal in the classic mould. It begins with the intense stomper "Orco" which pretty much sets the tone for the whole album; the latter develops in a solid mid-pace, with not many exceptions to the rule: "Depravado" is a cool speedster in the vein or early Metallica, including in the lead department where the guy shreds no worse than Kirk Hammett himself (remember "The Four Horsemen" and "Hit the Lights"). later on there are ballads, both heavy and more tender, but be prepared for one more piece of aggression: the short immediate "...Come Una Iena".

By the time of their second full-length the band have apparently lost interest in classic metal and have gone head-over-heels into modern 90's post-thrash. "Transumanza" comes after a long hiatus, and is a big embarrassement with almost no traces of thrash metal, opting for bland and utterly unappealing modern groovy metal, a total waste of time for the thrash metal fan.
"Cinghialya-34935 O" sees the band alive and well after a lengthy 8-year hiatus, but their delivery hasn't been upgraded to loftier dimensions. This is another trite, ultimately banal modern groovy numetal affair which timidly courts post-thrash on occasion ("Falla Finita"), but overall this would be another waste of time, even for the regular metal fan at times.

Case Chiuse and Little Housis EP, 1990
Il Regno del Cinghiale Full-length, 1991
Box EP, 1992
F8 EP, 1994
Stato Brado Full-length, 1994
Transumanza Full-length, 2007
Mistuprasti - Eh..? Puppa! Full-length, 2013
Cinghialya-34935 O Full-length, 2021

Official Site

TOTAL AGONY (FRANCE)

Based on "Erased", this outfit, which consists of just two musicians plus a drum machine, indulge in quite good classic semi-technical thrash/death which starts raging from the get-go with the stylish hectic shredder "Monolith of Departure", the intense rifforamas reaching nearly progressive dimensions. "Awake the Brute" is direct and more concrete, but "Frontier" is a more stylish pounder with technical staccato rhythms the latter replaced by more brutal bash on the entertaining rager "Soul Divided". "Below-Erased" is an ambitious atmospheric progressiver gradually building momentum until the headbanging fest reaches a fever pitch towards the middle; watch out for a portion of smattering technical "skirmishes" later, making this composition a sheer highlight except in the vocal department where the guy just rends his lungs without any care. "Towards the Blackstorm (Under the Sign of Black Metal)" is a lashing proto-deathster, no traces of black metal here save for a brief hyper-blasting moment in the middle; and "Another Kingdom" wraps it on with moody stomping decisions and more intricate vortexes, another one of the many pleasant surprises served here by this curious duo.
"Endscape 6" is a gothic industrial extravaganza similar to The Project Hate and Vomitron, with not much thrash or death metal present. Interesting dark, atmospheric stuff, only of an entirely different nature.

Vengeance Full-length, 1999
From Death...to Wars Full-length, 2001
Annihilhate Full-length, 2002
Erased Full-length, 2004
The Fifth Vision of Promesea Full-length, 2009
Endscape 6 Full-length, 2012

Official Site

TOTAL ANNIHILATION (SWITZERLAND)

Based on the full-length debut, this band plays intense retro thrash with lower-pitched, not very shouty hardcore vocals. The music is generally fast with few shades of hardcore on the shorter material (the frolic closer "Thrash Metal und Dosenbier" where thrash obeys the crossover laws), and several interesting melodic deviations ("Monster") on the longer compositions. There are also shades of Slayer but served with more complicated parts; in other words, this isn't exactly a direct read of the bashing laws of the 80's, but is a more stretched version of those also recalling the contemporary German practitioners Cockroach.
"...on Chains of Doom" is a competent, diligently executed effort which exudes both brains (the more contrived "Falling Fast") and aggression ("Reborn in Flesh") supplied in almost equal dozes, the doomy pensiveness of "Dead Souls" a really cool deviation, with the title-track shredding with lashing sharp riffs to a smattering effect. More highlights served towards the end, "Experience the Terror" thrashing hard with gusto, and "Tunnelratten" attempting something more volatile with quieter breaks and a couple of semi-technical decisions.

Total Annihilation EP, 2008
84 Full-length, 2010
Extinction Full-length, 2012
...on Chains of Doom Full-length, 2020

Official Site

TOTAL DEATH (ITALY)

This is modern/classic thrash/death metal with shouty hardcore-ish vocals. The band play at a steady morose mid-pace recalling the Germans Warpath and partly Cerebral Fix, the monolithic wall of sound occasionally "dispersed" by the odd more energetic crossover cut ("Redemption", "Rape"; the headbanging sections on "Slaves Of Order"). The attractive steam-roller qualities of the album wear thin before the end, though, since the delivery is quite samey all over despite its resemblances to Bolt Thrower (check out the excellent atmospheric "haunters" "Parish" and especially the lengthy doomy opus "Well of Madness" at the end), the rhythm guitar possessing the same characteristic melodic tone so typical for the Brits. This isn't bad, albeit a bit inconsistent, and with a little refinement, both music and vocal-wise, these guys could make themselves heard on both the thrash and death metal scenes.

"The Pound of Flesh" is the next in line steam-roller from the band's discography and although some more dynamic numbers have been provided (the death metal-flavoured "Haunted", the excellent chaotic technicaller "Synthesis of Human Failure" (!)), this "beast" is more on the battle-like, doomy side of the spectre. The vocals are now more refined with a more expressive death metal tone without the annoying hardcore disspipations heard earlier.

Well Of Madness Full-length, 2010
The Pound of Flesh Full-Length, 2015

Official Site

TOTAL DEATH (SPAIN)

Based on "Secreto de Estado", these Spaniards pull out ordinary modern post-thrash which has its energetic merits ("Corrupcion"), but generally develops in a crushing mid-tempo the rhythm-section not very exciting, but passable especially when it gets jumpy and hardcore-ish (the closing "Defensores De La Paz"). The singer semi-shouts in an attached authoritative manner at times plainly reciting reaching almost rappy dimensions.

"Ciudad Matadero", or rather, "Slaughter City" which is the English version of the aforementioned album, doesn't quite reinvent the wheel, but provides a more interesting spin on the old now 90's post-thrash which in this particular case arrives with shades of headbanging ("The Call", the excellent galloping shredders "Asphyxia" and "Take Much More") to dissipate the groovy fun established for most of the time which sometimes is served with a hefty doze of good melodies ("Soul In Pain"). "Lost In the Space and Time" is a merry crossover arouser alleviating the pain from the several brutal grinding passages on "Serial Killer" which ensures the wide appeal of this otherwise not very pretentious recording.

El Lado Oscuro Full-length, 1998
Secreto de Estado Full-length, 2002
Demonios Full-length, 2004
La Muerte Os Hare Libres.... Full-length, 2007
Santa Muerte Full-length, 2011
Ciudad Matadero Full-Length, 2014

Official Site

TOTAL DEATH (SWEDEN)

Based on the "Insanity of June" demo, this act have managed to carve a trail for themselves in the underground as one of the first purveyors of the death metal idea in the Scandinavia, mixed with the still ruling thrash. The style isn't pure bash, but comes with a sophisticated semi-technical edge (the hectic Atheist-esque "Crack", the chaotic brutalizer "Useles Fuckin' Escape"). "Black Mirror" is a more moderate galloper with some brilliant technical decisions; and "Sliced By My Wife" is a relatively more orthodox headbanger. "Religious Vomit" is violent death metal chaos, nothing sophisticated here; but "Total Death" brings back the more intelligent shreds along with short, chaotic lead sections. "Beasty Warriors" is the last aggressive proto-deathster, before "Has Time Come" wraps it up with raw, unpolished thrash ala Possessed's "Seven Churches". This a really curious effort also boasting intense shouty death metal vocals. Later the band members changed their name to Seance and entered the death metal arena on a full-time basis while others remained afloat as Satanic Slaughter for the release of four relevant black/thrash/death metal hybrids in the late-90's/early-00's before splitting up.

Total Death Demo, 1987
Insanity of June Demo, 1988
Promo Tape Demo, 1989

TOTAL DESASTER (COLOMBIA)

Based on the demo, these Colombians are not exact Destruction-worshippers, like the title suggests, but blast out in an aggressive thrash/deathy manner "courting" "old dogs" like Protector and Agressor. The music is relentlessly fast slowing down for the sinister cut "Armies of Death" which is followed by the Sepultura cover of "Antichrist" from the Brazilians' debut split with Overdose here turned into violent bash and not very easily recognizable.

Lost in Dark Single, 2008
Total War Single, 2009
Warfare Noise Demo, 2011

My Space

TOTAL HARMONIC DISTORTION (UKRAINE)

The bassist from the legends Adem Aleksei Prusov is in action here; otherwise this is modern thrash/death which doesn't serve anything that hasn't been heard countless times before: pleasant melodic guitars, meandering progressive passages, and a "brutal/melodic" vocal duel. The lack of speed is another pullback: the listener will just get bored at some stage experiencing this feelgood but ultimately predictable music.

Madkind Full-Length, 2015

Official Site

TOTAL MAYHEM (BRAZIL)

Fans of the fast aggressive thrash of Kreator, Darkness, and early Necronomicon will love this: "Three Faces of Violence" is an explosive demo with great sharp speedy guitars; the tracks vary from hectic chaotic (the opening "Drink Is Your Life") to superb speed/thrashers ("Transgenic Food", and most of the songs). "Putrid Face Of Violence" is a fine intense instrumental piece, and "Fucking The Masses" is a nice brutal number with a Wehrmacht shade. "Enforcing Thrash" is a marvelous closer thrashing with full force, supported by great melodic, technical hooks: a masterpiece of classic headbanging thrash. The singer is a find with his vicious raspy tone coming as a mix between Oliver "Olli" Fernickel (Darkness) and Schmier.

Enforcing Thrash Demo, 2001
Three Faces of Violence Demo, 2003

TOTAL REMAIN (FINLAND)

This is intense lashing retro thrash with a very good sound quality which suddenly switches onto much mellower gothic atmosphere on "Gotta Live Your Life" for a bit. The vocalist is a guttural death metal semi-shouter fitting both approaches without sounding very expressive or dramatic.

More Aggressive/More Pain EP, 1995

TOTAL VIOLENCE (GERMANY)

"Total Violence" is the order of the day on the full-length the guys eager to hammer you into oblivion often calling death metal for help (check the furious blast-beats on the opening "Disease Disorder Death"). "Toxic Death" continues with more stylized thrashing bordering on the semi-technical; and "Trapped in the Moment of Death" is the progressive foreclosure with its balladic beginning before some impetuous thrashing starts out of nowhere only to be superseded by the quiet ending. "Guess Who's Next" is a brutal thrash/deathster with a few progressive quirks, and "False Friends" is a "false" semi-ballad misleading with its calm beginning before another portion of vitriolic old school thrash ensues. More headbanging "beauties" later in the face of "Storm the Front" and the sweeping "Acid Rain" the eventful rifforama brought to its logical conclusion on the closing "Violence Is the Way of Life", a cool speed/thrasher with fiery blitzkrieg riffs. The singer is a gruff semi-shouter who mostly semi-recites not very comprehensively.

Storm the Front EP, 2012
Violence Is The Way Of Life! Full-Length, 2016

Official Site

TOTALDUO (CANADA)

A merry unpretentious blend of retro thrash/crossover and more groovy modern post-thrash which also inserts a few mellower heavy/power metal moments as well as more impressive sterile mechanized exercises in Meshuggah-esque thrash. Later on one will come across punk and hardcore on a couple of cuts to which the gruff semi-clean vocals fit quite well. Well, I think that you should at least once listen to this... :)

Never Listen To This Full-Length, 2016

TOTEM (POLAND)

A death/thrash metal hybrid, but not of the aggressive variety like The Haunted; it's mid paced with great melodic riffs and quite technical ones at times. The only exception would be "Lost Dimension" where the band speed up for a while. The riffs are clever frequently changing and flowing into each other with a dark, almost gothic edge, a feeling further aggravated by the more atmospheric breaks which are short, but effective. "Day Before The End" is a cool haunting track which probably best illustrates the band's original approach. "The Race (P.O.C.B.F.E.O.O.M)" is a fine slab of more complex progressively-laced thrash although the clean vocals could have been skipped. "Merry-Go-Round" is a simplistic melodic number which doesn't quite belong here, but the not very good impression is cancelled by "Taste of Life" which brings the sound back to the higher standards, but, again, these bad clean vocals which could be a serious detraction to some. "Thrash The South" may raise some hopes that the guys would turn to all-out thrash just for a while, at least in "the south", but no: this is another dark death/thrasher which contains a speedy section in the middle, but the rest is pounding semi-technical riffs which deliver the goods, but would hardly be the headbanger's paradise. As a whole we have a band who give a certain twist to the death/thrash metal formula without going too far into other metal territories although their style might remind you at quite a few times of the Swedish gothic death metal masters The Project Hate.

Day Before The End Full-length, 2005

Official Site

TOTEM AND TABOO (ITALY)

This outfit indulge in retro thrash which is usually right as rain regardless of the lengthy compositions some of which are heavy semi-ballads ("Past"). Hard thrashing, like on "In the Name of Free Art", is thrown in-between, but its amount doesn't suffice to disperse the dark, brooding atmosphere created by the dominant heavy material. The vocalist has a gruff semi-shouty/semi-clean timbre which he replaces at times with a cleaner throat on the more romantic passages.

Trumpet Flower Full-Length, 2016

Youtube

TOTEM PHASE (FRANCE)

Heavy modern thrash metal with a variety of vocal styles (based on the full-length); this variety is hardly necessary as the basic gruff hardcore ones are quite fitting to the music which is otherwise not a total waste and thrashes at times with intensity and conviction: "Zero Point", "Angels Run". "Industrial Love" is a really cool atmospheric thrasher with nice Oriental acoustic guitars and heavy punishing riffs; well, the melodic section with the clean alternative vocals could have been left out. "River Of Hate" is a tribute to Metallica's 90's period, but "Privacy" comes thrashing with full force, the most aggressive track here followed by the cool short country closer "Turtle Familiy".

Chrysalis 21 Full-length, 1994
Un EP, 1997

TOTENGOTT (SPAIN)

Based on "Beyond the Veil", these lads serve crusty abrasive black/thrash which crosses the brooding tactics of early Celtic Frost ("Inner Flame") with some imposing mass-like atmosphere (the doom-soaked "Sons of the Serpent") and corrosive fast-paced outtakes ("Marrow of the Soul"). More doom-laden gravity ("The Architect") and bigger speedy sentiments ("Beyond the Veil Part II") come to the fore later, the threatening death metal vocal presence assisted by both male and female cleaner croons on the encompassing 13-min odyssey "The Golden Crest", another combination of angry thrashing rhythms and patiently-woven doom walkabouts.

Doppelg�nger Full-length, 2017
The Abyss Full-length, 2019
Beyond the Veil Full-length, 2024

Official Site

TOTENMOND (GERMANY)

Based on "ThronrSuber", this band pull out quite diverse thrash/death metal with various influences: "Achtung Panzer" is a cool nod to mid-period Bathory with its epic atmosphere and pounding riffs; "Nihil Novi" is a blasting thrash/death fury; "Dornenschaf" is a very good heavy mid-paced thrasher; "Sonnenstrahl" is an excellent take on ponderous atmospheric doom. Most of the songs are nice up-tempo thrashers spiced with the occasional more aggressive death metal riff, but their penchant for slower doom sounds takes the upper hand here and there again, like on the very good closer "Luzifer Stampft".

The debut "Lichtbringer" offers the same wild fusion of several styles, but no death metal: the opening "Die Schlacht" is a monotonous, but cool mid-paced thrasher with an industrial edge; "Ragnarok" and "Sagenwelt" are faster hardcore-ish pieces; "Vaterland" is pure classic doom; "Kellerstahl" is total funeral doom, quite well done; "Kreuznagel" is a nice speed/thrasher in the Sodom-vein. The closer "Necrophiler Sonntag" is a strange track clinging towards industrial again; as a whole the thrash metal fan may not be entertained the whole time since the band prefer to stretch into many directions, or were probably looking for their most suiting face at this early stage.

Lichtbringer Full-length, 1996
VSterchen Frost EP, 1997
Fleischwald Full-length, 1998
Shape Disc EP, 1999
Reich In Rost Full-length, 2000
Auf Dem Mond Ein Feuer Full-length, 2001
Unter Knochen Full-length, 2004
TonbergUrtod Full-length, 2005
ThronrSuber Full-length, 2008

Official Site

TOTTEN KORPS (CHILE)

Based on the "The King of Hell Reclaims His Throne" demo, this band play good aggressive fast thrash/death metal similar to Incubus and Massacra. The tempo is quite fast most of the time, and the guitars have a nice technical edge bringing to mind Pestilence's "Testimony of the Ancients" as well.

The King of Hell Reclaims His Throne Demo, 1990
For Infernal Insurrection Demo, 1991
Our Almighty Lords EP, 1992
Tharnheim; Athi-Land-Nhi, Ciclopean Crypts of Citadels Full-length, 2001

TOTTEN SORAK (CHILE)

This Chilean trio play an appetizing mixture of thrash and death metal which is more on the corrosive, hardcore-ish side of the hybrid also reflected in the very short song length (2-3min). The final "Totten" goes towards less bridled grindcore pastures as though to ensure this effort's wild nature.

Destruidos EP, 2016

Official Site

TOTUS TOSS (ARGENTINA)

Based on the demo, this act serve not very imaginative modern post-thrash, the hoarse angry deathly vocals the only more intimidating ingredient. The most intriguing moment remains the devious doomy "Carrera Mortal", the jarring hectic briefer "Libre" also creating a more positive impression on the prevalent abrasive groovy wall of sound.

Proyecto Eliminacion Demo, 1996
Vuelo en Llamas EP, 2000
Inflamable Alma Full-length, 2002

Youtube

TOURNIQUET (USA)

An essential Christian thrash metal band; their first three albums are very cool technical thrash (the debut features annoying high-pitched screams not too far from King Diamond). The style on those albums varies from more speed/power/thrash metal mixtures on the debut, which is the most melodic and most accessible effort, to a more technical style on "Psycho Surgery" which at times takes a really non-standard direction (the funky breaks on "Dog's Breakfast", the flamenco guitars on "Viento Borrascoso", the doom experiments on "Officium Defunctorum"), to a more aggressive more straight, but still interesting thrash with brutal death metal riffs on "Pathogenic Ocular Dissonance" which also contains one cool combination of thrash and rock'n roll: "Phantom Limb", but with one odd hard'n heavy/doomy number as well: "Exoskeletons" which "winks" nicely at Black Sabbath's "Snowblind" at the end with the main theme from that song inserted; the guys' interest in doom metal (their drummer-Ted Kirkpatrick, is a former member of the doom metal legends Trouble) springs up again, this time taking an even more ambitious form: the 10-min sprawling "Skeezix Dilemma" which has a cool speedy intermission.
Their works from the 90's were more experimental ranging from the modern post-thrash ala Metallica's Black Album on "Vanishing Lessons" to the awkward, almost alternative, sound on "Crawl To China". In the new millennium the band returned with the excellent "Microscopic View of a Telescopic Realm". Once the brilliant opening riffs from "Besprinkled in Scarlet Horror" reach you, you will know that the guys have abandoned all experimental approaches from the 90's, and have returned to the thrashy formula, albeit with a more melodic, but by no means less appealing, edge. The aforementioned number is an encyclopaedia of thought-out complex, but at the same time memorable and catchy, music with tempo changes aplenty, keyboard passages, and a very cool acoustic balladic finishing touch. "Drinking from the Poisoned Well" is less elaborate, sustained in mid-pace, followed by another progressive masterpiece: "Microscopic View of a Telescopic Realm". Two more ordinary softer, not as impressive, more power metal-based tracks come before the explosive "Erratic Palpitations of the Human Spirit" shoots you with its furious riffage. "Immunity Vector" is one of the band's finest achievements: a magnificent instrumental piece, with fabulous guitar performance, and one of the greatest main themes in metal history. "Indulgence by Proxy" is a heavy dark thrasher, and "The Skeezix Dilemma, Pt. 2" closes the album in an imposing sprawling progressive fashion, lasting for 10-min, covering a wide range of tempos, rhythms, and moods.

One of the finest metal albums of the new millennium, "Where Moth and Rust Destroy" is by far the band's crowning achievement with Marty Friedman, and Bruce Franklin from Trouble on board. Everything here clicks: from the magnificent opening multi-layered progressive thrash opus "Where Moth and Rust Destroy" to the creepy doom metal masterpiece at the end "In Death We Rise", this album will blow you away with outstanding musicianship. Certainly, Friedman has a big contribution to its greatness providing the superb lead guitar performance on all compositions. If the previous release has its fillers here and there, this one is perfection all the way: a major testament for the band's willingness to play an important role during the genre's renaissance.

The band aren't the most regular presence on the scene, but after the awesome start of the millennium with two outstanding albums, this inexplicable disappearance is finally put an end to with "Antiseptic Bloodbath". So is this album a worthy chapter of their catalogue? Well, to some extent it is. The complexity of the previous two efforts is immediately felt on the engaging opener "Chart Of The Elements (Lincchostbllis)" which is a progressive power/thrasher of the moody type. The title-track is a much more energetic cut thrashing hard with an imposing proto-deathy edge. "The Maiden Who Slept In The Glass Coffin" starts as a doomy sleeper, something which the guys also know how to do well, but the melodic lead sections and the uplifting rhythmic patterns show up out of nowhere and things get back to normal. "Chamunda Temple Stampede" is a modern groovy filler, the only seeming flaw here, and the following "Flowering Cadaver" is just an atmospheric balladic cut. The balladic impact continues further on "shadowing" most of the songs which don't have too much from the progressive diversity of the band's previous material. The closer "Fed By Ravens, Eaten By Vultures" is a really nice more serious progressive composition with various nuances accumulated appropriately on top of each other among which the creepy doom-laden thrashisms seem to work the best.
"Onward to Freedom": the whole Christian metal constellation has been summoned to help the guys get out of this abonimable creative cul de sac... the result is "sweet", not without the help of none other than Michael Sweet from Stryper who opens the album, laid-back music which is pure heavy metal for most of the time. Later on we have Chris Poland (ex-Megadeth), Marty Friedman again, Bruce Franklin again, along other more or less expected stars from more or less related to metal fields. The thrash metal fan will run away, and fast; for the others this may contain some appeal if they're in the mood for... I don't know what.
"Gazing at Medusa" is a more than welcome return to more aggressive ways of execution, the band completing another fair journey around the more complex corners of the power/thrash spectre; their characteristic, unpredictable delivery is on full display on the multifarious "Sinister Scherzo", the more pensive doomy clout of "Longing for Gondwanaland" and "Memento Mori" still sounding captivating with the memorable sing-along chorus and the moody rhythms. "All Good Things Died Here" livens up with some pretty cool engaging thrashing, the sudden twists and turns keeping the listener on his/her toes the whole time before "The Crushing Weight of Eternity" crushes the audience with the next portion of lively energetic intricacies, the gorgeous melodic walkabouts another highlight. More epic pensiveness takes over towards the end on a string of tracks, but before this effort turns into a sleepfest comes the infectious hymn that is the title-track, nothing seriously-woven, just bouncy optimistic riffs thrown in as a finishing touch to this excellent release which sees the veterans assuredly riding the crest of the still relevant old school wave.

Stop the Bleeding Full-length, 1990
Psycho Surgery Full-length, 1991
Pathogenic Ocular Dissonance Full-length, 1992
Vanishing Lessons Full-length, 1994
Carry The Wounded EP, 1995
Crawl to China Full-length, 1997
Microscopic View of a Telescopic Realm Full-length, 2000
Where Moth and Rust Destroy Full-length, 2003
Antiseptic Bloodbath Full-length, 2012
Onward to Freedom Full-Length, 2014
Gazing at Medusa Full-Length, 2018

Official Site

TOWARD ORIGIN (TURKEY)

Modern thrash/death with guttural throaty death metal vocals; this is corrosive abrasive stuff closer to early Entombed and Dismember than the Gothenburg school expletives; the more romantic leanings on Clouds Away" are not very frequent, but whenever they come, they also bring a more pleasant cleaner throat with them. Don't expect too much reliance on speed, either, the guys patiently accumulating heavy pounding riffs on top of each other, the steam-rolling "Town Down" the best example of the dominant approach which understandably tolerates the doom-laden segments from "A Winter's Solstice".

Aftermath Full-length, 2021

Official Site

TOWNE CRYER (USA)

Based on the debut, this obscure entity provide retro power/thrash with a woman behind the mike, the name Gena McClure. Gena pulls out emotional, albeit quite hoarse Dawn Crosby(R.I.P.)-sque performance. The music by all means has a bite: check out the raging galloper "Stone Cold Heart", or the heavy stomper "Hound of Heaven". The delivery gets a bit soft in the middle with the heavy rocker "Free" thrown in, but the band carry on with the thrashing in the second half with "Time Ran Out" and the really brutal headbanger "Lights". "Let Go" "lets go" off the speed being a cool semi-ballad, and the final "Sacrifice of the Lamb" speed/thrashes again in a more restrained manner with heavy passages intercepting the fast-paced crescendos. This is a nice surprise from the US underground showing an act who may have survived the ugly 90's with another classic-prone effort.

Against All Evil Full-length, 1992
Death by Sin Full-length, 1998

Official Site

TOXIC BURNOUT (HUNGARY)

This is a one-man show, the name Miklos Gerdelics, who indulges in raucous pristine old school black/thrash, the dramatic stomps of �Toxic Burnout� leading the pack, paired with the sinister atmospherics of �The Maestro (50 Shades of Red)� and the doom-guided misanthropy of �Living is Lethal�, the latter aptly assisted by the macabre semi-declamatory vocals. Not much energy generated in the second half, the insistent pounding of �Corpse Inc� decelerating to pure funeral doom on the macabre closer �Delirious Truth�.

Living Is Lethal Full-length, 2024

Official Site

TOXIC CARNAGE (BRAZIL)

This 4-track demo provides old school Germanic thrash in a generally fast pace with rough throaty black-ish vocals. Cool stuff with simplistic but edgy riffs which nicely speed up on "Sadistic Greed" in the best tradition of early Destruction. The last track is a tribute to Toxic Holocaust (see the review below) being a cover of "War is Hell" from the Americans' debut "Evil Never Dies".
"Storm Of Hate" follows the same path built around the three original tracks from the demo so this is a good old school thrash metal attack with the German school paid tribute, Destruction and Kreator above all, with sharp cutting riffs and fast tempos. At the end there's another cover, but this time it's Kreator's: "Tormentor", done faithfully, maybe in a more controlled, less speedy manner.
"Doomed from the Beginning": the lads are back after a lengthy absence, but their razor-sharp old school aesthetics are firmly in place on this roller-coaster which blasts through the speakers with the unrelenting blitzkriegers "Barbaric Terror" and "The Beast Inside Me", the pogo never stopping with "Speed Demons" winking at the German speed metal heritage in spinning hyper-active manner. More stylish technical rhythms sneak on the aggressive death-laced "Diabolic Possession", but the approach gets under control later on thanks to more moderate thrashers like "Victims of Science" and the Motorhead-ish frolicer "Living on Parole" at the end.
�Praying for Demise� is another pretty decent entry into the band�s discography, the dramatic semi-technicaller �The Unholy Book� and the ripping headache �Pyramid of Death� complementing each other venerably, whereas �Nuclear Addiction� is a short sprightly jump-arounder, its unbridled vigour instantly picked by the longer but equally vivacious �Social Cancer� and the thrash/crossover tractate �Obedience�.

Violent Carnage Demo, 2009
Storm Of Hate EP, 2010
Doomed from the Beginning Full-length, 2019
Praying for Demise Full-length, 2024

My Space

TOXIC COMMANDER (FINLAND)

This Finnish outfit indulge in corrosive abrasive old school thrash that relies on both speedy roller-coasters ("Too Late to Hide") and marginally more intriguing mid-paced stompers ("Gone with the Blastwave"), the latter a more regular presence, also challenging more the shouty, also screechy on occasion, blacky vocals.

Voice of Treason EP, 2022

Official Site

TOXIC CONCENTRATION (UNKNOWN)

Based on "Light, Shadows, Death", this band, which is virtually just one man, the name Daniel Toren, plays acceptable old school power/thrash with Toren providing a gruff death metal baritone behind the mike. The nervy bouncy reverberations on the Scorpions cover of "Winds of Change" (kidding, of course!) don't stand for long, replaced by patiently-woven epic sprawls ("Tears of Remorse") and somewhat dodgy longer numbers ("Alone in Your Mind", "Light, Shadows, Death") on which more occurs, but the way it has been served hardly attracts the attention with ballads, distorted guitars and again epic/viking configurations come to play at various stages throughout, not leading to much in the long uneven run.

Light, Shadows, Death Full-length, 2020
Death Rhythm Full-length, 2021
Annihilate EP, 2023

Official Site

TOXIC FIELD MICE (USA)

This band serve classic power/thrash spearheaded by the heavy pensive "To Sleep... To Dream", the more agile rhythms of "Blatent Ignorance" keeping the moshers semi-alive, but the drowsy balladisms of "Morning" would work otherwise save for the more energetic second half. The levelled clean vocalist works alright, especially his higher-pitched attempts on the contrived thrasher "Stained", and on the modern quasi-groovy abraser "Glass Circle". The guys have released four full-lengths so far, but the style has moved towards much less impressive groove/numetal style on each of those.

Convulsion Demo, 1992

Official Site

TOXIC HOLOCAUST (USA)

Enjoyable old school black/thrash metal influenced by Bathory, Sodom, Kreator, etc; all the albums are in the same easy to swallow, accessible simplistic vein, with plenty of catchy rhythms for the fans to enjoy and headbang to. All the music is performed by just one man, whose name is Joel Grind, who has also taken part in recordings with the similarly-styled Japanese acts Barbatos and Abigail, among others from the US scene.

The "Gravelord" EP is three tracks of playful rockish thrash with bold ventures into punk/hardcore, and even hard rock on the Motorhead-ish "Suicide Eye".

"Conjure and Command" is another commendable slab of intense old school thrash which rips from the get-go with the short and to-the-point "Judgement Awaits You". Joel Grind and Co. remember to slow down from time to time: the heavy shredder "Red Winter"; the doom sleeper "I Am Disease", but it's lashers like "In the Depths (of Your Mind)", "Nowhere To Run", and especially the Slayer-esque mosher "Revelations" which will make the fans' day big time.
"Chemistry of Consciousness": the fans were going to abandon hope that Joel Grind would return to his main projects with his constant involvement with other musicians around the metal globe; but here he is with the next chapter from the band's career, and he sounds as convincing as ever producing the familiar from previous recordings old school barrage based on uplifting speed/thrash boogie (check out the Motorhead-ish joy "Acid Fuzz") which hardens the course ("Rat Eater"; the proto-death brutalizer "Salvation is Waiting") on occasion. "Mkultra" is a crusty curiosity which is close to being the highlight with its abrasive surreal aura which also gets nicely translated on the next "I Serve...". Some hardcore sneaks in the second half "killed" by death... sorry, by the bonus track "Wargasm" which is a sludgy doomster with again a strong crusty edge.
"Primal Future" would by all means satisfy the band old fans with Grind delivering his staple speed/thrash rockorama, the whole package coming with this abrasive edge already familiar from the preceding opus, the stomping gravity of "New World Beyond" not a very common occurrence in the guy's repertoire, but here working well alongside speedy roller-coasters like the short hardcore joy "Deafened by the Roar" and the uplifting Motorhead-ish speedster "Iron Cage".

Evil Never Dies Full-length, 2003
Hell on Earth Full-length, 2005
An Overdose Of Death... Full-length, 2008
Gravelord EP, 2009
Conjure and Command Full-length, 2011
Chemistry of Consciousness Full-Length, 2013
Primal Future Full-Length, 2019

Official Site

TOXIC KOBALT (MEXICO)

Classic thrash with harsh overshouty death metal vocals; intense but also melodic stuff which often moshes with no remorse ("Empty") but by all means expect slower more laid-back trots ("Life's Gone"), the dramatic more intricate "Naty" showing the guys at their more proficient, the closer "Infection" another progressive thrash pretender, an engaging 8.5-min composition with a couple of rushing speedy developments perturbing the fervent layout.

Infection Full-length, 2022

Official Site

TOXIC NARCOTIC (USA)

Based on the "Damn Near Killed 'Em" EP, this band play energetic fast thrash/crossover somewhat reminding of S.O.D. and Cryptic Slaughter, helped by vocals which sound like an awkward fusion of deep death metal growls and more traditional thrash ones. Reportedly their full-length debut is in the same vein, but on their second one the style has moved towards pure hardcore.

Damn Near Killed 'Em EP, 1999
People Suck Full-length, 1999
We're All Doomed Full-length, 2002

Official Site

TOXIC PUB (GREECE)

The demo: a cool classic/modern thrash combination with relatively short to-the-point cuts which still contain the odd more technical element ("Twisted Solutions"). "Prisoner" stumbles for a bit towards the more modern trends, but watch out for "Delusional Pleasure", a full-on surrender to the groovy post-thrash currents, the gruff semi-shouty vocalist more suitable for this latter side, the lead guitarist stealing the show with his visionary pyrotechnics.
The full-length sounds on the classic side more, the steady trudger "Panic Attack" leading the not very dynamic pack which also comprises the only more overt headbanger "..To Not Die Blind", the melancholic quasi-ballad "Still Unformed", and the entertaining varied roller-coaster "The End is Nigh". Run for cover on the short explosive "Thin Line", and try to guess the riff-swings on the heavy less predictable pounder "Stoned to Death".

Live Demo Demo, 2021
To Not Die Blind Full-length, 2024

Official Site

TOXIC REVOLUTION (BRAZIL)

This is classic "toxic" thrash which knows no mercy or sophistication also "courting" crossover on a couple of milder numbers ("Always Mine"). Brutal Slayer-esque explosions ("Post War") take turns with mellower, more hardcore-prone cuts ("Predominance Of Hate") all the way to the closer "End Of The World", a more serious and longer speed/thrasher which twists and turns on an urgent, blitzkrieg base retaining the roller-coaster nature of this unpretentious recording.

End of the World Full-Length, 2016

Official Site

TOXIC ROTTEN (BRAZIL)

Classic thrash/death that passes by in a maddening speedy tempo for most of the time, the more temperate jolts of �Raise Your Horns� matched by the stomping proto-coreisms of �Don't Forget It� and by all means by the remorseless thrashing of the title-track. The singer stays firmly on death metal territory with his throaty semi-declamatory baritone, the bassist coming forward on the crusty �B.T.K.� and the hardcore-ish bouncer �Hell Butcher�. The band members are also active with the retro thrash formation Radioactive Murder.

Rotten in Hell Full-length, 2024

Official Site

TOXIC RUIN (USA)

The debut: this young outfit, who were previously known as The Ruin, serve quite cool retro thrash which brings both speed and technicality to the fore on the excellent opener "Immolation". Things remain on a high level on "Seat Of Corruption", another brisk technicaller, and the title-track is a handsome technical headbanger with a nice chorus and virtuous, almost classical, execution. "The Human Condition" is built around heavy, pounding rhythms slowing down the proceedings, but comes the short ripping "Rampage", and the situation goes back to normal not without the help of several less tamed blast-beats. "...Of What Lies Beneath" goes back to the more technical patterns, a top-notch instrumental piece "flirting" with death metal for a bit. "Lord of Pandemonium" thrashes with style with various tempos alternating within among the precise technical shredding. "Alcoholocaust" is an all-out speedster abandoning the more technical execution to an extent; and the final "Toxic Ruin" is a prime technical thrashterpiece adding plenty of stylish riffs scattered among the brisk speedy arrangements, making this album one of the most pleasant surprises of the year 2016.
"Nightmare Eclipse" is another noteworthy achievement, the band blending the blitzkrieg vehement approach of "Until Everything is Gone" with the with the measured clinical shredding of "Ritual Rebirth", the death metal-ish extremities on "Voices of Death" a bit on the debatable side. "It of the Horrid Storm" is the centrepiece of the album, a spell-binding instrumental piece around everything else evolves, including the tight intricate shredder "Nightmare Eclipse".

Subterranean Terror Full-Length, 2016
Nightmare Eclipse Full-Length, 2021

Official Site

TOXIC SHOCK (BELGIUM)

Based on "TWENTYLASTCENTURY", this act serve decent old school thrash which seldom relies on speed, and seems well content with bumpy mid-pacers like "Immobilized & Paralysed" and "1986", the peace broken sparsely by short more active inclusions ("366ICK Days"). "Evil Presence" is a nice diverse power/thrasher, but the rest is more on the simplistic side conducted by the throaty hardcore-ish vocals.

Toxic Shock EP, 2012
Daily Demons Full-length, 2013
TWENTYLASTCENTURY Full-length, 2017

Official Site

TOXIC SHOCK (GERMANY)

The band's debut carries on the speed/thrash metal legacy of Angel Dust and Exumer, and is easily their finest achievement. This is blistering, blitzkrieg speed/thrash from beginning to end; the opening "Breakout" will give you a clue what to expect: fast riff assault from all sides. Later the compositions become longer, but the approach is the same with very little deviations ("Overloaded" is the only song which tries to escape from the merciless formula with more melodic slower riffs, and ends up sounding quite appealing), producing immortal hymns, like "Mad Sounds", "Raging Speed" (which title best describes the music on the whole album), among others.
"Welcome Home... Near Dark" starts in the same fashion with the fast-paced "Behind the Guillotine", but it inserts technical "ornamentations" and introduces a new singer whose semi-death/semi-hardcore vocals are hardly the most appropriate style for this kind of music; as a result we have stuff which is closer to the early efforts of Erosion rather than the band's debut. And here comes "Change From Reality" (a song of this title is not included on the debut) which brings the change with it towards a slower and more technical sound. "Dragons Eye" speeds up again this time supported by fine melodic hooks and an attempt at a catchy chorus ruined by the gruff vocals. "World Power Rules" and "True Insanity" are enjoyable headbangers preceding the heavy monster "One End", a great mid to up-tempo number with great punishing technical riffs which finally match the aggressive vocal delivery. Later on another exercise in more technical thrash shows up: "Termination", followed by the good closer "The Challenge", a fine piece of pure heads-down speed metal.

"Between Good and Evil" starts traditionally quite impressively with the speed/thrash aggressor "Mental Mutilation" which comes with even more brutal and vicious vocals than on the previous work. Still the music is thrash metal all the way with no traces of death, and "Suffocation" is a very good up-tempo thrasher followed by the shorter explosive "Terror". "Choose Your Way" breaks the pattern a bit in the beginning with more melodic and slower riffs, but starts thrashing with no mercy not long after that. No more surprises of the kind, and till the end we have a relentless thrash attack, not too far from the one on the debut; "What Dwells Within" is a stylish closer adding cool semi-technical licks to the overall picture which remained the band's swansong.

Change From Reality Full-length, 1988
Welcome Home Near Dark Full-length, 1990
Between Good and Evil Full-length, 1992

Vibrations of Doom

TOXIC SHOCK (USA)

Based on the first two demos, this band plays very well executed thrash reminiscent of quite a few big names from the 80's scene: Anthrax, Slayer, Destruction, etc. In the faster parts the sound moves even towards Toxik ("World Circus"), but most of the time the music is heavy and up-tempo with excellent sharp guitar work.

Demo Demo, 1988
Demo Demo, 1989
Feeling The Pain Demo, 1990
Demo Demo, 1991
Demo Demo, 1992

TOXIC SHOKK (USA)

These folks' delivery is based around the hyper-active retro thrash idea, and fans of early Exodus and Hirax will find very little to frown upon here as the band mosh on full-throttle with short "electric shocks" like "Got Scared" and "Bleeding Red" flying in quick succession, balancing things out against the mellower material which comprises the sprightly heavy metal anthem that is the title-track, and the power/speed metal shredder "Gas Food Murder". "Dr. Frankenmosh" at the end hardly deserves its moshy title as it's more on the frolic heavy metal side, but the hoarse shouty semi-clean vocals ala Steve Souza (Exodus) should retain the tension from the preceding material. Some of the musicians also play with another old school thrash outfit, Hatchery.

Story of Our Life Full-length, 2018

Official Site

TOXIC STEEL (USA)

This band play energetic classic thrash with sharp lashing riffs, the high speed delivery utilized serving all sorts of fans, especially those who like moshing till they drop. Run for cover on blitzkrieg pieces like "Fear the Streets" and "Military Carnage", the latter graced by a more intricate veneer, the latter also popping up on the contrived shredder "Death Sleeps on You". The singer is a mid-ranged semi-declamatory presence, trying some actual singing on the few mellower moments.

Aggressive Expansion Full-Length, 2017

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TOXIC TERROR (HUNGARY)

This formation serve fast blitzkrieg old school thrash with venomous semi-shouty deathly vocals. Early Kreator seems to be the closest soundalike although the lads here add the odd more varied element like the quiet, balladic beginning on "Dying Forest". The three unreleased tracks at the end are with a better sound quality and more stylish riffage, probably recorded at a later stage.

First Second of Suicide Demo, 1992

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TOXIC THRILL (MEXICO)

Based on "Virtual Existence", these Mexicans provide minimalistic old school thrash which breaks above ground thanks to the high-strung pitchy vocals and the decent attempts at more complex progressive thrash (the title-track). "Lethal Exposure" thrashes hard leading a pack of lengthy, moderately complex headbangers among which "Dead Alive" is the highlight with its stylish technical riff-patterns. "Killer Drones" is another song worth mentioning with its subtle melodic undercurrents which match every bit of the way the ones on the closing diverse, 7.5-min opus "Apocalyptic Nightmare... The Day After".
"Thrash till Death" resembles early Whiplash quite a bit this time as this is by-and-large retro speed/thrash with very similar high-pitched on occasion vocals the main difference coming from the really excellent expert lead guitar work. The band mosh on without much remorse the slightly dry guitar sound creating cool pseudo-dystopian atmosphere on marginally more entangled cuts like "Cyborg" and "Aerial Command". The second half comes alive with more technical attempts resulting in the fine Megadeth-esque shredder "Afterlife", the speed/thrashing roller-coaster "Religious Bastards", and the less predictable, but still pretty dynamic progressive thrasher "Pc Shit", all these sure signs for better things to come in the future.
"...And Still After" is the next-in-line roller-coaster of blitzkrieg classic thrashisms, the guys opening with the all-out assault "Thrash Bloody Thrash" and never looking back. Impetuous speedy roller-coasters are provided form all sides, some coming with a nice semi-technical sting ("Zombie Squad"), others exhibiting occasional atmospheric tendencies ("CFB"). "Alcoholic Psycho Death" near-successfully manages to reach the speed of light, its hyper-active glee later mirrored by the excellent tech-shredder "Delusional Meltdown", but not quite by the dark pensive delight "Gagged & Bagged", a more ambitious progressive offering.

Radioactive Extermination Full-length, 2016
Virtual Existence Full-length, 2016
Thrash till Death Full-length, 2018
...And Still After Full-length, 2022

Official Site

TOXIC TRACE (SERBIA)

This Serbian trio pulls out retro thrash (based on the demo) of the Germanic type with, of course, the early Kreator style embraced very tight (the name betrays their influences big time), and never let loose, maybe only on the lower-pitched black-ish vocals. Expect four ultra-fast numbers with a very fuzzy guitar sound, constant bashing, one-dimensional hollow drumming, and very screechy leads, which may drill your mind if listened on a more regular basis.

"Torment" (these guys' whole life apparently revolves around Kreator) is based on the four songs from the demo which now come with a better sound quality, and are more appealing ably assisted by the five new tracks which are in a similar blitzkrieg vein, very fast thrashers with a pinch of proto-death coming as a more brutal version of "Pleasure to Kill". This isn't bad at all, actually, having a lot of energy played at a ridiculously fast pace easily going over the approach of speed heroes like Fastkill and Expulsion. This is the reason why some may get tired listening to this album on regular terms because of its constant fast downpour seldom relieved by the odd heavier break, or the stylish deviation into more technical speed/thrash: the excellent "Against The Cross", which simply cries for a follow-up (hopefully the band are aware of those "cries"). This effort can't possibly finish without a tribute to the guys' idols, and here comes a vicious brutal version of "Flag of Hate" at the end to wrap this merciless maddening stuff up in a logical manner showing a band dedicated to leave a really "toxic trace" on the contemporary metal scene.

The "The Chapel of Insanity" EP is another extreme affair the guys reaching the speed barriers with ease with the odd technical flair flashed before the bemused listener's eyes which becomes only more evident on the final song, a cover version of Sadus' "Through the Eyes of Greed" from "A Vision of Misery"; the number is stylistically sustained in the same extreme technical death/thrashy vein as the original, wrapping things up in style and containing enough promises for another fulfilling full-length before the end of the world.

Slaughter Demo, 2009
Torment Full-length, 2011
The Chapel of Insanity EP, 2012

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TOXIC TRAP (GERMANY)

This is classic thrash with slight deathly overtones, the vociferous shouty singer occupying quite a bit of space, trying to stifle the otherwise good riff-work which on "Mortal Remains" acquires nice melodic tendencies. "Blood Omen" flirts with more contrived arrangements, but the pogo will never end on the remainder which comes close to the more recent Kreator opuses, the progressive veneer of the diverse "River of Souls" suggesting at more ambitious paths to be explored on future instalments.

Suffering in Diseases Full-length, 2018

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TOXIC TRASH (BRAZIL)

Intense classic thrash/crossover with slightly unpleasant shouty semi-death metal vocals; there's plenty of energy on display especially on the shorter tracks ("Mundo Doente") which are furious "bullets of pain" thrashing hard with a certain proto-death edge.

Mundo Doente Demo, 2010

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TOXIC WALTZ (GERMANY)

The debut: this "toxic waltz" is sustained in an energetic Germanic fashion the main difference coming from the gruff deathy vocals which are not bad at all, by the way, helped by the casual shouty chorus. Otherwise the delivery is more on the melodic side Headhunter coming to mind more often, and more recent Paradox on the more exciting "toxic" material ("Toxic Hell"; the intense speed/thrashing delight "Suicide Squad"). The guys really pull it off in the second half which comprises the more aggressive pieces, like the short headbanger "Green" and the manic lashing closer "Obsession to Kill".
"From a Distant View" is another speed/thrashing roller-coaster the guys moshing out with no remorse the fast-paced engine "flirting" with the progressive and the more melodic on "Blindness" (check out the leads on this one), and generally finding a good balance between the sharp riffage and the more lyrical delivery the latter also producing another melodic oasis on the otherwise impetuous "From a Distant View". "Off to the Red" boasts breathtaking Oriental leads, and "Secret War" is the only more direct cut without any flourishes. "Eternal Aftermath" is a more laid-back instrumental with mid-paced sections roaming around, but the final "Mass Atrocity" is the expected fast-paced epitaph to this entertaining tribute to the old school.

Decades of Pain Full-Length, 2014
From a Distant View Full-Length, 2016

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TOXIC WAR (BRAZIL)

This Brazilian trio pulls out (based on the debut demo) raw energetic old school thrash metal which is an unrefined take on the early German speed/thrash scene, occasionally touching punk/crossover at times ("Toxic War"; this shouldn't have happened on the band-name carrier, though). There are more brutal touches scattered throughout the demo, like "Warriors Of The Chaos", where the sound acquires undesirable proto-death tendencies, and smells mid-80's Brazilian thrash metal (Volcano, Sextrash, Sarcofago) quite a bit.

The EP is more on the simplistic bashing side the band coming out with all the guns blazing to produce brutal retro thrash with death metal stepping in on quite a few times. Melodic leads come out of nowhere to create some confusion rather than anything else with their much more proficient execution which stays around for the final "Guerra Eterna", a song already heard on the last demo, and clearly the highlight with the diverse closer "Promovendo Holocausto" not too far behind with its more clever, and arguably more sophisticated, delivery.

Executpo Demo, 2006
Guerra Eterna Demo, 2007
The Return Of The Toxic EP, 2011

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TOXIC WINE (BRAZIL)

The EP: this duo provide rough-sounding retro thrash with low-tuned sinister deathly vocals. The approach clings between Slayer and early Dorsal Atlantica and Holocausto except for the closing "Desechos Corrosivos" which is a happier cut with shades of power/speed metal.
The full-length clings more towards the happy-go-lucky sound of mid-period Sacrifice and despite the short length of the songs (1-3min) one can come across a couple of formidable thrashers ("El Odaltimo Sobreviviente Vivo", "VxUxTx") plus the obligatory excursions into less serious crossover/hardcore ("Del Oriba").

Violencia En Las Calles EP, 2011
No Hay Lugar Para Los Debiles Full-Length, 2016

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TOXICA (ARGENTINA)

Based on the full-length, these folks specialize in wild retro thrash with covert hardcore tendencies. There's no mercy here, the guys lashing fiery riffs trying to match the intensity of "Reign in Blood", but the tasteful application of melodies ("Masas de Odio") keeps the away from the purely bashing pack. The vocalist is a semi-shouty/semi-cleaner possessing the requisite dramatic range never degenerating to senile, angry rendings.

Egoismo Autodestructivo EP, 2014
Ahogados en Contaminacion Full-length, 2016

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TOXICARM (BRAZIL)

This is the good old speed/proto-thrash familiar from the works of Vectom, early Living Death, Warrant, early Running Wild, etc. The production is suitably raw recalling those early days to the point of nostalgia, and the musicianship isn't on a very high level comprising simple direct guitar patterns with a playful vibe, short screamy leads, and not a bad bass bottom which is everywhere following the guitars unerringly. The closer "Evil Night" is a longer epic power/speed/thrasher where the guys continue their boogie with the odd slower insertion. The singer is an acceptable semi-cleaner who shows his better singing abilities at times, but prefers to semi-recite in a steady mid-ranged fashion reminiscent of Don Doty (the first Dark Angel singer). The musicians involved here also play in the power/speed metal heroes X-Arm, and the thrash/crossover/doom metal hybriders Letargia.

Speed 'n Heavy Full-Length, 2005

TOXICO (ECUADOR)

Based on the full-length, this Toxic Avenger (the alias) unleashes toxic old school thrash that tolerates no fillers, the up-tempo scheme to be followed nicely laid out by the bursting opening shorter �Eliminator�, the more welcoming speed metal demeanour of �Nuclear Warrior� pairing well with the more aggressive riffs of �Control� and the overt thrash/crossover optimism of �Toxic Metal�. The Avenger sticks to a steady not very emotional semi-clean croon, reciting the lyrics with determined pathos.

Metal t�xico EP, 2021
Before the Explosion EP, 2021
Explosion Full-length, 2023

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TOXICON (AUSTRALIA)

Based on "Be the Fire and Wish for the Wind", this is a modern thrash/post-thrash formation who flirts with melody for most of the time, the guys crossing mid-period In Flames with Trivium for a pleasant if not very spectacular ride which still picks some inertia on the galloping energizer "Deletist", while the lyrical balladic "Husk" is a debatable pacifier provided that half the album develops in a very similar drowsy fashion. "The Lost" is a decent varied progressive, and "Synthetic" is a corrosive semi-balladic trot, epitomizing the two vocal currents present, the clean attached and the shouty death metal one.

Purge Full-length, 2016
Be the Fire and Wish for the Wind Full-length, 2022

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TOXIGEN (SPAIN)

This band specialize in crunchy old school power/speed/thrash that saddles the horses on the galloping "Pantallas", but the barrage becomes way too messy on "Tierra Yerma", with some spastic proto-death coming to the fore on "Piloto Autom�tico". Not very coherent stuff as a while, the all-instrumental drama "Klaatu Barada Nikto" nodding in the "Evil Dead" film franchise with the title, the horse amateurish singer missing from this decent cut, which can pass for the highlight alongside the short but intriguing spacer "Richter".

Epilogo Full-length, 2023

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TOXIK (USA)

A short-lived, but a very essential band; "World Circus" is a fabulous debut with blistering fast and technical guitar work which will sweep you away in no time. The opener "Heart Attack" will literally bring you to the state of a heart attack with its smashing speedy guitars. Later the guitars lash with more sharpness and technicality ("Social Overload", "Voices") reducing the speed for a while. "Door to Hell" comes thrashing down with superb technical riffs, setting the scene for the brilliant complex technical opus that is the title-track. Three more splashing intense technical speed/thrashers await you after that.

"Think This" takes a more complex progressive approach decreasing the sharp technical edge, but coming with some fine progressive thrash metal tracks ("Black and White", "Technical Arrogance") where a lot of things occur some of which aren't strictly related to the thrash metal roster. The songs are generally longer and more elaborate as the short ones have both their faster ("Greed") and more light-hearted ("Out on the Tiles") moments including the ballad "There Stood the Fence" which is a very cool lyrical, atmospheric proposition. Despite the less immediate nature of this work, it is another stellar effort which, unfortunately, remained the band's last "temptation".
"In Humanity": rumours about an eventual third opus from the progressive thrash legends has been circling around for quite some time, and these three cuts are the result of that. They were intended as a pre-release, or a teaser of some sorts, but three years later it's still all we've got from the Toxik camp. It would be a pity if the fanbase is left with only those three to hear since the band display more of their inimitable wizardry "Too Late" showing that it's never too late for the good old technical/progressive thrashisms, this cut a most intense dramatic speedster with cool bass implements and Sanders' staple high-strung emotional vocals. The bigger intricacy is left for "Program Insertion" which start immediately with a portion of virtuoso leads which give way to bizarre twisting riffage the latter going even beyond the guys' previous complex exploits, a serpentine masterpiece second to none. "Crooked Crosses" is another weird twister with great melodic tunes as well and surreal headbanging rhythms, a super-technical mid-break, and eccentric rifforamas circling around before a more straight-forward speedy passage wraps up this very eventful cavalcade.
Three songs, three masterpieces; the band even sounding more convincing and more puzzling than before. So one can only hope that the full-length will hit the shores worldwide very soon... Three years passed and still some hope has been left...
"Breaking Class": obviously there won't be a new Toxik full-length as the guys keep releasing a new material under shorter formats, including the EP here which contains another three pieces. The delivery this time isn't as adventurous "Stand Up" being a semi-technical shredder with a scarily modern vibe, but the title-track is a dynamic speedster recalling the debut with a few brilliant twisted atonal decisions which stand for the highlight alongside a couple of virtuoso guitar pyrotechnics. "Psyop" is a jumpy, jarring progressiver with a wide array of time and tempo changes moving towards the sophomore style-wise adding a portion of great dazzling leads as well as several puzzling riff-formulas which come dramatically decorated. The promo material is better and closer to the vintage Toxik delivery, and it would be interesting to hear what the guys would be able to cook if they decide to mix both approaches under one roof in the days to come...
"Kinetic Closure": Josh Christian, the band founder and mainman, keeps releasing stuff in small dozes, only that this timer around the two tracks featured here are familiar, as they already graced the "III Works" compilation from the year before. Sanders is gone, but the mike has been given to another talented performer, Ron Iglesias, from the thrash/crossover purveyors Paralysis and the very short-lived but totally worth checking out tech-thrash outfit Xenophile. Iglesias is in his nature throughout, his tenor quite comparable to the one of Sanders, soaring with gleeful pathos above the lofty musical histrionics. The title-track is a modern abrasive quasi-thrasher with Iglesias trying some synthesized inclusions alongside his staple high-strung clean tirades; this heavy seismic mid-pacer is quite comparable to the material from the "Breaking Class", modernized riff-patterns with a harsher aura and the obligatory fast-paced accumulations and Christian's signature twisted visionary lead pyrotechnics. "No Rest for the Wicked" is a great classic speed/thrasher with blazing virtuoso lead sections, a stylish speedy breeze with thick technical breaks, a display of musical proficiency that should be a highlight on "World Circus" even.
"Dis Morta": thank God this is one wholesome package this time, although there was some fear earlier on, when the two singles ("Power", "Creating the Abyss") came out, that this might be the same leaking/dripping story as the "In Humanity" one. No it's not, and the fans should part with an enormous sigh of relief, the latter also due to the fact that their idols have done a very good job once again. By-and-large this is a return to the less fussy blitzkrieg style of the debut, the serious mathematical aura of "In Humanity" has been left in peace for the most part, the guys shredding with most overt passion, the title-track opening the dynamic retro fiesta, with Iglesias serving his passionate high-strung vocals at every opportunity, sometimes vehemently tussling with Christian's supreme lead pyrotechnics for domination. Mentioning Christian, the man unleashed his shredding proclivities to the fullest, at times letting the more linear speed/thrashing ("Feeding Frenzy", "Power") take the upper hand, at others peppering the landscape with guitar virtuoso expletives (the tightly-plotted "The Radical", the dizzying disorienting rifforama "Devil in the Mirror"). The several stops from the high-speed freighter are total references to "Think This", but again these are restlessly composed numbers mind you, "Hyper Reality" a consummate dense mathematical tech-test... sorry, fest which finds its more digested match in the fever-ish dystopian drama "Creating The Abyss". "Straight Razor" is a short non-fussy headbanger, the only one of its kind, and "Chasing Mercury" is a display of both lead and riff-driven virtuosity, Christian stealing the show with his deft pirouettes, the others assisting to the best of their abilities for the sculpting of this weird abstract slow-burning occurrence, a possible leftover from the "In Humanity" recording sessions, the possible highlight for some, the closing "Judas" another vehicle for Christian to further bedazzle the audience, the balladic break on that one a needed respite from a most intense musical show, this piece a more controlled one, courting the thick gravity of "Think This" again, an awesome wrap-on of a highly thrilling saga.

World Circus Full-length, 1988
Think This Full-length, 1989
In Humanity Promo, 2014
Breaking Class EP, 2017
Kinetic Closure Single, 2019
Dis Morta Full-length, 2022

Official Site

TOXIK DEATH (NORWAY)

This is fast intense classic thrash/proto-death which, after the initial assault (the ripping opener "Thrashforces Of Evil"), settles down for less aggressive music with the German speed metal school paid special attention. The situation threatens to go over the edge on the manic shredder "Terror Sex Slaughter", but mote melodic relieves like the crossover joy "D-Beat Destruktor" and the closing epic power/thrasher "Highway Warrior", are provided to ensure the fun to go without any victims. The singer offers a harsh drunken semi-shout which goes well with the incessant dynamic barrage.

Happy Fukking Holocaust EP, 2007
Demo Demo, 2012

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TOXIK INVADER (MEXICO)

Three songs of bombastic retro thrash along the lines of early Hirax with short tracks coming with a pinch of crossover and a really buzzy sound quality which is a particular detriment to the expressive shouty vocals which at times desperately try to deafen the noisy guitar background. This is fast no-gimmicks stuff without any pretensions at a bigger musicianship.

Virus Bomb Demo, 2009

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TOXIK KARIZMA (DENMARK)

This is modern power/thrash metal which tries to follow its own path with crunchy mid-paced riffs with an abrasive quality, and manage to produce the necessary invigorating atmosphere ("Ain't It Sad") on occasion, although to these ears the better moments are where the sound takes towards more complex, progressive (the nice semi-ballad "40 Seconds Later") dimensions. The vocalist is a hoarse semi-cleaner with a cool blend who becomes quite emotional on the good closing ballad "Anywhere The Wind Blows", in a way not too different from early Ozzy.

Toxik Karizma Full-length, 1995

TOXIK SHOKK (GERMANY)

This is old school roller-coaster speed/thrash with echoes of early Tankard, above all, and Hirax on the more intense material. The band are expert at pulling out short intense numbers with a nearly thrash/crossover vibe the versatile vocals ensuring more entertainment with their switches between mean semi-shouts ala Gerre (Tankard again) and cleaner, more attached tirades. The title-track is a mellow proposition that would suit the Headhunter exploits more, and such attempts only become more later with straight-ahead outbursts like "Against" not such a common phenomenon. Some of the band members are also active with the old school thrashers Hatchery.

Story of Our Life Full-length, 2018

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TOXIK SOCIETY (SERBIA)

Vintage Destruction is what you'll hear on the "Living Kufeso" demo, which boasts a very good sound quality, excellent guitar work with the staple swirling/rolling riffs of the Germans, the apocalyptic Schmier-like vocals, and a crossover twist on "Toxik Invasion". The guys also play more melodic music in another band, Dalium, oriented towards classic heavy metal, and the guitarist Marcos Rodrfguez fully displays his talents on his solo album "MRM".

Toxik Society Demo, 2008
Living Thrashers Full-length, 2009
Living Kufeso Demo, 2009

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TOXIK WASTE (HOLLAND)

This is somewhat distorted but intriguing old school thrash which is of the creepy minimalistic variety on "The Wizzard", before "Living Under God" provides more energetic trots with a raging moshing section emerging towards the middle. "Nation Is Dying" is a lyrical downbeat proposition slightly ruined by the not very expressive murky semi-declamatory vocals, but elevated majorly by the vivid speedy passage in the second half.

Share the Taste of Toxik Waste Demo, 1990

TOXIKHATE (CANADA)

Based on the demo, this act specialize in raw bashing thrash of the old school which is pretty wild and chaotic, but the final outcome is more on the listenable side. The band try something more thought-out at some point ("Broken Hope") where brutal mosh is mixed with slow stomping passages, a "therapy" which works slightly better on the following "Fatal Frustration". The singer is an attached semi-shouter with a light melodic blend semi-reciting for most of the time, but providing the requisite intense vocal support. The guys were earlier known as Terrorist Attack where they managed one demo.
The full-length contains a very similarly-styled material, in other words expect ordinary retro thrash, maybe not as intense and chaotic this time, with mostly mid-paced based compositions and an overall delivery not far from the one of Hallows Eve. "Thrash Syndrome" is another heavy stomper, and "Black Dawn" is a more serious attempt at complex headbanging thrash which is later matched by the short explosive "Blood Opera". The sound quality is quite good, and the vocalist fits the picture with his gruff, inebriate semi-shouty/semi-hardcore timbre.

Black Dawn Full-Length, 1993
Raw Demo, 1997

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TOXIKULL (PORTUGAL)

This young act pull out fresh energetic classic speed/thrash which shares some of the early Metallica vibe ("Vicious Life"), but there's a fair number of mid-pacers roaming around their value partially cancelled by the more dynamic material ("Manipulator", the jumpy shredder "The Shepherd"). The vocalist does a very good job with his emotional diverse timbre covering several octaves including a few piercing Halford-esque screams.

Black Sheep Full-Length, 2016

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TOXIMIA (USA)

A combination of hardcore and thrash metal with a strong Carnivore-influence, with very basic riffs and a total lack of solos.

War Full-length, 1987

Official Site

TOXIN (GERMANY)

This very good band offer quite an original technical sound with Despair and Midas Touch being relatively close soundalikes: a fine combination of more abstract, almost progressive tracks and more direct headbangers are featured here. The title-track opens the full-length in a fairly aggressive manner with its stomping, but slightly chaotic, riffs. The follower "Retrospective" is both a light-hearted crossover-like track, and a smashing headbanger in the second half. "Disintegration" is a typical progressive number lasting for more than 8-min, and strangely reminds of Manilla Road's thrashy period. Such exercises in more complex metal are nowhere to be found later, and the other songs are shorter more immediate, but still quite technical and interesting: check out the hectic and stylish "Two Wishes" which combines aggressive riffage with genuine technical tunes, or the sharp technical thrasher "Wings of Death" which sounds like something that Target or Coroner would have written.

"Aphorisms" is a promising beginning for the band although the sound is slower, heavier, with less technical performance, but still engaging and intriguing.
"Cloned" arrives after a 4-year break, but sees the guys not having lost their bite, and the music presented is vigorous intense retro thrash on the first two numbers ("Deface", "The 7th Journey") before straying nicely into calmer semi-balladic waters ("Alternate Reality"), and at the end into excellent technical thrash on the title-track which is a twisted piece in the Coroner vein.
The "Disparity Of Views" demo is whole eight tracks, and the good sound quality makes it sound like a real official release. The approach is the expected from the band mixture of stylish more technical and stripped direct pieces as the more experimental spirit is finely displayed on clever mind-scratchers like the title-track and the stylish headbangers "Act of Contrition" and "Invisible Bracelets". "Protect Yourself" is more on the relaxed thrash/crossover side, and "Heretic" is a clever complex piece with spinning riffs and some interesting melodic digressions in the second half. The final "A Part of Hell" is intense bash of the semi-technical variety giving a strong additional energetic boost to this fairly cool effort.

Aphorisms EP, 1989
Misanthropy Full-length, 1991
Disparity Of Views Demo, 1994
Cloned EP, 1995

TOXINA (ARGENTINA)

The demo: three songs of crunchy speedy classic thrash which follows the early Metallica paths spicing things up with the odd moshing hook ala Anthrax. The guys have the necessary amount of proficiency to pull it off even adding a few more technical hooks on "Season of Lies" and on the excellent ripping closer "Toxic Murder" which should be an example to follow on subsequent releases. The vocalist isn't that good, though, shouting in a somewhat hysterical fashion apparently the weak link in the band who definitely needs more time spent in the studio to come on track with the better music.
The EP tries to conquer a more brutal ground by clinging a bit towards death metal; still, the initial flaws remain, like the awful shouting singer and the sloppy production which makes the guitars hiss unpleasantly for at least half the time. "Descent Into Madness" is a surprisingly stylish headbanger rising out of the mess, and "Self-Destruction" is a short 2-min basher which will lift the spirits high with its unbridled, maddening delivery that is seemingly contagious since the remaining two cuts are another example of fast-paced brutal musicianship.
The full-length is excellent technical retro thrash which enchants the audience from the very �Intro�, a meandering twister which flows into the lashing steel exporter �Morbid Technology�, the latter mirrored by the stylish explosions of the short breezer �Resist in the Future�, and the spacier vigour of the very cool shredder �Fallout�. The headbanging immediacy of �Faceless Justice� is also welcome, as is the fervent hectic intricacy of �Poisoned Earth�, the guys really nailing it on the superb virtuoso exponent �Xenophobic�, a most shining example of scintillating tech-thrash lore. Brace yourselves for more entangled conundrums on the brilliant combo �The Last Emotion � Incinerated�, a forgotten tractate from the archives of Sadus and Vicious Circle; the closing �Apotheosys� focusing on more controlled but equally mesmerizing riff-knots, the echoes of proto-death only enhancing the very complex main frame. The singer is not exactly a highlight compared to the very lofty music, but his intense deathly shrieks are by no means a detriment for his colleagues to produce one of the finest albums of 2023. Some of the musicians are also engaged with the thrash/crossover unit Abortismo.

No More Room Demo, 2012
Self-Destruction EP, 2015
The Face of Evil Full-length, 2023

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TOXODETH (MEXICO)

The debut is a masterpiece of technical/progressive thrash which would make even bands like Coroner and Mekong Delta proud, although this band's music is not riff, but lead-based. You have to stay put all the time because there is so much going on here that you might get lost if you are not careful. There's a lot of atmosphere created, mostly of the dark, gloomy type. The music isn't fast but stays within the mid-paced confines, sometimes descending to doom metal territories. "Doom Predictions", contrary to the title, is the fastest song, and the only one which actually speeds up (if we exclude the death metal-ish brutal sections from "Mausoleum"). The closing instrumental "Tales from Beyond" gives a chance to the bass player to show his skills, but near the end the lead guitar takes the upper hand again, for the umpteenth time. The star of the show is Raul Guzman whose guitar performance is mindblowing with very original ideas presented. His leads are maybe too melodic for the style, but are quite impressive, and take a considerable space from the album, to the point of a show-off (intentional or not).
"Lo mas Morbido de la Realidad" is the much lesser effort, now a full-fledged death metal slab for most of the time with the leads now sounding more appropriate and not as showy, but that's hardly a good point here. The contrasting blend of very fast brutal sections and very slow almost balladic lead-driven ones is not the best in the world, the transitions being clumsy and very abrupt which leaves the calmer mid-paced numbers the more attractive side ("Impulso", "Profundo Desconocido"). Every song is preceded by an ambient intro, more or less appropriate, and the sheer exercises in technicality are very rare: "QuT Hay En Esa Mente Sucia" is outstanding twisted technical thrash/death with great leads and an even greater fast-paced outro, but it harshly sticks out of the much inferior rest. The Guzman brothers (Raul's brother Jesus (I can see quite of you, Christian believers, shuddering when hearing the name, but this is his real name) is the singer, and his ultra-brutal guttural tones make a cool albeit uneven "duel" with his brother's virtuoso guitar pyrotechnics) have messed it up pretty bad here, and it's understandable why this offering still waits for a follow-up.

"Phantasms" features a couple of tracks already heard on the debut, but the rest is quite different, much faster and much less technical recalling the early thrash/death metal attempts made in France (Agressor, Loudblast) as well as Protector and Messhiah. Raul Guzman sounds pretty straight-forward with almost no shades of the technical flamboyance which overtook the band's sound less than a year later, and he actually gives plenty of room for the others to perform including the very brutal guttural death metal singer courtesy of his brother Jesus. What may annoy some is the orchestral/ambient intros which come before each song, and serve to no purpose except calming the listener down from the brutal extreme portions of metal coming between them; those same intros/outros/interludes were also used to a not very positive effect on the band's sophomore album.

Phantasms Demo, 1988
Mysteries About Life and Death Full-length, 1989
Lo mas Morbido de la Realidad Full-length, 1993

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TOXOM (MEXICO)

Based on the "Licuado de Sesos" demo, this Mexican trio indulge in bashing old school thrash which doesn't hide its fascination with the brutal Morbid Saint and Recipients of Death-like delivery only that the Mexicans often go into a proto-death metal territory. Still, "Cabron Suicida" is a cool intense piece of pounding volcanic metal sustained in the best tradition of Sacred Reich's "The American Way". The vocals are shouty and expressive having an appropriate deathly blend on the higher tones.

Pre Demo Demo, 2011
Licuado de Sesos Demo, 2012

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TOXOVIBORA (SPAIN)

Based on "Nace/Sufre/Muere", these Mexicans pull out intense dynamic modern thrash with shouty death metal vocals. There are a few dramatic death metal elements ("Zelsius") to be savoured, but the good thrashy tone is seldom broken with cool headbangers like "La Ira Del Pueblo" and "Sangre Salada" roaming around.

Primer Ataque Full-length, 2012
Nace/Sufre/Muere Full-length, 2015

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TOYS BIZARRE (GERMANY)

This is a weird mix of funk, groove, and post-thrash which comes as the rowdier offspring of Rage Against the Machine teamed up with Madball on the wilder faster-paced moments. Nods to Primus (the bass-gifted oddity "Wall Crawler") are more than legitimate as well, not to mention the cool energetic "Gola", or the near-full-fledged retro thrasher "Beast Busters", the highlight on this eccentric affair which also attempts something foxtroty and bubblegummy on the relaxed jam session non-sense "I Am a Man".

My Parents Went To Hell Full-Length, 1992

TRABOUTE

Jumpy modern post-thrash which is too friendly-sounding to really impress the hard-boiled thrash metal fan. The established mid-pace is seldom broken, and the brutal death metal vocalist can't possibly fit into this very mild musical scenery.

Zuna Full-Length, 2008
Flue Full-Length, 2016

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TRACEDAWN (FINLAND)

Melodic modern thrash metal with a somewhat orchestral atmosphere, created mostly by the keyboard implements; the guitar work is quite good, albeit lacking in the more aggressive department, but this isn't intense stuff staying mid-tempo for most of the time with numerous atmospheric slower passages. The vocals are two kinds: ones clean, and surprisingly not bad, the others hoarse death metal ones. "Art of Violence" speeds up introducing beautiful lead guitar work. "Fallen Leaves" slows down, but the heavy galloping riffage is by all means worth checking out. After those two numbers, which occupy the middle, the music descends to the calmer patterns from the beginning, getting even softer (the tender orchestral ballad "Widow"), seldom providing more vigorous headbanging moments ("Path of Reality", the exiting final minutes from the closer "Justice for None").

Tracedawn Full-length, 2008

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TRAGEDY (USA)

Classic power/speed/thrash which sticks to the canons of the genre unflinchingly, the friendly grooves of "Take It Like a Man" sidestepped by the more dynamic semi-gallops of the entertaining "No Future", "Feel This" bringing some more laid-back merriment with its power metal motifs, "Red" being a cool melodic speedster which accentuates on catchy melodic hooks, lightly ignoring the passable hoarse semi-clean vocals.

Demo Demo, 1995

TRAGEDY DIVINE (GERMANY)

Two bands emerged from this fine band: Spiral Tower and Sacred Steel, both more famous, but far less good (of the two formations Sacred Steel are closer to this band's style). This is excellent progressive power/thrash of the heavier, slower variety, not too far from the works of Eidolon and Nevermore. Gerrit Philipp Mutz does a fine job with his clean, emotional vocals, which are actually quite close to the ones he later used on the Sacred Steel albums. The music is mostly mid-paced, although "Die in my Dreams" opens this effort with great galloping rhythms and some sharp technical riffs; but the next song: "I Married a Witch", sets the tone for the rest of the album. Some tracks will crush you with their heaviness: "Seize Control", and "Tyrant Shadows" is a marvelous return to the speed/thrash style of the opener, this time without any technical decorations. "Veils of Solemn Black" is the only pure power metal-based track here, followed by a very good ballad: "Bleeding Crystal Tears". "Ritual Damnation" speeds up again, this time with a slight touch from the power/speed metal scene of the 90's. "Tragedy Divine" is a cool atmospheric, semi-balladic piece, progressively laced; could have been an influence on Opeth, as the approach is quite similar.

Visions of Power Full-length, 1996

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TRAGEDY MASK (USA)

This is the product of just one musician, the name J. Ryan Seaba, who has chosen the 90's thrash/post-thrash arena as a medium for his musical musings, and has come up with a cool more technical, also more progressive rendition of those now obsolete canons. Hard thrashing riffs interlace with quieter more lyrical sections ("Autothysis") as the dominant frame but there are moments ("The Blood of an Artist", the atmospheric dystopian "Sisyphus") where some semi-balladic sentimentality takes over, the latter also timidly present on heavy more threatening stompers like "Human Condition". There's not much speed involved but the steady monolithic mid-pace delivers, perturbed by the more stylish quirks on "Generation Supernova" and the Nervermore-esque abrasiveness of "Nowhere to Run". The vocals would be an acquired taste, though, as Seaba juggles between very guttural death metal vocals and totally contrasting high-strung, tenor-like clean ones the alternation occurring quite frequently, creating an opera-like setting.

Theatrum Tragoedia Full-length, 2020

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TRAGIC CAUSE (GERMANY)

Based on "Dead Man Walking", this act pull out modern thrash/death with aggressive semi-shouty death metal vocals. Things become nicely classic on "Doomed To Metal" and the title-track, but there's stomp and groove to be heard later in the second half ("Old School", "Pain Is My Religion"). Still, the exit is worthy with a short string of direct energetic tracks the closer "Planet Thrash" being an optimistic thrashcorer with a slight industrial "sting".
"No Restraint" actually shows some restraint the band now thrashing with less vigour and in a much more linear fashion the slower material ("Pain Is My Religion") now sounding more attractive due to some death metal drama present. The rest represents the band's staple concrete semi-bashing delivery without any deviations: a simplistic quasi-industrial sound with covert shades of groove

To Reign Supreme Full-length, 2011
Dead Man Walking Full-length, 2012
No Restraint Full-length, 2016

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TRAGIC FORMS (USA)

Based on "Arms 'Round the Armistice", this US duo specialize in modern power/thrash/post-thrash which is accentuated by sharp lashing riffs and frequent melodic walkabouts, the slightly harsh semi-clean singer adhering at times to both a more melodious tenor and threatening deathly grunts. The speed/thrashing urgency of "Prayers of Indifference" is well noted, as is the consistent stomping gravity of "Indicatrix", but elsewhere we have mellow chugs with a hefty shade of groove ("Chasing the Ghost") and casual balladic sentiments ("When Flame Is Quickest").

A Feast for the Scavenger Full-length, 2018
Praefectus Full-length, 2019
More Weight Full-length, 2020
Arms 'Round the Armistice Full-length, 2023

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TRAGIC PERFORMANCE (ITALY)

Three songs of laid-back power/speed/thrash with a few more interesting, quirky moments (the excellent bass-dominated shredder "Deep Hate"); the sound quality is awful and does a lot of damage to the guys' efforts which also include alternative clean singing.

Tragic Performance Demo, 1990

TRAIL OF BLOOD (GERMANY)

Based on "Savage Tales from the Spineless", this band play the staple merry-go-round modern/classic thrash hybrid which has become quite common nowadays. "Toxic Knockout" is a cool more technical offering, but the rest seldom leaves the trite formula of catchy, melodic guitars which become a tad harsher on more energetic cuts like "Paperdoll (My Will Be Done)". The vocalist is a semi-clean semi-shouter who does a decent job with his more attached delivery. The band was previously known as Alice in Wonderland, but they only managed to release three demos.
"Judas Evangelion" comes with a slightly more sterile sound and a bigger number of mellower, not as energetic tracks ("Evangelion", "Ov Lambs and Snakes") which still mix well with the more intense material ("Cult", "The Pessimist") the blend assisted by the vocalist who shouts more this time, toning it down for the more lyrical deviations ("Shame of Satori").

Dead Again Full-length, 2010
Savage Tales from the Spineless Full-length, 2015
Judas Evangelion Full-length, 2017

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TRAINWRECK ARCHITECT (CANADA)

Modern power/thrash is on offer here which marches forward in a steady mid-pace occasionally "injecting" a doze of more intense riffage ("Deadbeat Beatdown"), but relaxed semi-balladic sleepers ("Rabid Psychotic Relapse") are also provided amply. After an uneventful string of tracks comes the closer "Feed Them Bullets" to rudely awake with its furious death-laced riffs the apt vocal assistance all over provided by a good clean mid-ranged throat which starts quarrelling on that same closer in a way no worse than Phil Anselmo.

Traits of the Sick Full-Length, 2013

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TRAITOR (GERMANY)

Another "thrash command", previously known as Premature Burial, springs up from Germany and their dedication to the retro sound is admirable although there's nothing one hasn't heard many times before although the nostalgic tears are guaranteed with memories of the Exumer debut, Toxic Shock, early Deathrow, etc. The approach is quite intense with hyper-speedsters being served those never jumping over the death metal border; even on the deathily titled "Death Division" things stay under control. "Spiritual Warfare" brings some melodic digressions which are well implemented into the speed/thrash carnage which surrounds them. "Traitor" is another explosion as relative mercy is shown on the following "Raising Hell" and the more complex shredder "Temples of Doom" after it. One will be so absorbed in mosh here that he/she would hardly think of how familiar this all is; so infectiously headbangable this album is. Some of the band members are also involved in the death/thrash metal formation Dark Assault.
"Venomizer" isn't a sloucher, and the fans will rejoice again succumbing to this roller-coaster of retro thrash which features some definitive headbanging hymns: "Toxic Death", "Lords of Lust", the rigorous title-track, etc. A few tracks towards the end ("Chemical Violator") slacken a bit towards more relaxed thrash crossover, but the biting delivery from the debut is pretty much intact the band serving their "venomous" old school sound with little remorse.
"Knee-Deep in the Dead" doesn't bear too many surprises the band retaining their hyper-active delivery for most of the time with bullets like "Ebola" and "Pieces of Pale" shot with quite a bit of precision, with "Demonic Possession" offering something a bit more varied, but there's not much space provided for such deviations as the title-track and "Crucifixion" are rushing with fiery impetuous riffage to stir violent moshpits around the world.
"Exiled to the Surface" is a nice addition to the band's discography, the title-track raging hard at the beginning, leaving the mid-tempo trot for "66 Exeter Street", an intimidating march with a sharp rhythm-section. Elsewhere we have the brief maddening "Zordrak", the more technical shredder "Careless Whisper", and the headbanging delight "Metroid", the closing "Space Seed" throwing a tinge of optimism with its more overt thrash/crossover clout.

Thrash Command Full-Length, 2012
Venomizer Full-Length, 2015
Knee-Deep in the Dead Full-length, 2018
Exiled to the Surface Full-length, 2022

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TRAITOR (IRELAND)

Modern thrash with some death metal influences; the music is mostly mid-paced and melodic ruined a bit by the inexpressive shouty deathly vocals. The final instrumental "Day One" tries to bring a more complex tone to the album with its sprawling dreamy passages and succeeds with its surreal guitar approach, haunting unobtrusive keyboard tunes, and consistent heavy riff background; a tendency the guys should try to elaborate on in the future.

Scorching The Surface Of Infinity Full-Length, 2012

TRAITOR (USA)

Based on the full-length, this band play a very cool classic power/speed/thrash blend which has both a hypnotic mid-paced power/thrash charm ("Zed", "Baptized in Fire") and a more urgent fast-paced veneer ("Why They Fear the Night"). The epic "Drifter" is the centrepiece of this varied entertaining fare, an officiant hammering saga; and "Under Attack" is pure old school speed metal joy, "Raise the Black" adding a really nice heroic proto-death flair to the proceedings, the galloping urgency of the final "Luxury" recalling Iron Maiden's "The Trooper"� if only the singer didn't possess this not very adventurous levelled mid-ranged semi-clean croon�

Traitor EP, 2018
Last Hope for the Wretched Full-length, 2022

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TRAITORR (CANADA)

A more ambitious take on the thrash/death hybrid which doesn't shy away from the odd more brutal hyper-blast, not to mention the cool progressive leanings ("Order unto Chaos") incorporated at times. "Sacrifacial Massacre" also introduces the winds of black metal, and "Transmogrify" is an excellent progressive thrash/deathster with inspired technical fretwork among the shorter, more aggressive cuts ("Nuclear Blast Radius"). Some of the musicians also take part in another hybrid outfit: the black/thrashers Horde of Anachron.

Globomination Full-Length, 2015

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TRAKIDOH (CHILE)

Opening a debut effort with a cover is hardly the wisest choice, even if you pull it well, like is the case with these Chileans who pay their tribute to Slayer with the faithful cover of "Postmortem" in the beginning, ruined only by the forced unrehearsed death metal vocals. They follow up with the short blitzkrieger "Slave of The Freedom" and with the more controlled basher "Spectrum of Satan", both modeled after Slayer showing an act devoted to their North American peers almost exclusively without doing anything too original or innovative.

Chileno Brutality Promo, 2010

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TRAKTOR (POLAND)

These Polish "traktors" steam-roll forward in a confident classic fashion thrashing the fields with their hard-hitting delivery ala early Deathrow, Atomica and Violator. The headbangers will get tired moshing around the guys seldom leaving the speed to drop beyond the up-tempo racing with the speed of light with rockets like "I'll Laugh Last" and the ambitiously-titled "Professors of Metal" which shows where the guys are aiming at. For dessert comes a cover version of one of the real "professors of metal": Razor's "Take This Torch" played with maximum intensity with only the more optimistic higher-pitched vocals differing from the original delivery.

Fast and Loud Full-Length, 2013

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TRAKTOROTH (CROATIA)

Based on the "Nervoza" demo, this band offers simplistic thrashcore with vicious black-ish vocals. The music is surprisingly melodic, even lyrical ("Nekrogurman" which features a nice balladic moment; the mellow hard'n heavy closer "Samoubiistvo") with a slight black metal flavour in the guitar department as well.

Fergusson Division Traktoroth Demo, 2004
Pure Fucking Poljoprivreda Demo, 2004
A Journey Through The Opuzenian Darkness Demo, 2007
Mir I Bistrina EP, 2009
Mrgud EP, 2009
Nervoza Demo, 2010

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TRALKAUKAN (CHILE)

This formation offer rough modern thrashcore which suddenly gets ornate by vociferous saxophone additions. Those additions don't really work sounding awkward on the pretty simplistic, semi-amateurish guitar background which is further spoilt by the hoarse quarrelsome vocals.

Inchin-ielain Mapu Demo, 2011

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TRALLERY (SPAIN)

The debut: this Spanish outfit indulge in energetic old school speed/thrash which lashes out with passion providing numerous headbanging moments along the way which only disappear on the slower pensive mid-pacer "Dissipated By Oblivion" and the soft speed/power metal hymn "In The Wings Of The Night". The short "The Secret Trial" is a cool attempt at a more technical play, and the closing "Path Of Life" is a long more complex cut with hard thrashing passages and more melodic progressive ones taking turns in a sure-handed Manticora-sque way. The singer is by all means an asset with his melodic high-strung timbre which he holds in the high parametres mostly to a positive soaring effect.
"Spiritless" doesn't stray too much from the chosen old school path although the album opens with the more progressive-ornate title-track before the guys suddenly reduce the speed for a string of cuts until the arrival of "Scavenger Crow" which nicely reminds of Paradox's more recent exploits. "Unknown Confusion" thrashes hard with reckless abandon, but "Hidden Scar" is equally as convincing with its atmospheric, semi-balladic undercurrents. "Hollow Stare" follows a similar pattern, but livens up in the second half with a portion of galloping rhythms. "Hunt To Kill" restores the headbanging madness, but the band's desire to make this effort as lyrical as possible brings a full-fledged ballad ("Time Is Over") to the fore just before the final "The Attraction Remains" shows more teeth with marginally more dynamic, mid-tempo performance. As a whole the band have become more laid-back as though looking for a more atmospheric, not necessarily thrash-fixated, style probably trying to attract more fans from other walks of metal.
"Isolation" is a surprisingly very modern affair with mechanical sterile guitars and choppy staccato rhythms, the final result not far from Biomechanical, only that in the case here there isn't much expressive thrashing to be come across, the progressive infatuations ("From Nowhere") still fairly legitimate. The stiff semi-thrashing on "The Plague" and "Voice of the Dead" may pass for a relatively lively occurrence, but the guys' interest at this stage is clearly on the modern progressive metal side, the intimidating shouty death metal vocals the only more belligerent ingredient.

Catalepsy Full-Length, 2013
Spiritless Full-Length, 2016
Isolation Full-Length, 2019

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TRAMORTIRIA (ITALY)

The debut: the lyrical quiet intro doesn't promise hard abrasive modern post-thrash which ensues after it sticking to a tank-like mid-pace with several more relaxed balladic deviations ("Bad News, Good Stuff"). The delivery inevitably acquires some doomy character on the closing "Enigma" which fits better the rough semi-shouty vocals.
"Hell to Discover" is a much more exciting affair with the post-thrash shenanigans almost completely removed from the equation, the guys the title-track unleashing vitriolic semi-technical retro thrash hell, this bold statement of intent followed by more moderate but by no means sloppily-executed numbers among which one will savour the atmospheric epicer "Silence Breaker" and the semi-balladic drama "W.a.T.D.". Later on the groovy patterns return, but watch out for the exquisite thrashing ball of fury "Crappy Words", a smattering riff-fest which supersedes the larger-than-life closer "Hell-Heaven", a varied compendium of hard-thrashing, complex configurations, and heavy stomping escapades.

Wrath Among the Dead Full-length, 2012
Hell to Discover Full-length, 2019

Official Site

TRAMPIRE (GERMANY)

This obscure German band offer cool classic thrash with a Bay-Area flair (think Metallica and Testament, above all). The music is both straight (on the shorter tracks) and technical (on the longer ones). Both sides are equally as appealing as to these ears the more technical one seems to deliver the better where the guys let their musical prowess loose, creating really impressive semi-progressive pieces: "Black Widow", the brilliant semi-balladic "Talking To Fools" which boasts the best guitar work on the album; the state-of-the-art instrumental piece "Journey" which is a real "journey" through the realms of technical thought-out thrash. There's also time for one speed/power metal happiness: "Cry Out", and one enjoyable light-hearted speedy crossover closer, "Freibier". A very unknown act, and a nice companion to the bands from the progressive/technical thrash metal wave which was in full swing in Germany at the same time.

Talking to Fools Full-Length, 1992

TRAMWRECK (SWEDEN)

The good old thrash/crossover is brought again in the form of short compulsive tracks which borrow from Agnostic Front, D.R.I., Gang Green and all the stars of the 80's crossover show. Don't expect any quiet moments or any sophistication here: this is pure bash for most of the time topped by brutal shouty hardcore vocals.

Power Vomit Demo, 2011

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TRANQUIL TERROR (USA)

These folks "terrorize" the fans "tranquilly" with their modern brand of abrasive mechanized thrash which moves forward in a heavy mid-paced manner inevitably reaching balladic proportions ("Bringer of Pain") which also grow into slower dimensions on the next two compositions. Consequently, the initial positive impression goes out the window since till the end the band simply groove and blues the tile-track at the end serving a small elusive portion of energy as though to justify the sinister title. The singer sings in a more attached for the style fashion, and his antics may pass for the highlight.

Killzone Full-Length, 2014

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TRANSCENDENCE (USA)

Based on the full-length, this act serve tenebrous atmospheric death/thrash which is characterized by stomping quasi-doom numbers ("Majesty of Chaos", the title-track) in the first half, the second one serving more brutal death-prone cuts ("As the Maggots Feast"), "And Darkness Shall Be" bringing back the thrash for a rousing moshing session. Overall, there's not much thrash to savour here, the screechy witch-like vocals also bringing the winds of black at times. The band members are also active with the death metallers Goreified, and the black/thrash hybriders Hellspawn.

Morbid Reality EP, 2014
Hour of the Summoning EP, 2017
Towards Obscurities Beyond Full-length, 2020

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TRANSE METAL MACHINE (CANADA)

This Canadian trio may scare you with the album-title, but as a matter of fact there's no trance or any electronics here; what one will come across here is just plain Annihilator worship the guys following the more recent path of the Jeff Waters gang unerringly producing a decent modern mix of power, thrash and groove which is at its peak when the guys unleash some admirable galloping riffs ("The Threat") those even carrying the flavour of the 80's American scene (remember Attacker's "Second Coming"). Unfortunately, the band's desire to be modern prevents this effort from being a full-blooded entertainment with too many clumsy unexciting proto-groovy moments in the 2nd half. The singer isn't totally bad with his attached clean performance which lacks a very big range, but is suitable for the not very eventful musical landscape.

Transe Metal Machine Full-Length, 2011

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TRANSENDIA (USA)

A modern brand of the good old thrash with ripping riffs in the beginning, addictive melodies bordering on melo-death, and semi-shouty/semi-clean vocals. Epic tunes can be heard on "Fallen Away", but the blues and the ballad incorporated on the 8.5-min opus "Catharsis" are too much to bear, and later on the inertia is irrevocably lost with a string of heavy stompers where doom and the semi-ballad shake hands to a not very positive effect.

War upon Me Full-Length, 2016

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TRANSFIGURAL FORM (USA)

Based on "Refusal", this act, which is the brainchild of just one musician (Todd Pope), plays heavy classic thrash with very brutal, but comprehensive, death metal growls, and very abrasive guitars which still surprisingly carry the requisite melodic edge. The man seldom speeds up preferring to crush with 10-ton riffs in mid-pace with the odd doom/gothic decoration ("Burden Of The World"; the nice atmospheric orchestral instrumental "Spiritual Bissection").

State of Decay Full-length, 2001
Refusal Full-length, 2002
Beneath the Blood EP, 2005
Destroyed Full-length, 2006
Destroyed With Blood Full-length, 2006
A Trilogy of Destruction EP, 2007

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TRANSFIXION (BRAZIL)

Transfixion mix quite a few styles on their debut: there is classic thrash, there are quite a few modern thrash elements, too. "Lost Dignity" could fit perfectly in a Dark Tranquillity or an In Flames album, and the last track "Solarization" has a strong industrial vibe. Not bad for a first album, but concentration on fewer styles next time would be better.

The Last Horizon Full-length, 2000
What's Real? Full-length, 2006

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TRANSGRESION (PUERTO RICO)

This is 2 tracks of intense retro thrash which offers both speed and more quiet passages the latter coming with nice lead guitar work and a touch of progressive ("Cerdos de Azul"). The sound quality is good and the singer, who is a female, by the way, is convincing with her forceful mean semi-clean antics often assisted by her male colleagues on the sudden shouty choruses. Some of the band members also take part in the heavy metal act Aura Azul.

...De Sangre Y Represi=n... Demo, 2012

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TRANSGRESSER (USA)

This is the early incarnation of Intruder; the music on the first demo is pure American power metal akin to early Overkill and Jag Panzer, maybe a bit faster, whereas on the second one the sound really packs a punch although still more rooted in speed/power metal, with hints at thrash.

Demo Demo, 1984
The Azra-Ironworks Demos Demo, 1986

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TRANSGRESSION (UK)

This obscure effort is all about frolic, but intense, thrash/crossover which can be more aggressive on occasion, but generally this is fun stuff with very good bass work and indifferent semi-shouty vocals. The tracks are expectedly short (1-2min) and are inevitably "graced" by spasmodic grindy blasts from time to time.

Cold World Full-Length, 1988

TRANSGRESSION (UK)

Based on the "As Tides Change" demo, this act offers derivative melodic Swedish thrash metal which doesn't lack energy and heavy riff-work, but refuses to bring anything more unusual sticking to painfully familiar patterns; maybe the harsh black metal vocals could be considered something out of the ordinary for this kind of music... Some of the band members play similar, maybe a bit more classic-sounding, thrash/death metal in Unforgiven.

Escape the Plagues Demo, 2010
As Tides Change Demo, 2010

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TRANSGRESSION (USA)

This is a really pleasant surprise (the debut): from the dark ages of metal comes a fairly enjoyable work of heads-down retro speed/thrash. This is great, hard-hitting, intense stuff which comes with a handful of influences, all perfectly entwined together: Anthrax, Wargasm, Slayer (their late 80's period: the heavy, dark "Dimmer"), Vio-lence, etc. Some slower tracks occupy the middle of the album: "Witch Hunt", which boasts fine crushing riffage, the sinister doom "Outside Circles". "Framed in Pain" is a brilliant technical speed explosion which would be one of the highlights even on any of the late-period Death albums. The guys have found the perfect balance between the more aggressive fast-paced numbers and the heavier moody ones; a varied work of classic thrash at its finest.

Dead Wisdoms Full-length, 1997
Communion of Blood Full-Length, 2010

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TRANSGRESSIVE (USA)

Based on the full-length, this band play old school thrash that has both its more epic battle-like (the title-track) and more fervently urgent ("We Protect Us") side, the short vigorous "Feet to the Fire" and "Stonewall" instigating a moderate pogo, the shouty semi-death metal singer supervising the show with vociferous belligerent panache.

Seize the Means of Reproduction EP, 2021
Fetus Factory EP, 2022
Extreme Transgression Full-length, 2023

Official Site

TRANSGRESSOR (USA)

Three guys from New Jersey make quite a bit of noise here which is pure hardcore for at least half the time. The tracks are very short (1-2min), but some aren't far from Slayer at their most brutal even: check out the brutal "Powertrip" and "Useless War". "One Foot in the Grave" clings towards the death metal side, and the closing "Phantasmal Chaos" is another brutal, almost grinding, chaos finishing this really intense listening experience with aplomb. The singer shouts and screams his way in the utmost rending fashion, managing to match the extreme unbridled character of the music.

Holy Ride EP, 2008

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TRANSILIENCE (USA)

State-of-the-art progressive thrash which easily reaches Voivod's "Killing Technology" on the best moments, simply because this music is very technical, and edgier than the one of the Canadians. The vocals may be considered a down-point somewhat, sounding quite indifferent and slightly sterile, recalling Denis "Snake" Belanger's vocals on "Nothingface" and beyond. This is an unforgettable technical riff-fest with a great bass-bottom and twisted guitars which also strongly recall the works of Mekong Delta and Target from around the same time. The time-changes are mind blowing, and the sound never jumps onto the more aggressive wagon. The last track "Complications", which richly deserves its title, is a marvellous instrumental where you can hear the riffs that later Mekong Delta used on the "Kaleidoscope" closer �About Science� (I guess this is just a coincidence having in mind that this is an utterly obscure demo, and it's not very likely that the German band had ever gotten hold of it; but one never knows...).
The 90's post-thrash movement actually started in the late-80's, but its initial face was way different from the more familiar, angry one known from the "outrages" of Slaughter, Pantera, and Machine Head. It began with Voivod's ephemeral "Dimension Hatross" so it was no surprise that the other albums/acts followed it closely both in terms of execution and atmosphere (Omnitron, Wrathchild America, DBC, Calhoun Conquer, to name those who managed to reach the full-length stage). Since this unusual approach wasn't very easy to execute properly, few were those who followed, but the band here should be mentioned as the one used to do it in the best way.
"Mouthful of Buildings" is a "mouthful" of quirky, surreal, atonal, dissonant riff-patterns which have as much to do with metal as with jazz or funk. Whichever label one wants to put to this album, it remains a gem of original song-writing which stands right next to the aforementioned Voivod work as one of the most innovative takes on thrash/post-thrash ever composed. With three numbers from the demo serving as the backbone, the ultimately strange aura of this recording is guaranteed and the six new tracks complement it greatly. The bass work is stupendous bearing resemblance to Les Claypool (Primus) himself, but its omnipresence never stands on the way of the guitars which are only missing on the short spacey instrumental "Circusuitry". The peaceful, almost non-thrash, quirkiness is "broken" on "Organism" which speeds up in a robotic mechanical manner and puts thrash forward again with a solid doze of surreality which becomes hypnotic by the end. "Frappe Glove" is bizarre funky avantgardism, still quite captivating, preceding the technical labyrinth unleashed on the final "Feed My Senses" which is a complex, not very easy to swallow, blend of fast discordant rhythms and abstract slower passages which overlap each other in a very logical fashion till the sterile shredding fast-paced end. The dispassionate wave-ish vocals seem the perfect choice for this otherworldly music which one may find hard to believe that it had come out of the hands of three totally unknown teenagers from Reston, Virginia among whom only the drummer was ever seen in another band later (Dreadnot, another very good avantgarde metal band). Fans of the offbeat, left-hand-path side of the genre simply can't miss this: this is how "Nothingface" should have sounded if the Canadian masters hadn't gone completely spaced out...

Threatened Fears Demo, 1988
Mouthful of Buildings Full-Length, 1989

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TRANSILVANIA (AUSTRIA)

Based on the full-length debut, this act, who were previously known as Epidermis and Old Skull, specialize in vicious intense black/thrash with black metal dominating the proceedings, with hyper-blasts peppering the setting at every opportunity, with thrash not doing much except to dissipate the oppressive atmosphere with spasms of melodic aesthetics ("Transformation") or with more tamed mid-tempo configurations ("Homunculus"). Elsewhere it's a hyper-active "Emperor meets early Dimmu Borgir" opera which will definitely enchant the black metal lovers more.
"Of Sleep and Death" is almost pure bombastic black metal, with thrash not having much of a say, with hyper-blasting pageants (the title-track, "Vault of Evening") leading the hyper-active showdown, with memories of Emperor, early Cradle of Filth and Marduk flooding the listener's mind on regular bases.

Morbid Majesty EP, 2015
The Night of Nights Full-length, 2018
Of Sleep and Death Full-Length, 2021

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TRANSILVANIAN

A 2-song ("Stench of Holiness") of intense hardcore-ish thrash with interesting varied vocals the main being forced semi-shouty ones, but there are clean epic inclusions ("Liar in the Fire") ala Isengard. Alas, the music hardly deserves them being simplistic direct lashing with a few slower breaks.

The "December Reaper" EP is longer (five tracks), but contains the same uncompromising thrash/crossover with the direct, in-your-face delivery and the angry shouty vocals. The approach approaches hardcore on the very short numbers, which is to be expected, and at the end there's a cover of one of their major influences S.O.D.: "Kill Yourself" from the Americans' cult album "Speak English or Die".

Stench of Holiness EP, 2010
December Reaper EP, 2011

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TRANSMETAL (MEXICO)

The most celebrated and longest running Mexican metal band; their style varies from raw/brutal thrash on earlier recordings, to some well-crafted death metal (" El Infierno De Dante"), to ferocious grindcore on later works, to attempts at a more serious song-writing on the last two albums.
"Decadencia En La Modernidad" is a consistent offering seeing the guys delivering decent thrash/death metal mixing fast, almost grinding, sections with much slower ones. The latter are kind of more, and the guys' more proficient side clearly shows in the song-structures and the lead guitar performance. The approach hesitates between the old school (the short death/thrasher "Envilecido Por Las Inquidades") and the modern trends (the melo-death affair "Las Oraciones Caen Al Desfiladero"), with the brutal low-tuned death metal vocals omnipresent. Epic, melodic flirtations spring up in the second half: the long heavy ballad "Decadencia En La Modernidad", which boasts the finest leads on the album; the lyrical, semi-acoustic closer "El EdTn Estaf Llorando"; which pull the album towards the more romantic side, with the singer replacing his guttural timbre with a subdued, whispered tone, giving the finish an atmospheric, gothic colouring. Some of the musicians toil on a regular basis under the name Ultratumba, where the style is doom/death.
"Indestructible" concentrates on power/thrash almost exclusively, but the raw sound and the awful unrehearsed death metal vocals would be a big impediment for the listener. The delivery is much more melodic than the one on the band's previous recordings, but this album is hardly their finest achievement, neither are the several cover versions which can be found within: Fleetwood Mac's "Green Manalishi", also done by Judas Priest, in a more subdued than the Brits tone and consequently more faithful to the original; AC/DC's "TNT", again done quite close to the original; and Black Sabbath's "Children of the Grave", the best of the three with a nice galloping spirit. The original material is quite uneven ranging from intense speed/thrashers to laid-back semi-balladic variations with a hard'n heavy shade the closing "Lapidas Sin Epitafios" being a dark doomster with a thin death metal edge.
"Clasicos" is another larger-than-life amalgam the band inserting anything which has come through their heads during the recording process: classic heavy/power metal, doom, speed metal, thrash/crossover, ballad, all this served with a strong classic flavour the latter only dissipated by the harsh guttural death metal vocals and the slightly noisy edge of the guitars. The band stray further away from their more brutal past and one wouldn't be surprised hearing a full-blooded classic heavy metal record coming from their camp in the near future.

"Peregrinacion A La Cabeza de Cristo" is a more coherent effort, but in this case not for the better. This is modern post-thrash which drags painfully with repetitive groovy riffs and a very annoying fuzzy sound quality, and even more irritating very low-tuned death metal vocals. "El Ojo De La Providencia" seems to be the only "light in the tunnel" being a high-octane doomster, closely followed by the excellent balladic instrumental "La Sonrisa De Dania"; and by the more dynamic closer "El Tiempo Para Arrepentirse" which also dooms with the finest at some stage. The rest is skippable, to put it mildly, and will disappoint the band's fans big time.
"Maldito Rock and Roll" starts with the disappointing rockish vaudeville that is the title-track, but don't expect the band to justify this rock-ish album-title later with "Monarca Negro" thrashing with little restraint with "El Clavo Martillado" even serving some heightened death metal-ish drama at some stage. "Tierra" is a heavy plodding number, but the playful character of "Lumen de Lumine" and "Vestido Para ir al Campo Santo" keep the proceedings on the more optimistic side, the biggest surprise thrown at the end with the very good epic ballad "Mas Duro Que un Roble".
"Demiurgo" is a much better than its predecessor moshing affair; cool, pretentious on occasion, fun that revolves around speedy breezy thrash/crossover propositions ("Acenso del Inframundo"), the galloping "La Marca de Satan" an absolute revelation, an imposing battle hymn that gracefully spearheads this rousing fiesta which also offers the semi-technical rager "Ninguno Vivo", another galloping, or at least semi-galloping, winner ("Que la Tierra nos Trague a Todos"), and the variegated progressive proto-deathster Cavar tu Tumba". Watch out also for the direct non-fussy mosher "Demonizado" and the uncompromising speed metal-ish roller-coaster "Consagrado".
"Adios Satanas" is an aggressive in-your-face slab, the guys crossing death and thrash on a very noisy abrasive base, the confrontational dirges on "El Camino del Aliento" pairing well with the academic doom-laden epicness of "Insignia del Infierno". Crisp lively thrashers ("Predicador del Fuego", "Acariciado por las Llamas") pepper the landscape otherwise, trying to overcome the insistent fuzz coming from the production department, the band sounding too confrontational and vociferous this time.

Muerto en la Cruz Full-length, 1988
Desear un Funeral EP, 1989
Sepelio en el Mar Full-length, 1990
Zona Muerta Full-length, 1991
Burial at Sea Full-length, 1992
Cronicas de Dolor Full-length, 1993
El Infierno de Dante Full-length, 1993
Dante's Inferno Full-length, 1993
El Llamado de la Hembra Full-length, 1996
Las Alas del Emperador Full-length, 1996
Mexico Barbaro Full-length, 1996
Debajo de los Cielos Purpura Full-length, 1999
Tristeza de Lucifer Full-length, 2002
El Amor Supremo Full-length, 2002
Lo Podrido Corona La Inmensidad Full-length, 2004
Despertar de la Adversidad Full-length, 2006
Progresion Neurotica Full-length, 2006
20 Aaos Ondeando La Bandera Del Metal Full-length, 2007
Odyssey In The Flesh Full-length, 2008
Decadencia En La Modernidad Full-length, 2011
Indestructible Full-length, 2012
Clesicos Full-Length, 2013
Peregrinacion A La Cabeza de Cristo Full-Length, 2014
Maldito Rock and Roll Full-Length, 2019
Demiurgo Full-length, 2020
Adios Satanas Full-length, 2022

Official Site

TRANSPARENT (DENMARK)

Very good modern "transparent" thrash metal which takes a little from the 90's scene (Pantera, Machine Head) and combines it with the more fashionable nowadays sound of Overkill and Annihilator. The band stick to heavy mid-paced riffs which work fine with more technical implements ("Unparallelled") which will remind you of Megadeth, among others.

Mutual Assured Destruction Demo, 2005

Official Site

TRAPJAW (GERMANY)

Based on "Terror Divine", this band plays abrasive modern thrash/death metal which is pretty aggressive and fast in the first half, with several stomping doom interludes ala Mindrot which grow into a whole composition in the middle: the sinister industrialized doomster "Generation Buk". "Newborn Eyes, Newborn Hell" is another creepy number with shades of black metal, and overall the second half is much slower the guys experimenting with other styles, industrial leading the pack giving birth to the sprawling gothic/doom closer "Monothony" which actually deserves its title seldom changing the hypnotic doom main riff.

Virushuman Full-length, 2005
Terror Divine Full-length, 2009

Official Site

TRAPPED IN PURGATORY (UK)

Energetic brisk retro speed/thrash which is both on the playful crossover ("Spit it out") and on the more ambitious, quasi-progressive ("Damned Nation") side, this last one clearly on the more laid-back slower side. But not to worry too much as the album has plenty of short ripping headbangers ("Apex Predator", "Out of the Fire (Into the pit") to satisfy this kind of hunger, "Beyond the Rubicon" being a mellow rock-ish filler, the weakest proposition here despite the cool female vocals which oppose to the main cool semi-clean ones.

Damned Nation Full-Length, 2021

Official Site

TRAPPIST (USA)

Crusty abrasive thrashcore sitting somewhere between later-period The Exploited and Madball; the short curt cuts are at times "admonished" by longer, more thought-out numbers ("The Patron Saints", the excellent psychedelic Voivod-ish extravaganza "Giving the Boot to Reinheitsgebot") where the bigger music proficiency exhibited may make one regret its lack elsewhere. Regardless, this is silly unpretentious fun which is boosted by the angry shouty hardcore vocals.

Ancient Brewing Tactics Full-Length, 2018

Official Site

TRASCENDENTAL (SPAIN)

Based on the debut, this act provide a standout mix of thrash and death metal which is creepy and technical in a strange individual way with a slight shade of later-period Death and Nocturnus. This is beautifully-constructed music with expert musicianship present all over, cutting meandering riffs, blazing leads, and expressive shouty death metal vocals the latter also reminiscent of Death's Chuck Schuldiner (R.I.P.). "Dying" is a supreme surreal shredder in the best tradition of Theory in Practice as the headbanging side is left for the shorter material among which "Gods (False Answer II)" is a blast with its ripping galloping rhythms, and "Sorrow" is a purer death metal cut with less controlled proto-blasts. "ABT" notches up the surreality near the end with a cavalcade of stunning riff-patterns which will make their compatriots Continuo Renacer and Unreal Overflows stand still and listen. This is a sheer gem of some brilliant entangled thrash/death which is hard to come by even nowadays.

"Dimensions" is another excellent effort with a bigger concentration on the speed with a more accentuated melodic flair which is at times wonderfully Oriental. The leads hit the top on "Right to Die" which is a nice progressive cut, and "The Last Day" will be paradise for the headbangers who will jump with joy on it as well as on the galloping "Two Sides". The closing "Innocent" wraps it up with a portion of more complex arrangements which were overall missing from the album its more immediate nature arguably less attractive than the one of the debut. Still, few will complain listening to this effortlessly flowing music which beats almost everything created on the Spanish thrash/death metal scene in the 90's.

Behind Full-length, 1996
Dimensions Full-length, 1998

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TRASH AMIGOS (SWEDEN)

Four Pedro's, although the band is listed as Swedish, two of whom are also members of the thrash legends Merciless, are responsible for this capable blend of the modern trends and the classic school which boasts several really compulsive headbangers (the furious opener "Hatefuel", "Devided", the excellent Slayer-worship at the end "Nightmare", which also comes slightly death-tinged). The vocals are of the shouty type recalling more recent Tom Araya which lose their power a bit on the more laid-back material.

Hijos De La Chingada Full-length, 2011

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TRASH HEAVEN (SWEDEN)

Based on "4 Heads for a Crown", these folks deliver passable melodic classic power/thrash which is accentuated by quite a few infectious melodic licks, the nice attached clean vocalist another asset. The leads are also on a fairly high level, in other words, the musicianship is on a fairly proficient level as the intense fast-paced passages aren't that many, the short ripping "Drakkar" coming to mind from this department. Bigger ambition is shown with the 4-part title-track saga, but this is hardly the highlight as quite a bit of time on it is spent in peaceful meditative balladisms.

Coverside Full-length, 2012
Dementia Full-length, 2014
4 Heads for a Crown Full-length, 2020

Official Site

TRASH TALK (USA)

Brutal hardcore-ish thrash with frequent stretches towards grind, those suddenly broken by clumsy groovy/sludge; references to Cryptic Slaughter are well justified, especially on the shorter material, as well as to Lair of the Minotaur, and even EyeHateGod ("Revelation") on the dirtier doom-laden sections.
The "Awake" EP is a similar concoction of thrash, hardcore, and sludge, this time very seldom blasting out with passion, adhering more to slower, sludgecore sections.

Trash Talk Full-Length, 2008
Awake EP, 2011

TRASH UNION (SERBIA)

Based on "Built To Last", this act offers a thrash-laced crossover very close to late-80's/early-90's Suicidal Tendencies. So expect merry-go-round tunes spiced with more aggressive thrash rhythms topped by vocals which have the hoarse carefree blend of Mike Muir, with all the typical for the genre "possessions" ("Skatin' For Fun") and appropriate cover versions (The Exploited's "No Forgiveness").

Pride And No Prejudice Full-length, 2006
Built To Last Full-length, 2009

My Space

TRASHCANNED (AUSTRIA)

Based on the full-length, this band, whose line-up includes a beautiful female guitar player, plays quite typical for the time melodic thrash/death metal which isn't a "stranger" to cool up-tempo riffage, but the softer groovy passages are quite a few as well, as well as a couple of cool keyboard-driven gothic moments.

And Embers Will Rise EP, 2005
The Age of Treason EP, 2006
Redemption Full-length, 2007

Official Site

TRASHMACHINE (UKRAINE)

A very good technical thrash metal trio with their style being a cross between Megadeth and Testament; apart from the more technicaly-charged numbers, the band show a skill in handling cool more direct up-tempo thrashers ("Bad Stuff"), or in combining both styles in a respectable manner ("Door to Hell", a great track, the highlight of the album). Like many of their "colleagues" from around the same time from their neighbour Russia, this excellent band didn't last for more than just one album.

Breaking Through the Ranks Full-length, 1993

TRASHURE (GERMANY)

An obscure surprise from the very deep German underground; what we have here is fairly cool progressive power/thrash which shows its ambitious nature from the very first cut "Trashure Island", a prime shredder aka Paradox and S.D.I. the song also enhanced by a memorable sing-along chorus. "Intoxication" is a bit clumsy semi-ballad, but "Electric Rain" livens up with cool vivid rhythms. "Pleasing Pissing" is a merry speedster, and "Messenger" is the other longer and more serious number thrashing harder with the sing-along chorus applied again, this time to a more optimistic, drunken effect. The closing "Down In The Basement" is a nice blend of doomy riffs and fast-paced crescendos finishing this curiosity in a diverse, not very easy to predict manner.

Trashure Island Demo, 1993

TRASTORNED (CHILE)

This act serve pretty good fast ripping retro thrash which at times moves onward with the speed of light ("Witch Hunt"), at others tests the marginally more tamed speed metal parametres ("Black Fire"), at others settles for more technical expletives ("Miasma of Death"). The intense husky semi-shouty vocals race with the frenetic musical delivery, the latter acquiring another more intricate lustre with "Into the Void", the closing "Reborn Through Hate" also a sure-handed furious technicaller although this is not a Coroner cover; and, there is a short etude inserted from Beethoven's Ninth Symphony, by all means a stylish decision.

Into the Void Full-length, 2023

Official Site

TRATOR BR (BRAZIL)

The debut: competently played retro thrash/death with brutal death metal vocals with a shade of Chris Barnes; the tempos switch the whole time the short material holding the faster surprises which often go for the blasts without any warning. Still, the music shares both styles, even touching the more technical department towards the end which courts death metal more. The guys are also active under the name Spiritual (one demo released so far) where the style is purer death metal.
"Espiral de Extincoes" is a marginally more brutal offering, the band more regularly going for the death metal ways of expression, the heavy mid-pacer "Bomba Atomica Brasileira" influencing the atmospheric operatic oddity "Explosao/O Dia Seguinte". "Cordao Umbilical Rasgado" winks boldly at the tech-death movement, but later on the guys indulge in very short grindy cuts thus ruining the positive impression created earlier.

Verde Amarelo Azul E Preto Full-Length, 2008
Floresta Armada Full-length, 2015
Espiral de Extincoes Full-Length, 2022

Official Site

TRAUMA (ARGENTINA)

Based on the "Interna-Mente" demo, this band play modern post-thrash, typical for the time stuff, with jumpy rhythms aplenty and a few more technical breaks ("Interna-Mente") which could have developed further. The delivery is laid-back with heavy mid-paced riffs topped by warm clean mid-ranged vocals.

Trauma Demo, 1994
Interna-Mente Demo, 1996

TRAUMA (ITALY)

Based on the debut demo, this act play dynamic, vivid retro thrash which isn't very speedy, but "Statue" will by all means make you move around, and the closing "Trauma" will pleasantly surprise you with nearly 9-min of intricate mid-paced thrash with interesting funky implements on top of some inspired hard-hitting, steam-rolling shreds. The band later was transformed into Alterhate, but only survived for a solitary demo ("Error Code [destroy]") in 2004.

Garden of Vanity Demo, 1998
Believer Will Be Lost... Demo, 1999
Grip of Frost Full-length, 2000

TRAUMA (PERU)

After you pass through the strange unpromising intro "The Fly of an Angel", what awaits you is excellent intense thrash not too far from Sepultura and Slayer at their best. This is smashing music, mostly fast-paced, with great sharp riffs. There are very occasional aggro-moments ala Pantera ("Reality Is"), but they only add to the heaviness of the album. Another reminder that this is a work of more modern times, is the clean vocals which sneak for a few seconds on "Dying Again" which is an otherwise very cool thrasher. You can do no wrong by hunting this band down: classic thrashing madness at its uncompromising best.

'Memories of Pain' Full-length, 2006

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TRAUMA (SPAIN)

Based on "Cuentos no Resolutivos", this outfit provide playful post-thrash with a less serious crossover edge at times. The tracks are short, within the 2-3min range, and don't lack dynamics despite the frequent presence of the trademark for the style groovy jumpy riffs. At the time when classic thrash was slowly waking up for some more action, this effort could have been made with more speed added: now these memorable, but painfully predictable, patterns may wear thin before the end not without the help of the not very impressive unmelodic semi-shouty singer.

Destino Oscuro Full-length, 1994
Cuentos no Resolutivos Full-length, 1998

TRAUMA (USA)

This is the band where Cliff Burton (R.I.P.) started his career in the very distant now 1982. The band debut was a nice mixture of power and speed metal which for some reason remained just an underground phenomenon. The comeback effort "Rapture and Wrath" wasn't too far from the style on this first instalment, but on the album here the guys have entered the classic thrash realm their energetic blitzkrieg delivery quite reminiscent of early Overkill, Laaz Rockit and another not very known outfit from the States, Imagika. In other words, this is still a blend of power, speed and thrash the latter leading the show even on more epic-prone propositions like "The Rage" and the diverse roller-coaster title-track. "Last Rites" is the only seeming respite being a heavy semi-ballad, the excellent emotional clean vocals outdoing themselves with an impressive pathos-like performance ala Bruce Dickinson. The second half is more laid-back with purer speed metal ("Run for Cover") alongside edgy quasi-groovy cuts ("Asylum") and marginally more elaborate progressive variations ("Savage"). This is a really cool, expertly executed reminder of all things that made the 80's US scene a major player on the field in the good old days.

As the World Dies Full-length, 2018

Official Site

TRAUMAKRANIKO (ITALY)

This Italian "virus" is heavy progressive power/thrash with plenty of atmosphere as the settled peaceful mid-tempo is seldom broken. "Che Senso Ha" is a really captivating progressive composition with nice melodic tunes the intentions partly ruined by the gruff semi-clean vocals which lack emotion and depth to pull it through. "Viaggio" attempts something more melancholic and gothic-tinged, and "Cio Che Siamo" is a cool more dynamic closer with sharper riffage bordering on full-blooded thrash.

Virus Full-Length, 1998

TRAUMALICE (SWITZERLAND)

This is cool minimalistic modern thrash mixed with a solid doze of sludge and doom metal. The unlikely mixture works admirably entwined in long stretching, but fairly intriguing, compositions which, despite their prevalent slow character would enchant the listener with its hypnotic riffs and meandering more quiet breaks. Sudden unexpected, fast-paced passages come out of nowhere, but their significance is merely passing and is even ignored on the excellent cover of Black Sabbath's "Electric Funeral". Although the doom metal lovers will be the happiest with this, one should give a ear or two to this unusual stylish music which may acquire a thrashier face in the future.

7 Eyes of a Crow Full-Length, 2012

Official Site

TRAUMATEATTERI (ARGENTINA)

Not very imaginative modern thrash/death with the band's Swedish counterparts from the Gothenburg school a major influence alongside their compatriots Mokoma. Like the latter the guys fall into the very lyrical traps exiting the genre more than just now and then, producing a light-hearted feelgood slab of metal for the tender side of the metal fanbase with a more serious progressive approach ala Amorphis also felt at times.

Keskella Pimeytta Full-Length, 2016

Official Site

TRAUMATISMO DE KRANEO (ARGENTINA)

Bashing brutal thrash with echoes of Slayer and the Mexicans Mortuary losing it a bit on the more death metal-laced moments (the blast-beats on "Ignorancia"); the guys know no sophistication and play at the utmost speed at times still their delivery not losing its comprehensive appeal even slowing down at the end on the merry-go-rounder "Tormentor" which, with a bigger stretch of the imagination, one can recognize the Slayer song from "Show no Mercy", not covered very successfully, also due to the bad shouty semi-death metal vocals.

Holocausto Nuclear Demo, 2011

TRAVAIL (USA)

This band was a side project of Steve Buschart, a future member of the heavy/thrashers Motive. The music on this one is cool classic thrash of the heavy mid-paced variety, with implements in the vein of early Celtic Frost and Slaughter, thrown in here and there. It's not stale at all, and nods to the doom/stoner scene ("No Tongue") can also be caught in the guitar department. "When You Die" inserts technical riffs, but the rest is straight-forward and more conventional; "Close the Door" (which is actually the closer... of the door) is the other song where more intriguing guitar decisions can be heard, and where the leads move one level up. The vocals are maybe not very appropriate rough low-tuned death metal ones, but the crushing music largely compensates for this flaw.
The demo is ten whole songs long neither of which is included in the full-length (except two featured in the latter as live bonus tracks). The music is very close to the one on the full-length being heavy mid-tempo thrash this time with stronger doom overtones, and a few modern throw-ins. The riffs are a bit mellower carrying more melody ("Somatic"), also in the lead department. The vocals are more unpleasant with a more accentuated gruff death metal semi-shout.

Travail Demo, 1994
Translation Full-length, 1996

TRAVESTY (GERMANY)

This opus exhibits complex progressive power/thrash; an obviously talented band who should really think about replacing the very unsuitable death metal singer. The music delivers in a very complex, at times disorienting and even overwhelming, way starting with the very ambitious, but interesting 11-min opener "A Dubious Honour" which hypnotic mid-paced exploits get translated well later on the ensuing numbers. "Memento Mori" starts thrashing harder again without offering any speedy, but "King Of The Dead City" is already a consummate headbanger even reaching progressive death metal heights at some stage. "Vigilante" is an effective creepy composition where the gruff vocals are challenged by better cleaner ones. "Song Of Shards" is another larger-than-life opus with numerous influences embedded within; and "The Death Of Art" is an academic doom piece cancelled by the more dynamic rhythms of the following "Against The Tide". The more peaceful delivery returns for the closing "A Poem Of War", an engaging blend of ballad, progressive, and a bit of thrash which hypnotizes the listener for another 10-min. There's a lot of music to be savoured here, and in the end a lot of metal fans should be able to find something to like here.

Dark Above, Sun Below Full-Length, 2016

Official Site

TRAVESTY (USA)

Based on the full-length, this trio pulls out complex progressive metal with thrashy overtones which on the longer compositions sounds quite appealing ("Travesty"), but there's a fair number of shorter tracks where the eclecticism goes over the top with too many styles "courted": black, death, alternative, grunge, doom, jazz, funk, etc. It will puzzle the listener quite often, for better or worse, but as a whole this wide amalgam misses the plot more than just now and then.

Travesty EP, 2005
Adverse Effects Full-length, 2006

Official Site

TRAZOM (USA)

This offering can hardly be classified as an EP containing 8 full-length songs lasting for close to an hour. Anyway, what we have here is heads-down classic speed/power/thrash metal reminiscent of Savage Grace and Laaz Rockit. The opener "Natural Disaster" is a heavy smasher with technical pretensions, but "Poltergeist" is a pure speed metal delight. "Demons in His Head" is dark brooding technical thrash in the spirit of early Hexenhaus which adds a few swirling speedy riffs and fine proficient leads. "Let it be Done" is spiral-like dramatic dark power/thrash with great bass performance. Speed isn't the order of the day again on "World of Illusions", but this number is pounding progressive thrash in mid-pace, a crushing display of sharp heavy riffage with a quiet balladic ending. The last three songs are previously recorded and have a dirtier sound which still isn't an obstacle for the listener to distinguish pretty decent American speed/thrash metal, nice reminders of the glorious 80's.

A Reclamation of Power EP, 2009

My Space

TREACHERY (FINLAND)

Based on the "Tomb of Mankind" demo, this act play heavy stomping retro thrash in the vein of Cerebral Fix plus the obligatory more intense cut: the title-track which is Slayer-esque aggression all the way through. The singer shouts in a vicious forced manner rending his throat to the maximum. The band are now known under the name Architorture with one demo and one EP released at this stage.

Tomb of Mankind Demo, 2008
Skeleton Transformer Demo, 2008

Official Site

TREACHERY (USA, AZ)

Based on the "Innocent Bystanders" demo, this band play standout up-tempo thrash in the Bay-Area tradition: think Forbidden's debut, Vio-Lence's debut; great hard-hitting riffs aplenty and very powerful vocals ala David Wayne (R.I.P.). The tempo often goes into more aggressive territories ("Victim of Age", the title-track) where all-out speed becomes the order of the day very quickly. "Death by Napalm" might disappoint you in the beginning, especially after the title gives so much promise, starting like an ordinary power metal number, but then the guitars start raging and you're completely sold again.

Innocent Bystanders Demo, 1989
Superstition of Reality Demo, 1992

TREACHERY (USA, PN)

The debut demo: an excellent effort coming in the middle of the aggro-thrash fever to blow your socks off with compelling technical riffs, something pretty unusual for the mid-90's. This is pure classic stuff, very well-executed with hectic tempos, complex riffs, technical leads of the semi-screaming type, and very good dramatic clean vocals. The guys change pace, and the overall approach will remind you of the early technical exploits from the US scene (Ulysses Siren, Have Mercy). The band pull out two elaborate technical thrashers before settling for more straight speed/thrash metal on the Forbidden debut-worships "Crawl Back In Your Hole" and "The Freak Show". "Resession In Progression" is a slower more technical stomper with a faster twist at the end, and "Shadow Of Machine" hits the top with its complex structure, clever guitar decisions, and the nice balladic break. "More Than Meets The Eye" is a 1-min closing track of the fast technical kind which delivers although it leaves a certain aftertaste sounding like a draft for something more complete, which never materialized. Certainly, music of the kind, despite its undeniable qualities, could hardly impress anyone at that time so it should come as no surprise the guys' disappearance after this effort.

More than Meets the Eye Demo, 1994
Resession In Progression Demo, 1995

TREASON (UK)

Two songs of dynamic power/thrash along the lines of their compatriots Toranaga; so expect a few vigorous gallops and several intense mid-paced shreds the music cavalcade assisted by attached semi-clean vocals which aren't very melodic, but suit the moderate musical proceedings. In the new millennium after the reformation in 2009 the band took the progressive metal path for the release of three full-lengths.

Path of No Return EP, 1992

Official Site

TREATMENT (FINLAND)

Based on "Sagacity", this act provide modern power/post-thrash with cool melodic leads and not bad semi-clean emotional vocals. THe delivery is pleasantly mid-paced without any extremes, and bits and pieces of it ("The Truth") may as well recall the goth-metal movement (HIM) from the guys' homeland, including on the more elaborate, progressive-tinged material ("Dorian Gray").

No Way Out Full-length, 2015
Sagacity Full-length, 2020

Official Site

TREBLINKA (CANADA)

Based on the "Trial of War" demo, these guys come up with good aggressive thrash which is never too fast or brutal, but the guitar sound has this sinister, heavy quality resembling Possessed's "Seven Churches". Moments of early Slayer (in the vocal department, too) and the Dark Angel debut could also be felt. The music varies nicely from faster to quite heavy crushing ones topped by cool short leads.

Trial of War Demo, 1987
Demo Demo, 1989

TRECE X (MEXICO)

This is fast thrashcore with casual proto-death overtones also coming from the raw shouty vocals which try to overtake the space "quarrelling" with the noisy buzzy guitars to no avail. The guys never drop the intensity down lashing out with a clinical sterile guitar edge which may place the approach more on the modern side despite the sincere old school attitude displayed all over.

Mmx-d Demo, 2010

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TRECELENCE (USA)

Based on the full-length, this hugely talented formation come up with state-of-the-art technical/progressive speed/thrash which wastes no time perplexing the listener from the get-go with the multi-faceted opener "Into The Gateway"; the base is quite fast for most of the time, and the delivery on "Shrapnel Surroundings" becomes too labyrinthine to be followed without a guide... kidding, of course, but the guys are clearly aiming at the thinking side of the metal audience, and those are the ones who will embrace mind-scratchers like "Corpratocracy" (ignore the quiet balladic into on this one) which thrashes hard with spinning, overlapping riffs and swiirling semi-lead passages. "Agenda 21" is hectic highly-stylized thrashism which twists and turns in least expected ways without calling speed for help a lot. However, the band are reluctant to go through the motions without bashing hard, and the fast-paced formulas are brought back right after on "Burning The Pendulum" and the complex cacophonic speedster "Under The Elusive Sky". "Battle Beneath The Skull" relies more on dramatic crescendos leaving the bigger dynamcis for the closing "Aridscape" which speeds/thrashes ahead with a solid portion of vitriolic super-technical riffage the latter carrying this grand effort to the very high echelons of the thrash metal circuit at present, and not only. If this is just the beginning for this band, then one should expect a lot of marvellous exploits from them in the future...
The EP is more than an audacious beginning for these auteurs who shred like demented on the opening "Conjurments of Destruction" making this cut a most shining example of their flamboyant, also highly energetic style the musical panorama aptly guided by the very good high-strung clean singer. "Disvoltaic Age" comes crushing with fast lashing guitars which weave maddening technical vortexes with memories of Toxik, Terrahsphere and Midas Touch. Crazy technical rifforamas which grow into "E.S.T.", another feast for the ears with its spiral-like rhythms and impetuous gallops in the second half. "Embryonic Uprisal" also relies on the aforementioned gallops to pull it through, but later on the band unleash a cavalcade of dramatic intricacy which cold put even acts like Deathrow and Realm to shame. The final "Releasing The Alliance" is no sloucher, either, moshing in a more moderate mid-paced fashion, another portion of intimidating steel gallops lying in wait in the middle, before the band start thrashing with the utmost intensity and virtuous melodies floating around in quick succession, the guys ambushing the listener further with undecipherable technical riff-formulas until a section of screamy leads comes to the rescue. This is nothing short of outstanding the band creating one of the most impressive displays of musical complexity on the scene in the new millennium.
The "For I Am the Eyes" EP is another excellent display of the guys' dexterity, the steel galloping shreds of the title-track easily capturing the listener's imagination; more infernal intricacy follows suit later alongside less rigid speed metal excursions before "Divide to Conquer" enters and unleashes a vitriolic spastic tech-thrash assault in the best tradition of Toxik. Insane speedy stuff which carries on on the vehement wonder "Blood Moon" which has to overcome an atmospheric balladic intro before surrendering to multi-layered progressive thrashisms and furious entangled rifforamas those smelling Shrapnel virtuoso pirouettes for a bit.

Acidic Demise EP, 2013
Justified Atrocities Full-length, 2016
For I Am the Eyes EP, 2019

Official Site

TREMESCUM (GERMANY)

This German outfit specialize in intense melodic modern thrash/death where the guitarists try to show all their skills fairly early filling the first couple of cuts with loads of classical elements. Ironically, they seem to have depleted their arsenal with those since at some stage the delivery becomes very ordinary and remains this way until the arrival of "Nihil" which is the highlight here, a nice dynamic technicaller. A confusing, unfocused effort as a whole sounding as though the band have recorded various section at different times, a presumption also prompted by the difference in the sound quality between separate tracks. Some of the musicians also play with the death/thrashers Entorx.

Throw Full-Length, 2011

Official Site

TREMOR (HUNGARY)

Based on the demo, this is quite cool 80's thrash metal with a dark atmosphere somewhat reminiscent of the Polish band Hellias (their early works) or Raise Hell (but with less sharp riffage), with a nice balance between slower stomping riffs and faster headbanging ones. The vocals have this meaner black-ish tone, and the lead guitar work is particularly good.
"Homoflyba menet" is another very good dark, gothic thrash effort, richer in atmosphere than the demo, but not forgetting to thrash admirably with fine intense pieces like "Homoflyba Menet" and the excellent, Necrodeath-influenced "Orokolt Hanyatlas". The other songs are mostly in the mid-tempo with slow, almost doom passages, topped by the unholy black metal-ish howls of the singer.
"Thrashtamentum" aims at more aggressive territories, and as such is the band's most brutal effort. The music is very fast "courting" death metal much more, but one could hardly complain after hearing the ligntning speed delight "Nem Leszel Torveny", which finds time in the middle to remind of the band's interest in a more formal gothic sound, or the dark technical "Foldjeim Embere Terdre! (Gaia)". "The Restless" successfully mixes raging thrash/death with gloomy orchestral gothic near the end, giving way to the English version of the aforementioned "Foldjeim Embere Terdre! (Gaia)", aka "Man Of My Lands, Kneel! (Gaia)".
"A Falakon Belnl" is another speedy affair more clinging towards thrash again recalling late-80's Kreator quite a bit including in the vicious screamy vocal department. Sparse "moments of clarity" can be heard: "Nyugat Longja" which is a mid-paced offering with a maddening proto-death finish; but the rest is wild thrash, both extreme and controlled aggression served in big dozes. The speed of light is easily reached on the lightning speedster "Hetedik (VTgs) menedTk)" and especially on the insane shredder "Alomlato", and a few other numbers aren't too far behind the only more dragging moment being the dramatic mid-pacer "Add Meg...". The final "Vad Szabadsug" is another merciless piece which will seriously sprain your neck, another proof that this effort is truly one of the finest releases of the genre to ever come out of Hungary. If "Pleasure to Kill" would be remastered by Mille and Co. nowadays with a boosted guitar sound and a modern production, this is how it would sound like... a pure classic thrash metal fan's pleasure.

Elveszve Demo Demo, 2001
Homoflyba Menet EP, 2003
Thrashtamentum EP, 2005
A Falakon Belnl Full-length, 2008

Official Site

TREMOR (INDONESIA)

Based on the full-length, these folks provide a modern-ish brand of power/thrash/death metal which is built on melody more, but there's enough energy in pieces like "Hey Penguasa" and "Depresionisme" the band moshing with passion, complicating the environment on semi-technical shredders like "Mati Suri". The vocals are harsh raspy, more on the black metal side, but kind of match the versatile musical scenery. Some of the musicians are also involved in the metalcore outfit Aftercoma, and the death/thrash veterans Betrayer.

Awal Kebangkitan EP, 2016
Penguasa Full-length, 2018

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TREMOR (TRINIDAD AND TOBAGO)

Based on "5.8", these guys offer cool dark progressive power/thrash metal with nice clean mid-ranged vocals. "Disembodied" smashes with heavy doomy, but at the same time melodic, riffs, only to give way to the speed metal delight "Seek". "J" is a calmer progressive track ala mid-period Fates Warning, and up to this point one may be confused as to how to exactly label these guys. "Deceased" brings back the heaviness from the opener, but nothing really thrashy happens. "Final Strike" is a sinister power/thrasher with epic overtones, influencing the next "Warriors of Steele", which is a tad more melodic, with very good vocal performance. The closing "Tremor" is exemplary progressive power/thrash in the best tradition of the Swedes Pathos and later-period Hexenhaus, a great blend of sharp and heavy riffs, finished with a nice balladic outro. It would be interesting to track the other albums down, and also finally acknowledging the existence of a Caribbean metal scene, which judging by this band, should not be ignored.
"Crawl From The Wreckage" is of a worse sound quality and offers a milder sound obviously influenced by Iron Maiden (check out "The Hunted") both vocal and guitar harmony-wise, and as a whole there's not much thrash metal to be heard the music being safe progressive heavy/power metal also recalling the 80's American power metal scene (Jag Panzer, Griffin). The tempo is mid the whole time with nice semi-balladic moments on "Angels Watching" with the doomy tendencies having not been fully developed at this stage yet.
"Rebirth" is a heavy steam-roller which marches on with formidable volcanic riffs which at times gallop with the best ("Reaching the End"), at others pull out admirable technical riffs ("Ride for War") with a sinister shade. Romantic moments like the semi-balladic "Where is Home" are a rarity, so are remastered versions of an old material (the final "The Hunted") which in this case is served almost unaltered, maybe with a subtly accentuated more thrashy edge.
"Fragmented": the death metal vocals have been epitomized fully now which can be grating on the nerves as the music has nothing to do with death metal. Not that the music is anything special the guys mixing dubious epicers ("Metal Warriors") with marginally more effective doomy pageants ("Darkness Descends") and abrasive rowdy thrashers (the title-track). The second half picks more energy thanks to the hyper-active "Ascend from Beyond", but watch out for the soothing innocent ballad "The Innocent Youth"... a more convincing, cleaner soulful vocal performance on that one, though.

Crawl From The Wreckage Full-length, 2004
5.8 Full-length, 2006
Rebirth Full-length, 2008
Fragmented Full-Length, 2019

Official Site

TRENCH (AUSTRALIA)

These Aussies deliver heavy groovy modern thrash which isn't stale and trite, but offers a few more intriguing riffs, like on the opening "War Audio" and the twisted doomster "Life of Agony". "Ego Fuck" is an interesting ballad, and "Bleed" later is a creepy strange proto-doom metal cut, but the whole album has this unfinished aura as though the guys were not intent in making a full-time career out of this music, but just sat down one day and came up with this...

Scarification Full-Length, 1995

TRENCH HELL (AUSTRALIA)

With musicians coming mostly from a death and black metal background, among whom one can not help but notice the presence of Hexx: the new black metal guru on the Australian black metal underground, also having taken part in the spawning stages of the Toxic Holocaust career, what could we expect here? This is jolly Motorhead-influenced proto-thrash bringing also the Canadians Exciter to mind. In the more intense sections one could hear early Destruction riffs, too.
The EP is a further elaboration on the music already heard on the demo; early Exciter-worship, well done, thrashing a bit more intensely at times ("Armoured Fist"), also "courting" the early German speed metal scene ("Last Rites").

Alcoholic Disaster Demo, 2004
Southern Cross Ripper EP, 2008

Official Site

TRENCHFOOT (BELGIUM)

A blitzkrieg 3-song demo of heads-down classic thrash; good fast-paced stuff, with some crossover atmosphere ("Putting Out The Fire (With Gasoline)") present, and cool vocals reminiscent of John Bush (Armored Saint, Anthrax), but gruffer.

Demo Demo, 2007

My Space

TRENCHGRINDER (USA)

The demo: this act is the continuation of the thrash/crossover formation Atakke. The guys have become more aggressive here opting for a more brutal death metal-laced sound, and generally there's a lot of mindless bashing on this short effort which awkwardly gets mixed with some crossover/hardcore "remnants" the only more sensible moments being the intense melodic death metal cut "War to Wage" at the end. The rest is quite messy both music and vocal-wise.
The full-length features more controlled barrage the guys trying to balance between rigorous brutal proto-deathsters ("Lay the Earth to Rest") and battle-instigating epic steam-rollers ("Deterrence and Retribution") ala Bolt Thrower. The latter side seems to be taking more room with the varied stomper "Waking Terror" leading the pack there although cuts like the short furious title-track try to disrupt the heavy monolithic "idyll" which is finished by the excellent doom instrumental "Desolation", another stylish nod to the mentioned British legends.

Demo Demo, 2011
Peace Is Forfeit Full-length, 2017

Official Site

TRENCHWAR (TURKEY)

The debut: crisp ripping old school thrash comes out of the Bosphorus, the band lashing in a direct orthodox fashion, alternating speedy ("Kill") with more moderate heavier ("Rape of the Week") pieces. The length of the songs may create the impression that this is complex progressive stuff, but no; this is pretty much right as rain retro music with "Thrash not Trash" simplifying the proceedings to even more concrete headbanging dimensions. The harsh semi-shouty death metal vocals serve their purpose all around, trying to actually sing on the few mellower moments (the closing "Trenchwar").
�From the Earth to the Moon� follows a similar trajectory, the atmospheric title-track and the slow-burning march �Shock Doctrine� usurping the reign of the intriguing �Benevolent Businessmen� and the hectic pulverizer �The Nailing Killer�. The more stylish meanderings of �Trash Not Thrash� will remind of the Bay-Area brotherhood, whereas the 8-min closer �In the Grip of Cult� will bring the ships of doom at your door in a steady near-hypnotic manner.

Criminal Organizations Full-Length, 2020
From the Earth to the Moon Full-length, 2024

Official Site

TREND (DENMARK)

Heavy 90's groovy post-thrash, a combination of Helmet and mid-period Machine Head, but the Danes sometimes take a more alternative turn, not too far from Rage Against the Machine. On the other hand, there are pure stoner/doom compositions present: "Untouchable". Don't bother...

Bitch Full-Length

TRENDKILL (NORTHERN MACEDONIA)

Based on "Colors of Self", this band play a modern/classic thrash hybrid which has its more ambitious, semi-technical side ("Agent na Smrtta"), but it's the short non-fussy trouble-makers like "Nikogas Poveke" which create a bigger stir, the steady semi-declamatory hardcore singer making himself heard without actually singing much. The dynamics disappears in the second half the guys settling for a not very exciting mid-tempo trot, the bouncier "Punishment" the finest occurrence here, if we also exclude the short thrashcore explosion "We Will Rise".

Nothing to Prove EP, 2014
Colors of Self Full-length, 2015
Never a Victim, Always a Renegade Full-length, 2020
Colors of Self Full-length, 2022

Official Site

TRENDKILL COWBOYS REBELLION (INDONESIA)

Based on "Anti Image", this formation indulge in a not very even mix between groovy post-thrash and less bridled hardcore. The order of the day is far from originality, and it's kind of sad the that the energy from the beginning hasn't been so well translated later where the delivery becomes too sluggish and plodding.

Tiff & Liberation of Ego EP, 2007
We Are Cowboys Full-length, 2011
Siapa Suruh Datang Jakarta Full-length, 2013
Anti Image Full-length, 2015

Official Site

TRENDKILL METHOD (LATVIA)

Based on "Affective Arousal", this Latvian sextet pulls out predictable modern thrash which is both groovy and melo-deathy both sides alternating throughout, both graced by heavy sharp riffs and forceful angry vocals.

Methodistortion Full-length, 2005
Affective Arousal Full-length, 2011

Official Site

TREPANACIA (RUSSIA)

This underground trio will offer you retro thrash in a dark brooding form with lighter crossover tones which on the other hand come fully compensated by the more frequent extreme proto-death passages. Apparently influenced by the later works of their compatriots Front, the guys continued raising the thrash metal flag high under a different name through the 90's and the new millennium: D-Ozz, with two released full-lengths so far. Reportedly the style there isn't too dissimilar with a few modern throw-ins.

Bezumie Deystvitelnosti Demo, 1994

Official Site

TREPANADOR (ARGENTINA)

Quite good obscure album of intense thrash with slight shades of death metal sitting between the modern and the old school. The guys spare no speed, which works just fine, combined with the more technical riffs. The slower heavier numbers ("Presagio") aren't as striking being more standard. Suddenly will one come across pure galloping thrash delights ("Prisi=n Racial"), or explosive Slayer-esque ones ("Sentencia"), with also nods to the Slayer late-80's period ("Enjambres De Obsesion").

Prision Racial Full-length, 1996

TREPHINE (USA)

Modern thrash/death which seldom abandons the trite Swedish school formulas, but when it does ("Ingested and Enslaved") things become more intriguing. The singer is a near-hysterical deathy shouter, and the cleaner vocal inclusions are way more preferrable, the choppy semi-technicality of a couple ("Pieces of You (On My Skin)", "Bastinado") more than welcome to disturb the prevalent ordinary shenanigans which reach a minimalistic quasi-doomy wrap-on with the elegiac "This Is the End".

A Nightcap of Endless Suffering Full-Length, 2019

Official Site

TREPONEM PAL (FRANCE)

This is weird but truly captivating, abstract progressive proto-thrash which is based around surreal signatures and heavy, at times dissonant riffs, which shares some of the twisted genius of mid-period Voivod (circa "Killing Technology" & "Dimension Hatross"), but the music on offer here is less dynamic at times adhering to hypnotic guitars with a genuine industrial vibe which makes the guys pioneers in the industrial metal genre right beside Ministry. The fastest tracks are shorter and mid-paced at best, whereas on the other extreme we have the mechanical doomster "Low Man". The singer has the perfect dispassionate robotic voice pulling out an interesting semi-declamatory performance. Later the band incorporated those industrial elements more fully and became one of the stalwarts on the industrial metal scene worldwide although their appeal diminished in the late-90's due to the more dancey approach they took to the style on their last album.

Treponem Pal Full-Length, 1989

TRIAL BY COMBAT (USA)

Based on the full-length, this act serve intense blitzkrieg modern thrash which is accentuated by short explosive cuts ("Drumbeat Of Our Demise", "God Delusion"), the shouty death metal vocals doing additional damage on the side. The dazzling virtuoso lead sections on "Exsanguination Excite" are just one of the displays of proficiency here, the guys relaxing with the less serious crossover-prone "Consumed By Darkness", the fiesta acquiring jumpier more technical parametres on the shape-shifting shredder "Shapeshifter".

Theater of War EP, 2013
Consumed by the Darkness Full-length, 2020

Official Site

TRIAL BY STONE (USA)

Based on the first demo (both demos only share the title, no tracks), this band play modern thrash/death metal which has its own face brought mostly by stylish technical riffs ("Loss for Words", which isn't an Iron Maiden cover). "Skinfection" is a very good epic thrash opus, graced by cool emotional clean vocals which accompany the main low-tuned death metal growls. "C.U.N.T" is a good take on the war metal of Bolt Thrower, and has no relation text-wise to the 4-letter word it alludes to.

Trial By Stone Demo, 2004
Trial By Stone Demo, 2005

Official Site

TRIAL BY TERROR (USA)

Expect your average modern, generally fast-paced, thrash with a few classic references (the headbanging Bay-Area delight "Drag You to Hell"). The band know their craft and the guitars cut like a knife aptly boosted by the production which also gives advantage to the stylish melodic leads. The singer delivers with his forceful semi-clean tone trying to emit more passion with the casual semi-shout.

Trial By Terror EP, 2012

TRIALS (USA)

The debut: a typical modern thrash offering with both metalcore and more technical leanings, but the guys are too lazy to put more speed into the proceedings the overall pace being mid with rhythmic jumps, melodic leads, and the staple gruff-melodic vocal duel.

"In the Shadow of Swords" is already a blend of thrash and death metal, again on the modern side, but the technical approach has been increased resulting in jumpy mid-tempo sections which are plagued by too much groove at times to strike a cord. At least one number comes with all the guns blazing: "All the Promises", an explosive later-period Death worship, an immaculate shredder with some great hooks. It's a pity that this example isn't followed later although the Judas Priest cover of "Jawbreaker" at the end is not bad at all delivered with panache and an appropriate modern spirit the leads being particularly good. The clean vocal participation is more frequent now, but this singing side is better giving an elusive emotional aura to the album.

Witness To The Downfall Full-Length, 2011
In the Shadow of Swords Full-Length, 2013

Official Site

TRIALS & MEMORIES (USA)

A very good 4-track EP of progressive power/thrash with several more intense death metal insertions; the guys prefer the longer, epic arrangements, so all the compositions are long with technical and aggressive sections intercepting each other the whole time, assisted by cool melodic hooks. "The Warning" features a very cool doom intro and outro, whereas "Crematoria" is a more dynamic thrashier piece. Still, the dominant tone is pretty officiant with doom metal taking the upper hand on quite a few times, supported by the very good clean vocalist, whose high-pitches are particularly effective, both emotional and foreboding. This is a compelling, engaging listen owing a lot to the Swedish scene: Hexenhaus' "Dejavoodoo", Pathos, Memento Mori; the Greeks Heathendom and the Americans Execrator as well. There are several genuinely original ideas here which would be a strong backbone for an eventual full-length.

Into The Night EP, 2011

Official Site

TRIBAL BONES (CANADA)

Modern abrasive thrashcore which is not a stranger to a couple of more classic-inclined moments, but generally the band follow their own path blending friendly proto-groovy pieces ("Scream", "Traitor") with more aggressive thrash-prone outbursts ("The Game", "T-Bone") the latter more suitable for the gruff subdued death metal-ish vocals. The delivery isn't very intense which is a pity as the album could have benefited from a few more brutal excursions.

Not Me, Just Us Full-Length, 2018

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TRIBE (USA)

Modern thrash which relies on lengthy semi-technical compositions, the major pullback being the harsh shouty death metal vocals. The delivery could have benefited from a more energetic delivery, though, as now for most of the time what one will hear is crunchy mid-tempo riffs with "Requiem" speeding up with more dynamic decisions, the other piece worth mentioning being the 9.5-min saga "The List", a diverse twisting cut with echoes of Metallica's "...And Justice for All".

Disputed Terrain Full-Length, 2020

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TRIBULANCE (USA)

A nice little effort springs up from the dark mid-90's to offer good classic doom/power/thrash metal. The music is mid-tempo clinging more towards power metal with a nice bass bottom and good clean high-strung vocals. "Trials & Tribulations" is a cool dark crusher with progressive arrangements recalling Sanctuary's "Into the Mirror Black", and stands for the highlight, with the excellent doom ballad "Outkast" a close second where the singer truly shines. Make sure not to miss the odd cover version of Richie Valens's "La Bamba" near the end which, alas, is made in a clumsy power metal spirit lacking the vigour and spontaneity of the original, and may be considered a drawback.
"The Aftermath of Lies": the guys are back from the dead with a brand new opus, and they haven't forgotten how to play some really cool old school power/thrash as evident from the vigorous opener "Oblivious". Most of the epic swagger of the older material comes back with "Conflict" and the rousing title-track, and this is the dominant tone for this effort the band not very interested in exploring their thrashy nature "Cause And Effect" being the other more aggressive shredder. Otherwise everything else is perfectly in place, including the very good clean dramatic vocals and the heavy sharp riffs; it's just that this is the good old US power metal for most of the time.

Trials & Tribulations Full-length, 1995
The Aftermath of Lies Full-Length, 2016

Official Site

TRIBULATION (SWEDEN, Arvika)

Based on the "Putrid Rebirth" EP, this band pull out cool thrash/death metal the way it was meant to be played in the early stages of this particular genre; think the French side of the style: Massacra, Aggressor, Loudblast. This is heavy, but also quite brutal at times, stuff featuring nice speedy guitar work akin to the German heroes Kreator and Sodom.

Aggression Within Demo, 2001
Agony Awaits Demo, 2004
The Ascending Dead Demo, 2005
Putrid Rebirth EP, 2006

Official Site

TRIBULATION (SWEDEN, Surahammar)

Thrash/crossover band similar to early D.R.I. with too many punk-ish overtones.

Clown Of Thorns Full-length, 1991
Spicy EP, 1994

TRIBUNE (CANADA)

This outfit undulges in modern power/thrash which at its more stripped and direct ("The Succubus") can make quite a few heads bang with passion. Things are also attractive in the other sector where long, more elaborate compositions belong: "Chemistry Arrives", which is a seamless blend between raging thrash with classic overtones and heavy, dramatic sections; "The Warrior Mentality", which relies on more technical riffage and a few captivating melodic tunes. "Below" is the underachiever here, a dragging uneventful groover lasting for nearly 7-min, and although later on the guys never flop this way, the remaining material kind of loses its initial sparkle including the closing 9-min opus "The World's Greatest Cynic" which thrashes harder here and there, but most of the time develops like a pensive progressive piece. The two vocal styles don't leave a very positive impression, either: one is of the clean, alternative kind; the other is a pure brutal low deathly growl, both intercepting each other at the last appropriate time. There are bright ideas here, and more coherence and consistency for the future would only put the band on a higher level.
"Tales" serves another portion of "tales" which are epic-decorated sustained in a not very dynamic mid-tempo in the 1st half the sudden faster outbreaks ("Insectoid") not carrying a lot of charge either. "The Butterfly Effect" has a more positive "effect", though, with its intense speedy passages which grow into the dramatic hectic semi-technicaller "From Funeral to Funeral". "Horror" is an unexpected technical thrash/deathster its jumpy aesthetics partly influencing the following "King of Ithaca". Near the end the guys lose it bringing back some of the groove from the debut indulging in not very exciting rifforamas with a thin progressive edge on the closing dreamer "That Bleakest Shore".

Elder Lore/The Dark Arts Full-Length, 2012
Tales Full-Length, 2013

Official Site

TRIDENT (RUSSIA)

Based on "Coma Dance Core", these guys specialize in modern post-thrash of the creepy minimalistic kind with abrasive guitars, funky/jazzy variations, semi-technical sleepers ala Prong ("Direction"), occasional stylish explorations in post-apocalyptic technical thrash ("A Zero-sum Game") ala mid-90's Voivod, or discordant chaotic, but strangely listenable, abstract pieces ("Chain") in the vein of Treponem Pal. Unfortunately, displays of bad taste aren't spared, like the very dreamy spacey 8-min ballad "But Why" (yes, indeed, guys, why!?), for example. Still, fans of the mechanized robotic side of the genre will by all means be entertained by this intriguing futuristic blend topped by cold indifferent gruff vocals.
"Personal Zone" is a very "personal zone" for the band who again indulge in their minimalistic eclectic landscapes which should have no problems finding a dedicated fanbase among the industrial metal lovers, above all, who may find their new hymn in "I'll Pray For You", an unnerving shredder "marrying" Ministry and Prong in an everlasting bond. "Control Of Decay" is a stylish balladic ambient experimentalism, quite a surprise, the "oasis" amidst the cold mechanical domination. Another robotic "monster" arrives later, the title-track, which marches on with dispassionate sterile guitars again recalling Treponem Pal; before cold twisted thrashing ala the Japanese Doom comes served as a finishing touch on the final "Worms Of Premonition". This is a fairly original listen, and it would take a bit of time for one to fully understand it, but the listener would more likely be rewarded for the invested time in the end.
The demo is the first step of the band into the music field, and it's obvious that at this early stage they were just a bit more than mere noisemongers with a penchant for wild thrash/death bash which makes sense at times, actually, and some appetizing melodies can be caught (the excellent balladic break the title-track, for example). "Gibel Bogov" is quite a stylish technicaller which gives a big boost to the remainder which also features the wild proto-deathster "Ne Budem Vinit", the technical shredder "Krovavie Bukvi", and the hectic Atheist-worship "Volchica". The sound quality is too shabby making the guitars inordinately screamy.
"Face of Industry" is a modern industrial progressive thrash masterpiece, a statement made immediately with the brilliant Treponem Pal-esque opener "Acceleration of Temporality", a volcanic hallucinogenic shredder which sets the tone for the dense industrial miasma that follows. Expect robotic stompers ("S.E.B. (Systematic Error Brain)"), hypnotic mechanical doomsters ("Leprophesy"), weird seismic shredders ("Vae Belligerentis"), and everything in-between. "No Fear, No Pain" is another glorious reminder of he aforementioned French titans with its futuristic atmosphere, and "The Road Not Taken (Jimm Beam)" is a more optimistic frolicer its merry mood clouded by the doom-laden opus "Recovery Impossible". The guys continue to expand the boundaries of what's possible within the metal confines, and as such remain one of the most original practitioners from the Big Country.

Sluga Diavola Demo, 1992
Amnesia EP, 1994
Nothing Sweet As Suffering Full-length, 1994
Hatechild Full-length, 1995
Sheila Full-length, 1998
Coma Dance Core Full-length, 2010
Personal Zone Full-length, 2015
Face of Industry Full-Length, 2017

Official Site

TRIEKONOS (GERMANY)

Pleasant feelgod thrash which crosses the old school with the modern trends recalling more recent Paradox on the better moments. There's some cheesiness sneaking in echoing the 90's power/speed metal scene also reflected in several balladic moments (the tender 5.5-min ballad "Insanity"), but few will complain on the energetic speedster "Open Your Eyes". Still, at least half of the album develops in a not very interesting merry mid-paced fashion sounding like a lesser Perzonal War. The singer tries the hardest and his attached melodic antics are the highlight.

Stranger Full-Length, 2014

Official Site

TRIGGER MADE SOLUTION (PORTUGAL)

This is modern, generally mid-tempo, thrash with a few jumpy decisions and really brutal death metal vocals which are interrupted by melodic clean ones at the most inappropriate times. Otherwise the music isn't terribly bad if we exclude the several dragging, slower passages. The riffs are pretty sharp, their cutting qualities more evident on the more technical piece "Cracks In The Hourglass".

Bound At Birth EP, 2011

TRIGGER MEKANIZM (USA)

Pull the "trigger" , and you'll get a portion of "mekanical", but also quite energetic at times, modern post-thrash/thrash which tries to be choppy and not very predictable its less ordinary character also aggravated by the cool clean vocals served as a "companion" to the harsh deathly ones. "Never" is a curious progressive saga which sadly abandons the more forceful fast-paced approach for the sake of more abstract build-ups which later can be heard in other songs reaching the culmination on the 11-min closer "The Return Of The Kraken" which is a sleepy pensive extravaganza without any clear highlights.

Trigger Mekanizm Full-Length, 2014

Official Site

TRIGGER ZONE (USA)

There's very little information about this band on the net, but the "Best Of" compilation which is in circulation, displays a really good outfit with a style varying from power metal ala Metal Church ("Bone Crusher") to pure high-octane American power/speed metal numbers in the Omen, Helstar vein ("Trigger Zone 88X"), to awesome sophisticated technical thrash ala Forbidden and Megadeth ("Chaos"); "Procrastination Wall" and "Day for Fighting" offer more aggressive and faster guitar work, accompanied even by some blast-beats: great headbanging stuff. The singer is a find as well having a very powerful timbre similar to David Wayne (R.I.P.), maybe cleaner and more melodic.

Demo Demo, 1994
Bone Crusher Compilation, 2009

Fan Site

TRIGUNA (USA)

This young outfit offer aggressive classic thrash/death with deep guttural death metal vocals. The production is a bit messy with bad hollow-sounding drums being the main detriment, and stands on the way of the musicians who still play on unperturbed changing the pace on those short (2-3min) numbers where hysterical screechy vocals also appear to stifle the main ones. "Abandonment" is a cool semi-technical cut, and "Digital Magic" is an ambitious 11-min progressiver with clever arrangements and cool twisted decisions.

Embyronic Forms Full-Length, 2015

Official Site

TRINITY BURNING (UK)

This is dark gloomy retro thrash which "benefits" from the raw production quality sounding like a recording from the early/mid-80's with the same bashing aesthetics like the early works of Whiplash and Possessed. The music gradually starts to acquire more sensible dimensions ("In The Shadow of Paramount Deng Xiaoping") in the middle with more melodic tunes and more elaborate arrangements: check out the progressive doom/thrasher "Half Mile Square". Near the end the less merciful "attack" returns the guys pouring fiery riffs all over pulling out one more stylish track at the end: "Cut Down The Tall Trees" which exits the album with a pile of steam-roller riffs on a dramatic base. The singer doesn't really shine with his low-tuned death-ish semi-recitals which are barely audible for most of the time.

The Genocide Manual Full-Length, 2011

TRINO (BRAZIL)

Based on "More than a New Life", this act provides derivative one-dimensional groovy post-thrash seldom livened by more dynamic thrashy sections. The guitars crush and the singer is reasonably angry, but this has been heard many times before. Some of the band members also keep themselves busy with the modern death metal outfit Puritan.
"Evora" is a similar animal if we exclude the few more aggressive thrashier outbursts ("Darkest Before Dawn") which bring the necessary dynamics and even a touch of technicality, probably influenced by the more visionary musical delivery. The final result is more impressive overall the intensity seldom dropping in the 2nd half despite the several steam-rolling passages which come served with a pinch of doom.

Suffocated Breed Full-length, 1999
More than a new Life Full-length, 2001
Opositpo Full-length, 2003
666 Corporation Full-length, 2006
Evora Full-Length, 2009

Official Site

TRIOXIN (NORWAY)

This is a 3-tracker of heavy mid-paced modern thrash topped by intimidating shouty death metal vocals. The consistent pounding receives a virtuous bass ornamentation on "Exhortation", and a couple of intriguing sterile semi-technical shreds on "Spiteful Remain". This act was derived from the black/thrashers Cobolt 60, and as of present the musicians are playing with the death metal outfit Blood Red Throne and the black/thrash hybriders Valdaudr.

Repugnance Factory Demo, 2004

Youtube

TRIPA DE ALIEN (ARGENTINA)

This Argentine trio pull out abrasive wild classic thrash/death which goes through the motions in a brutal unceremonious manner, the curt non-fussy cuts "El Ritual" and "Tripa" tamed to an extent by the meeker thrash/crossover shenanigans of the title-track and the stomping seismicity of "Involucion". A few live renditions come in the second half, following the same aggressive formula, "Inyeccion" and "Siento Como que la Sangre" ravaging the stage with their unbridled demeanour, the threatening hardcore vocalist leading the show with semi-declamatory belligerence.

No Habra Misericordia Full-length, 2023

Youtube

TRIPHAMMER (USA)

A not very known demo of heavy proto-groovy post-thrash/post-death which rolls forward with volcanic mid-tempo riffage which doesn't change too much throughout assisted by gruff semi-death/semi-shouty vocals, interestingly recalling the most renowned attempt at the style, Massacra's "Sick", predating it with two whole years.

Demo Demo, 1992

TRIPLE 7 (HOLLAND)

This band is a side project for two members of the retro thrashers Engine of Pain. With Engine of Pain the guys managed to enter the official release-circle whereas with Triple 7 they are still on a demo stage. The style here has very little to do with the classically-inclined one of the other band; this is a modern-sounding mixture of power and thrash metal with heavy groovy parts and cool technical guitar work recalling the Canadians Obliveon's later period, and Voivod's 90's works with Eric Forrest.
The "Witness Of A Dead Creation" demo, for example, is the most aggressive offering the band thrashing with style on the mechanical shredder "The Revolutionist" which remains the most interesting composition here, the others being kind of clumsy with repetitive mid-tempo guitars and not many exciting deviations. The singer isn't bad, though, with his emotional deep Peter Steele-sque (R.I.P.) baritone.

Witness Of A Dead Creation Demo, 2001
Recognition Demo, 2003
Pieces Of Me Demo, 2004

Official Site

TRIPLE KILL (AUSTRALIA)

Based on �Blackened Dawn", this is modern power/thrash that spares no one on the overtly rowdy �...And Hell Followed With Him�, a more sincerely thrashy proposition tamed by the more epically-assembled �Shai-Hulud� and the heavy dramatic �Weight of Eternia�, �Torn� carrying the laurels for the finest cut here, a rousing sweeping composition with a restless sizzling engine. �Hymn, At Parting� tries again something for the headbangers, its restless rhythms mortified by the pensive doom veneer of the closing �Dust�, the cool composed mid-ranged singer a valuable presence all over. Some of the musicians are also engaged with the heavy metallers Black Mayday.

The First Kill EP, 2017
Age of Rebellion Full-length, 2018
Blackened Dawn Full-length, 2023

Official Site

TRIPTOME (ARGENTINA)

Based on the 1992 demo, these folks deliver a rough blend of classic speed/thrash and modern 90's groove, the former side by all means the more appealing one with ripping energizers like "Aleman" and "No Creo Que Pase De Hoy" amply provided on top of several more thought-out attempts ("Corfani") at semi-progressive song-writing. The vocals are hoarse shouty semi-clean ones and at times create quite a bit of noise.
Based on the "Los Tigres" demo, these folks deliver bluesy soulful 90's post-thrash, calm moderately jumpy music which contains a few genuinely energetic moments ("El Odio"), but the remainder is a blend of the garage rock of Monster Magnet and the thick bouncy grooves of Helmet, the shouty hardcore-ish vocalist solely aggravating the largely idyllic scenery.

Demo Demo, 1992
Los Tigres Demo, 1994

TRISECT (GERMANY)

Classic thrash with a lot of dynamic is emitted from this obscurity, the band sometimes moshing on full-throttle ("Guerilla Warfare"), sometimes elaborating on their arsenal with long diverse compositions ("Nights of Fortune") bordering on the progressive. "Dead Pyras" sits in the middle with a nice bass-accentuated layout, and "Mr. Tricesco" is a short crossover joker. More entangled progressivisms with the melodic all-instrumental pageant "The Good Lord", before the closer "The Quell Song" provides fun of the very relaxed rock-ish variety. The vocals are levelled semi-clean croons, the guy often helped by his comrades on the choruses and elsewhere. Later the guys changed their name to Eibon where the delivery moved towards the death/thrash hybrid side. Some of the musicians also played with the gothic metal formation Into the Void.

When Giants Fall Demo, 1990

Official Site

TRISKELYON (CANADA)

Based on the full-length debut, this band play retro power/thrash of the dramatic type, the clean passionate high-strung vocals leading the show which gets more belligerent ("Odyssey (Blessed by Steel)") on occasion, but overall this is an officious academic march best exemplified by pieces like "Willful Ignorance" and the more technical dramatic "Apex Predator", this imposing shredder overriding the heavy trots on "Indifference" and the mellow rock-ish veneer of the closer "Nobody's Business". Some of the band members also play with the power/thrashers Oberon.
�Artificial Insanity� offers a similar cocktail, the galloping insistency of the opening �Tektyranny� aptly assisted by frequent speedy excursions (�At War with Demons�, the short pulverizer �Obsolescence�) and rowdy belligerent albeit more expansive strolls (�One Blood�). �Visionaries� is an inspired more tamed epicer, but it�s the gallops that win eventually thanks to the ultimate horse rider �Beyond the Past�.
"Shattered Elysium" is similarly-structured to its predecessors, "Anarchy Avenue" showing both an epic and a more technical predilection, "Hellbound Hellions" settling for a more mainstream power/thrash layout, the angry bellicose rhythms of "Sealed Hypocrisy" easily stirring the moshpit, the latter more fully shaped due to "Under His Eye", another speedy extrapolation. The pogo goes on full-throttle in the second half, with "Eternal Conflict" and "The Battle for Monte Cassino", the proto-galloping entanglements of "Phantom Serenade" another hyper-active boost to this pretty decent showing.

Triskelyon EP, 2022
Downfall Full-length, 2022
Artificial Insanity Full-length, 2023
Shattered Elysium Full-length, 2024

Official Site

TRISTIVA FRAKTURA (CZECH)

A fairly interesting team this one, specializing in weird avant-garde thrash/death which sounds threatening and macabre on the heavy dramatic "Malleus Maleficant" before "Nemilosrdna" chooses a more ambitious, more entangled path where the bass plays a vital role in bringing these less ordinary soundscapes to life, the intimidating growling death metal singer scaring the audience who will return readily for the short hectic wonder "Osteom", a spastic rifforama which still manages to somehow preserve the thick atmosphere from the preceding numbers. "Prokleti Doby" is a busy rolling shredder with the bass put up front again to assist in the concocting of this eventful progressive opus. "Trio det la Graindio Fuzo" is a more aggressive, more restless proposition with dense staccato riffs marching in discordant unison, the several pensive stops along the way again serving as an atmospheric mediator and to also put the chaos under discipline. There are a lot of intriguing melodies flying around, making this obscurity hard to categorize but definitely a fun to listen to.

Welcome to Fracture Demo, 2001

TRITON ENIGMA (SWEDEN)

This is the new band of Metallic Kitty- the girl who sings for Decadence, ably supported by the "one man band" Ronnie Bergerstshl (Grave, Amaran, Centinex, World Below). The Kitty gives a more aggressive, black-ish edge to her vocals, and it's hard to make comparisons between her two performances. The music is typical Swedish thrash/death metal, more aggressive, but less impressive than the one of Decadence. It's much closer to death metal, and the frequent blast-beats ruin the final impression a bit. The closing "Madness" is the only more thrash-based track although it's ornate by gothic melodies.

Black Lies Full-length, 2008

My Space

TRITURANS (INDONESIA)

Simplistic, slightly abrasive speed/thrashy barrage, definitely on the old school side of the spectre with meanish deathy subdued vocals. "Fuck the System" is a raging headbanger with overt both proto-death metal and hardcore tendencies, and "Salam Metal Head Nusantara" is an officiant stomping anthem predating the soaring melodic histrionics on "Pejuang Merah Putih".

Threat of Life Full-Length, 2016

Official Site

TRIUMPHAL ARCH (RUSSIA)

This band's line-up included a future member of the progressive power/thrashers Trizna (see the review a few lines below). The music on this one is more conventional despite the impressive length of the songs (the shortest one is 5-min long). There are interesting moments, though, and the tempo often changes from mid-tempo to fast, but such long tracks require something more to really deliver the goods; now they just start wearing off at some point, and you might lose interest in the proceedings for a while, but rest assured that you will catch up on the next song with more of the same. The longest song "Abadon" has a certain doomy flavour and, surprisingly, is the least tiring one coming up with cool heavy guitar work. The vocals are worth mentioning being nice clean mid-ranged with this characteristic semi-high blend at times, also characteristic of Kipelov from Aria.

World Devil Full-Length, 1989

TRIUMPHANT (AUSTRIA)

A young act who play dynamic speed/thrashing metal which also has its black metal side (the hyper-blasts on "Zivot Ispod Obrnutog Krsta") as well as a few more aggressive death metal passages (the short brutalizer "Fullmoon Over Transylvania"). Some thrash metal fans may not be able to stand through this very diverse album trying to find the thrash connection in it which always comes disguised under a heavy wall of black/death metal aggression. There's a lot of melody inserted as well (check out the closing epicer "Triumphant") that contrasts with the brutal shouty death metal vocals. Some of the musicians also take part in another similar black/thrash metal outfit, Manic Disease.

Herald the Unsung Full-Length, 2014

Official Site

TRIVIAL DIFFERENCE (USA)

Based on the full-length, this act provide old school thrash which straddles between the Bay-Area (think Exodus and Death Angel) and the frolicer thrash/crossover school of thought; enjoyable less ordinary headbangers ("Fortune") keep the entertainment flowing, the pounding sing-alonger "Patron (of the Moonless Night)" closer to the mid-period D.R.I. repertoire, the stomping catcher "Bad Love" another acceptable deviation. The steady mid-ranged semi-clean vocalist is able to hold a melody whenever needed, the culmination on the music front being the varied quasi-prog thrasher "Humanicide (Terra Morte)", with the similarly-styled but more sprawling closer "Descent into the Ninth" a very close second.

Toxic EP, 2019
Disarray Full-length, 2021

Official Site

TRIVIAL DOGMA (GREECE)

Fast intense thrash of the old school with super-vicious black metal vocals which rather resemble a dog barking, but are strangely effective. The music is pretty close to Slayer, being fast and tight, with "Lunatic Asylum" moving up the aggression scale towards proto-death metal drawing resemblences to Hellwitch and Merciless.

Lunatic Asylum Demo, 2009

My Space

TRIVIUM (USA)

Trivium are perhaps the thrashiest of the wave of NWOAHM bands who flooded the scene in recent years. That's why I can't help, but find a room for them on this site; especially after they remind me so much of 80's Metallica at times.
"Shogun" is a step down for the band, despite an obvious improvement in the lead guitar department (check out the opening "Krisute Gomen", and other tracks). Apart from some intense death-laced passages, the music has kind of lost its bite; the melodic Swedish influence can be felt more strongly: "Into The Mouth Of Hell We Mar", and the middle is preserved for mid-paced melodic numbers: "Throes Of Perdition", "The Calamity", "Insurrection". The title-track which closes the album, does almost nothing to improve things, being a very long 12-min progressive composition which meanders in many directions leaving not much room for thrash metal.
"In Waves" returns to the more simplistic delivery of the band's earlier material, and as such this effort has more bite even reaching a death metal intensity at times ("Dusk Dismantled"; the brutal shredder "Shattering The Skies Above") although tracks of the kind should have been more with an album of whole 18 compositions. The majority of the songs develop in a predictable mid-pace with the obligatory melodic hooks the pedestrian delivery saved by the very good soulful vocals which are unnecessarily intercepted by rough death metal ones.
"Vengeance Falls" is pretty much in a similar vein keeping with the band's staple delivery without crossing any borders adventure-wise. Consequently the samey mid-paced approach may not be the most entertaining listen in the world despite the obvious cutting edge of the guitars and the undeniable composition qualities. "Incineration: The Broken World" is a more complicated number, and the closing "Skulls...We Are 138" is a surprising raging thrasher which is... a Misfits cover that raises the adrenaline high instead of wrapping it up in the expected way.
"Silence in the Snow" has a more officiant, epic aura and consequently hard thrashing is hardly the order of the day the album exuding a consistent, monolithic feel with a lot of memorable melodies. Still, the somewhat calm mid-paced delivery dullens the senses and if the fan isn't frequently brought to tears on the numerous catchy sing-along choruses, then this recording is simply not for him/her: there isn't much thrash here, if any at all, its other undisputable merits not considered.
"The Sin and The Sentence" is a more aggressive recording than its predecessor the guys attempting something overtly thrashy at the beginning (the title-track, "Beyond Oblivion"), and although later on they mix things up again one can't deny the moshing potential of "Betrayer" ot the steam-rolling seismicity of "The Wretchedness Inside". "Sever The Hand" is another excellent thrasher, vintage classic mosh which was missing from the band's repertoire even during their very early days; and the ending is preserved for a couple of more serious progressive pieces: the symphonic shredder "The Revanchist", and the varied bouncy groover "Thrown Into The Fire".
"What the Dead Men Say": the dead men say that this is some seriously thrashy recording the guys moshing like demented on the title-track, with more entangled pieces like "Catastrophist" and "Amongst the Shadows & the Stones" creating more intrigue by keeping the hyper-active veneer in check, the latter only partly lost on the cool heavy semi-ballad "Bleed Into Me". Run for cover on the deathly accumulations on the aggressive "Sickness Unto You", but the melodic sensitivity of "Scattering the Ashes" should pacify the raging spirits which will jump around again on the cool speed/thrash closer "The Ones We Leave Behind". This is a true comeback to form for one of the more promising US acts of the new millennium.
"In the Court of the Dragon" treads a similar to its predecessor path, the delivery clinging more towards the modern parametres, the melodic shredding on "Like a Sword Over Damocles" served with a hefty doze of dynamics, the mellower character of "Feast of Fire" a surely welcome respite from the vehement melee which also boasts the lethal headbanger "A Crisis of Revelation". There's no energy lost on the more elaborate material ("The Shadow of the Abattoir", "Fall Into Your Hands"), the closer "The Phalanx" erupting in a fountain of both melodic and fast-paced fireworks.

Trivium EP, 2003
Ember to Inferno Full-length, 2003
Ascendancy Full-length, 2005
The Crusade Full-length, 2006
Shogun Full-Length, 2008
In Waves Full-length, 2011
Vengeance Falls Full-Length, 2013
Silence in the Snow Full-Length, 2015
The Sin and The Sentence Full-length, 2017
What the Dead Men Say Full-length, 2020
In The Court Of The Dragon Full-Length, 2021

Official Site

TRIZNA (RUSSIA)

This band appeared at the same time with End Zone, and both played classy progressive power/thrash metal. Trizna are the less adventurous with lighter melodies and an overall more melodic sound. The "Out of Step" EP is a nice beginning which starts very promisingly with the fast technical instrumental "Flash in A.S.S." which would definitely satisfy your "need for speed". "France" is a smashing heavy, slower number followed by the long (7-min) semi-balladic technical thrasher "Fear of Life". Just when one starts to wonder where all the speed had gone, comes the energetic "Big White Horse-Cowboy" which has more in common with the power/speed metal scene of that time, but is quite satisfying. The speed remains for the next two numbers which increase the heaviness and the technicality being the highlight of the album. All this is followed by a pleasant (depending on the taste) surprise: a very cool cover version of ABBA's "S.O.S." (the metal acts love this band, hey!).
"Need For Speed" is a joke, a soft heavy metal charade with other inappropriate covers, including another ABBA one ("The Winner Takes It All") plus a Tina Turner one of "Simply the Best", thrown in. The thrash metal purists should avoid at all costs...
After a long break the band are back with "Vertical Horizon" with their style softened and more modern, and with more nods towards the power metal field often completely abandoning the thrash metal idea; not a very satisfying work as a whole.

Out of Step Full-Length, 1995
Need For Speed Full-length, 1996
Vertical Horizon Full-length, 2004

TROBEROTH (COSTA RICA)

Based on the full-length, this act pull out modern progressive thrash which is heavily marred by the not very suitable unrehearsed shouty death metal vocals. This is a diverse complex listen which isn't devoid of poignant lyrical moments (the title-track) although all-out speed ("Emperor of Death", "Religion, a Fake Salvation") is quite often the order of the day. The more elaborate material is placed in the first half leaving the second one to deal with a bunch of ripping headachers although the final 9-min opus "A Thousand Tales" is epic dramatic doom at its most officiant.
"Fallen Angel" is a more aggressive offering, the guys moshing with little restraint ("Angel or Demon", "Straight to the Vain"), raising the speed lathe high, "Thrash 'till We Die" aptly summing up the approach the latter surprisingly acquiring lyrical balladic proportions on the atmospheric "A Thousand Tales II", an unheralded turn of event which has no follow-up later although if we exclude the doomy anti-climactic developments on the final heavy opus "Immortal Melody".

Kill the Fucking Master EP, 2014
The Day When Human Race Woke Up Full-length, 2019
Fallen Angel Full-length, 2021

Official Site

TROMACIDE (SWEDEN)

Based on the single, this act pulls out fast blitzkrieg speed/thrash very similar to the early Hirax albums. Two short 2/2.5-min tracks await you here offering direct fast riffage also touching Slayer on the more aggressive leanings.

Tromaniak Demo, 2009
Night of the Chicken Dead Single, 2010

My Space

TROMEN (CHILE)

This demo offers retro thrash with ultra-brutal death metal vocals; a not very capable mixture which has the necessary amount of energy music-wise despite the frequent stretches towards more moody, Celtic Frost-like tunes ("Especimen"). The second half is more varied the guys inserting the odd proto-groovy moment ("Irak") ala Pro-Pain, losing the intensity a bit.

Demo Demo, 2010

TROTYL (BULGARIA)

This Bulgarian trio gives both a doomier and thrashier twist to the 90's post-thrash movement, resulting in a monotonous, unimaginative sound on a buzzy guitar background, topped by gruff semi-clean vocals. This is relatively peaceful stuff, slow-ish to mid-tempo, and would probably attract the doom metal crowds, above all.

Nosht (Night) Full-length, 1995

TROUBLE AGENCY (BELGIUM)

Based on the debut demo, this act specialize in ordinary modern post-thrash which isn't a very dignified position having in mind that it provides a meeting place for musicians from the most famous Belgian thrash metal acts: Decadence, Channel Zero, Cyclone, Death Squad, etc. including the bass guru Pablos Alvarez. Apart from the really muddy sound quality there are other impediments along the way: the vocals are badly shouty without a shade of melody, the delivery is sustained in a perennial mid-tempo which just tires at some stage; the riffs are repetitive without any imagination put into their production. One may not be interested in checking out the full-length based on the uninspired performance here.
The "Angry" demo is just a 3-songer the band doing a much better job not really sounding "angrier" than the first time, but notching it up the speed scale with the excellent classic-sounding "Why" before the meditative mid-pacer "The Dangerous Old One" intervenes with its calmer riffage leaving the lead-laden delivery for the last "Little People" which is the only less exciting moment here. The production is much better, too, the guitars having a particularly clear edge with a sharp expressive tone.
The "Bite into Life" demo is a better offering with much better production and better guitar work although the approach is pretty much the same, crunchy mid-paced post-thrash, but the music kind of has more "bite" ("into life", I suppose) and more edge recalling mid-period Prong even managing to raise "the flag" of classic speed/thrash on the closing "Let's Burn The Flag Of Hate" which is a major ripper without many relations to Kreator music-wise, with a few creepy doom breaks. Now one may show interest in checking out the full-length...

Alone Demo, 1996
Angry Demo, 1998
Bite into Life Demo, 2002
Moneycracy Full-length, 2006

Official Site

TROUPNY YAD (RUSSIA)

Heavy crushing thrash metal offering nice fast headbangers, and an overall style not too far from another Russian band- D.I.V.(their early works). "Time to Kill" is probably the best example of their style; simplistic, enjoyable stuff, containing nice catchy, playful numbers ("Shtusha-Kutusha", "Uh, Blyad!"), with a crossover touch. The faster tracks provide good, headbanging fun ("Nenavizhu", "Duraki") with sharper, but still melodic, memorable riffs. "Dohlaya Strana" is a nice aggressive track, with a darker gloomy atmosphere, immediately followed by the other extreme: the doomy "Kukuhi". "Allah Aqbar", the closer, combines the two contrasting styles, with preferences for the more intense guitar work.

"Raby Nemy", which arrives after a lengthy 8-year hiatus, offers a much more laid-back melodic approach similar to those more playful jolly numbers from the predecessor, some of which are openly rock'n roll-like: "Zampolit". "Jrite" and "Depressniak" remind of the slower doomy side of the band's style, and are the best songs; the rest is soft heavy/thrash metal which would hardly impress the more hard-boiled thrash metal fans.

O.V.O. WITH O.V.D. Full-length, 1995
Time To Kill Full-length, 1997
Raby Nemy Full-length, 2005

Official Site

TROZO (MEXICO)

A 3-song demo of underground pristine thrash with rending death metal vocals; this is chaotic messy stuff obviously influenced by Hellhammer, played in a sleepy slow tempo bordering on doom/death most of the time the amateurish music further ruined by the guttural low-tuned death metal vocals.

Demo Demo, 2011

TRUCAS (LITHUANIA)

The debut: rough abrasive modern thrash with an expressive hardcore flair; the intensity reaches Slayer-esque proportions at times ("Infekcija"), but the band aren't only interested in pummeling the listener to a pulp, but vary the approach with more relaxed numbers ("Morgas") which contrast with the prevalent frolic bash which turns to merry crossover on the final "Duok i Snuki". The vocalist is a passable hardcore-ish semi-shouter who even tries to actually sing at times.
"Outsold!" clings more towards the retro thrash/crossover idea, and as such may be viewed the superior offering. Even the incorrigible cynics will start smiling on the brisk opener "MTZ" and on the infectious melo-speedster "Ode To Bullying", the band even trying something more technical with the unpredictable roller-coaster "Alcohol", the stripped-down all-instrumental speed metal joy "Ortni" a most uplifting occurrence. The longer more engaging "Die Hippie" is a wholesome prog-thrash saga, finely violating the more linear canons, before "Space Cake Ninja" creates numerous moshpits all over, a raging near-hardcore-ish shorter. "Reaper" is a more serious thrasher with Bay-Area overtones, the fairly entertaining saga wrapped on by the excellent melo-thrash/crossover hymn "Ode Patycioms", the highlight on this admirable tribute to the old school.

Alkoholikai Zudikai Full-Length, 2016
Outsold! Full-length, 2020

Official Site

TRUCE (USA)

Based on the EP, these folks pull out intense thrash with echoes of both Cerebral Fix and Hellbastard so expect some crossover as well as heavy volcanic rhythms; even some jumpy quirky moments on "UGG" with a technical potential. Despite the short songs' length, the band manage to create quite a few nice sections with a lot of dynamics "roaming" around including a few really brutal moments with proto-death overtones. The singer mostly shouts forcefully, but his antics are well suited to the musical barrage.

Nictophobic EP, 1988
Truce Full-length, 1990
Salespitch for the Masses Full-Length, 2010

My Space

TRUCK (TURKEY)

This is heavy modern post-thrash with a brutal death metal throat. The approach is at times soulful and playful ("Blues From Hell"), at others it's thrashier with more punch and bite ("Road To Kill"). Watch out for the lyrical psychedelic ballad at the end "Time"; The Doors at their most vintage.

I Truck on the First Date Full-Length, 2016

Official Site

TRUDA (ROMANIA)

A more energetic version of the 90's aggro-thrash; when you least expect it, the guys start thrashing with full force out of nowhere, regardless to how awkward it may sound on the heavy much slower background. Still, this technique is not too bad, but is only present in the beginning; later on the album takes a much less desirable soft edge, degenerating to downright hardcore-ish alternative.
"Nyi Foame" by no means breaks new ground, dragging in a samey groovy, post-thrash manner (not much of it here), this time even more toothless, this mild stuff really starkly contrasting with the ultra-brutal death metal vocals. One shouldn't be bothered with this on any level, unless he/she is a diehard for the conventional and derivative side of the 90's trends.

Taraf Nation Full-Length, 2008
Nyi Foame Full-Length, 2011

TRUE RIOT (GERMANY)

Intense aggressive thrashcore which comes with a less ordinary for the style crusty vibe, and with a more brutal death metal edge (the title-track; the abrasive headbanger "Human Skin") at times. The delivery is pretty one-dimensional, though, and the band never bother to change the up-tempo merging the whole album into one big moshing melee topped by expressive deathly Tom G. Warrior-esque vocals.

The Riot Goes On Full-Length, 2016

Official Site

TRUE TO FORM (USA)

Based on the full-length, this formation specialize in first-class modern thrash which starts with the brilliant Coroner-esque technicaller "Determined". Later on the music loses the exuberance from the beginning to some extent, but remains intriguing enough like on the choppy hectic proto-groover "Mental Wall", or the twisting and turning shredder "Turned To Rage". "Face Of Stone" speeds up and stirs the moshpit with sparse mellower interruptions, and "No Deception" serves virtuoso rifforamas by preserving the speedy pirouettes. "Dissolution" blends melody and aggression adding a spacey psychedelic vibe to the proceedings akin to Coroner's "Grin"; and the final "Victim Of Misery" is a superb labyrinthine progressiver with heavy hypnotic riffs which don't bother with the speedy parametres, but create a monolithic, cleverly constructed miasma. The singer has a steady semi-shouty timbre coming as a higher-pitched Ron Royce (Coroner again).
The EP would be a disappointment the band settling for one-dimensional groovy post-thrash rhythms with the exuberant technicality of the debut irrevocably gone. A few interesting jumpy moments ("What Is the Way") ala Prong and Treponem Pal stir the imagination, but those aren't enough to make the fan really happy if we also exclude the more vivid energizer "Lies".

True to Form Full-length, 1998
New Generation of Aggression EP, 1999

TRUENT (CANADA)

Based on the full-length, these lads specialize in modern thrash/post-thrash/death which either tramples with inordinate seismicity ("Blood and Dust") or moshes with bigger vehemence ("Usurper of the Sky"), "Silk and Bone" displaying the groovy ponderous mentality, the latter dispersed by bouts of wild death metal rhythms. "This Verdant Coil" is a surprising choppier, more technical occurrence, and the final "Damned to the Deep" is a decent tribute to the Swedish melo-death models.

Faith in the Forgotten EP, 2017
To End an Ancient Way of Life EP, 2018
Through the Vale of Earthly Torment Full-length, 2022

Official Site

TRUEP (RUSSIA)

Based on "Is Dead?", this act serve an intense old school thrash/death mixture alternating brief ripping headachers ("Suicide", "Apocalypse") with heavy atmospheric proto-doomsters ("Reptiloid", the industrialized oddity "Mogila") and a couple of surprisingly stylish more technical pieces ("66 Tma"). The gruff guttural semi-shouty deathly vocals don't play a significant role here, but their involvement ensures more fun for the death metal side of the fanbase.

1986 EP, 2012
We Are C-ming Full-length, 2013
45� EP, 2015
Is Dead? Full-Length, 2019

Official Site

TRUST (BRAZIL)

Based on the full-length, this band play modern/classic power/thrash which is generated by both a volcanic thumping rhythm-section and dazzling melodic lead inclusions, the galloping wonder �Destiny� colliding with the angrier riffs of �Nightmares� and the straight-ahead fervor of �No Lies�, the band also tasting the realms of epic with the more academically-composed �Sands of Destiny�. Expect some formidable speed metal to befall you with �This World�, before progressive and doom put their signatures underneath �We Live in This Hell�, an intriguing conglomerate of nuances and moods which doesn�t t rely too much on the decent but hardly exceptional mid-ranged semi-clean vocals.

Thousand Voices EP, 2014
Judgement Is Comming Full-Length, 2024

Official Site

TRUTH BE KNOWN (SINGAPORE)

Based on the full-length debut, this Singaporean outfit pulls out mid-paced thrash/death metal of the classic variety, quite consistent pace-wise although some more aggressive moments can be heard ("Just Another Lamb", the sparse blast-beats on "Oblivion Youth", the brutal technical leaning ala Suffocation on "Confront Your God"). The consistency pays off producing really cool steam-rollers ("Dogma", "Thus Is Your Fate", "Deny Defy") ala Bolt Thrower. "No Religion" is a nice gothic/death/thrash metal interlude without losing the battle-like riffs. The singer fits well into the picture, sitting comfortably between Dave Ingram (Benediction) and Karl Willets (Bolt Thrower).
"All Are Equal in the Pit" is built around the same approach once the short rowdy opener "Signal Fault" has passed, but both "Motor in Your Head" and "Unhinged Stupidity" have their unhinged energetic side, the familial heavy stomps arriving with "Confuckfirm". Still, brief explosions like "Chronic Dissatisfaction" and "I Don't Need Jesus" disrupt the peace majorly, making this effort way more dynamic than its predecessor.

Just Another Lamb Full-length, 2008
Truth Be Known EP, 2010
Asphyxihate EP, 2010
By Any Means Necessary Full-length, 2014
All Are Equal in the Pit Full-length, 2024

Official Site

TRUTH CORRODED (AUSTRALIA)

Based on "Our Enemy Is The Weapon", this band play modern thrash metal influenced by the Swedish scene: think Carnal Forge, Terror 2000, with nods to the 90's aggro-thrash (Pantera, Machine Head) movement.
"Worship the Bled" is a more aggressive affair with death metal sneaked in for good measure resulting in quite a few very fast sections (the raging speedster "Hunt All Heroes", the blasting deathster "Leave Nothing Alive") which in the middle give way to a short string of heavy pounding numbers, to a positive effect. Later on more thrashing madnesses come along: "Scavengers", another manic exercise in death metal the latter coming nicely entwined with fine violin tunes on "Dragged Beneath". The leads are on a very high level the whole time overflowing with melody, especially on the more engaging closer "Summon Abyss", which exits the album with haunting female Oriental vocals.
"The Saviours Slain" is a more melodic offering overflowing with melody the sharp riffage not given too many chances to shine, the dominant mid-paced landscape being another reason. Still, this same landscape produces the dramatic title-track which also boasts the finest leads on the album, among other heavy stompers. Surprisingly, the guys start lashing wildly in the second half providing numerous headbanging opportunities including a portion of uncontrolled blast-beats on "Of Gods Drowned in Blood". This outrage lasts for only a couple of tracks before the melodic hooks restore the justice with another deathly drama offered near the end: "Last of My Flesh" which teams up with the operatic atmospheric closer "Hallowed Black Sun" the latter bordering on doom.
"Bloodlands" tries to compensate for then mellower nature of its predecessor, the guys moshing with clear death metal abandon, adhering to less tamed blast-beating passages at every opportunity, the final result not far from the more recent works of Torture Squad. Heavy, more carefully-constructed stompers ("Conquest of Divide", "The Storm") are provided here and there, but the focus is clearly on raging thrashers like "The End of He Who Reigns", the party partly ruined by the over 9-min long quasi-doom dirge "I Once Breathed" at the end.

Fuel The Chain EP, 1999
End EP, 2001
Begin Full-length, 2001
Our Enemy Is The Weapon Full-length, 2005
Upon the Warlords Crawl Full-length, 2008
Worship the Bled Full-length, 2011
The Saviours Slain Full-Length, 2013
Bloodlands FFull-Length, 2019

Official Site

TRUTH DECAYED (SOUTH AFRICA)

Dynamic semi-technical retro thrash with shouty semi-death metal vocals; there's mid-paced stomps ("Absolute War"), epic quasi-doomisms ("The World I Know"), and vigorous moshing pieces ("PTSD"), the musical diversity wrapped in clear crisp production, including the romantic balladic instrumental "The Witches' Watch".

Faded Visions I EP, 2022

Official Site

TRUTH THAT KILLS (RUSSIA)

Modern groovy thrash/post-thrash/post-death done by members of the death/thrashers Misanthrope Count Mercyful. This is relatively dynamic stuff which even at times sounds strangely surreal and abstract ("A Chance To Become Human", the curious robotic hecticer "Deserve to be Slave"), and generally the musicianship is on an above average level "Raise the Gun" even moshing out with more vigour towards the end. The singer is the staple rough death metal shouter, but his rendings aren't a detriment for the others to pull out some cool music.

Guilty!!! Full-Length, 2014

Official Site

TRY TO INFECT (GERMANY)

Cool, modern blend of thrash and death metal which will "try to infect" you with several vocal styles involved among which the clean ones will get on your nerves for sure. The riffs are quite good, the leads as well, and the pace changes without reaching any aggressive heights. This isn't metalcore like some sources on the Net imply, but is heads-down thrash/death metal with the Swedish school an obvious influence.

The Rise of Humanity EP, 2008

Official Site

TRYLIKA (LITHUANIA)

Three songs of laid-back playful power/thrash with a mild hardcore edge of the mid-paced variety. The sound quality is awful giving a boost to the bad semi-shouty vocals which take the whole space when in action. The guitar work is pretty simplistic sticking to the same rhythms which create a monotonous, sleepy atmosphere, the band never making even the slightest attempt to make things a bit more dynamic.

Demo Demo, 1988

TRYST (SOUTH AFRICA)

Thick pounding choppy modern post-thrash which branches out into something less scholastic on the more vivid "Three Ply", the near-headbanger "System Seven" enlivening the setting with also a brighter layout, the guys generally relying on a more dynamic flair, with "Self Replicate" testing more aggressive thrashy waters, "Murder in Mind" another such occurrence, a tasty slab of more intense music with echoes of Sacred Reich's "The American Way". The vocalist is a steady forceful presence, his semi-clean semi-declamatory croon a most fitting choice for the musical approach.

System Seven Full-length, 2022

Official Site

TSAVO (BRAZIL)

This is seismic post-thrash with volcanic doom overtones and several faster passages which brighten the earthshaking picture also helped by sparse melodic hooks ("Reborn") which should have been more. The singer fits the heavy music with his angry semi-shouty tone at times recalling John Tardy himself with his forceful authoritative antics. A pleasant tender moment is the balladic instrumental "Savannah" that shows more proficiency in the musical sector with nice leads and memorable melodic tunes.

When The Lions Are Hungry Full-Length, 2012

Official Site

TSUNARLY (AUSTRALIA)

Two songs of crusty thrashcore of the abrasive mid-paced variety with interesting melodic "decorations" and brutal death metal vocals.

Tsunarly EP, 2011

TUCK FROM HELL (SWEDEN)

An aptly-titled album although this is more of a modern thrash metal effort, at least in the first half, which delivers with a brisk speedy pace, nice melodic leads, razor-sharp riffs, and suitably gruff semi-clean vocals. There are a few slower moments as well as some which will remind you of the old school (the excellent early Metallica-worship "I, Hellbilly"). "King Of Thrash" is another more classically-sounding number, but the tempo is mostly mid and it can hardly pass for the "king of thrash". "Idol Of God" is an enjoyable roller-coaster before the closing "Headbanger" justifies its title with flying colours with raging bloody riffs. The sound gets wonderfully classic in the second half, and as a whole this thrashing throws a nice bridge over the two sides of the genre.

Thrashing Full-length, 2010

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TUDOR (CZECH)

Based on the first two albums, this is mostly mid-paced atmospheric black/thrash metal with occasional faster moments which slightly resembles early Celtic Frost, but is more melodic and simplistic, and the early works of their colleagues (and compatriots) Torr. Their minimalistic approach to song-writing was an obvious influence mostly on black metal acts like Barathrum, Thorns, Khold, etc.

Bloody Mary Full-length, 1992
Zapome=... Full-length, 1992
Bestie Full-length, 2006

Official Site

TUHO (FINLAND)

3 songs of varied thrash/death metal mixing slow proto-modern sections ("Blood, Destruction, Guts, Gore, Greed") with ultra-fast grinding ones ("More Confident Me"). The singer has an interesting characteristic pitch, semi-clean and emotional, unleashing sparse hellish death-ish screams from time to time.

Violence EP, 2006

Official Site

TUKKANUOTTA (FINLAND)

Based on "Huomenta Suoli", this act pulls out typical modern thrash/death metal mixing the pace the whole time, and consequently bringing a lot of dynamics, also with the help of the odd more classic hook.

Viimeinen Nistiretki EP, 2009
Huomenta Suoli EP, 2010

Official Site

TULKAS (MEXICO)

Based on "Freedom Thoughts", this act play friendly roller-coaster thrash/crossover the least friendly side of this conglomerate being the harsh semi-death metal vocals. Otherwise the speedy numbers dominate despite their more relaxed nature; and don't forget to check the bass virtuosities on "Smoke"! The title-track is a more serious speed/thrasher lifting the second half up in terms of aggression, but generally this is a pleasant, linear listen for the less pretentious fanbase.
"Take the World" sounds noisier and rowdier the guys now playing with more verve the final result quite headbanging, especially on uncompromising cuts like "HATE" and "Insanity Circus". The moshing fiesta is seldom interrupted here, the more technical variations on the excellent "Godless Man" notwithstanding, as even more serious numbers like "Rebellion" are sustained in a fairly energetic fashion, with the final "Traitor" throwing in a couple of tasteful, less immediate progressive quirks that should be more on future instalments.
The "The Beginning of the End" EP is a thrilling roller-coaster that courts the Bay-Area, above all, the splashing "Outsider God Creation (O.G.C)" moshing far'n wide, establishing a lofty model that is immediately followed by the head-splitting "Devastation by Greed" and the stylish semi-technical "Extinction". More contrived guitarisms on the excellent atmospheric progressiver "Beginning of the End" before the fan comes across familiar tunes at the end, Metallica's "The Shortest Straw" rendered quite faithfully the guys making a fairly positive impression with this inspired effort.

Awake from the Ashes EP, 2012
Evil Peal EP, 2013
Freedom Thoughts Full-length, 2016
Take the World Full-length, 2018
The Beginning of the End EP, 2020

Official Site

TULSADOOM (AUSTRIA)

Based on "Storms of the Netherworld", this outfit specialize in dynamic modern thrash which shares some of the more recent Annihilator stomping aesthetics the major difference coming from the forceful semi-shouty death metal vocals. "Nightwind" is a rocking crowd-pleaser, but "Riders Of Doom" is very close to capturing the manic intensity of the Deathrow hymn of the same title. Later on the approach acquires more brutal death/black touches ("Tyranfall"), but more melodic relievers ("Stormride") are always on standby to alleviate "the pain". This is a larger-than-life saga which should be savoured by a wider gamut of metal fans.

Barbarian Steel Full-length, 2012
Storms of the Netherworld Full-length, 2015

Official Site

TUMOURBOY (CHINA)

Based on "Condemned to Extinction", this act pull out intense old school thrash which is built around fast blitzkrieg cuts which are delivered without too much ado, in a manner akin to early Destruction and Sacrifice. The musicianship is on an admirable level also adhering to a couple of more intriguing semi-technical "excursions ("Fatal Extermination") where the guys don't sacrifice the speed, but mosh with the same vigour as elsewhere, the screechy hysterical vocals spoiling the mood a bit. Slower deviations like the stomping "Acid Rain" are also welcome, but watch out brutal proto-death bombs like "Reign by Tyranny" that can seriously shatter your senses if unprepared. Some of the band members are also active with another thrash metal outfit, Ancestor.

Noise.Beer.Love EP, 2016
Damaged System Full-length, 2016
Fatal Extermination EP, 2017
Condemned to Extinction Full-length, 2018

Official Site

TUMULTO (BRAZIL)

Based on the "Metalurgia" split with the death metal "monsters" Sign of Hate, these guys offer pretty cool classic power/thrash metal with simplistic, but very catchy guitar work, mostly mid to up-tempo, with maybe more brutal for the style vocals, leaning towards death metal. The music may remind you of the American power/thrash metal acts from the 80's: Helstar, Liege Lord, Omen, Laaz Rockit, Savage Grace, Anvil, etc. The band switches onto more intense thrashing for the excellent "Blood Thirsty", and especially for the short explosive 2-min "Trator", but the rest isn't bad at all and will definitely serve to arouse your curiosity in spending the time to track down the full-length.
�War for Power� is decidedly more modern-sounding, but the crisp lively riffs deliver all over, the venomous barrage �Kind of God� stifled by the thick seismic grooves of �Street Soldiers�. Hats off to the guys, though, for the brisk mosher �Ready to Be Killed�, and by all means for the bursting closer �Terra de Ladrao�.

Conflitos Sociais/Scar In Flesh Split, 1992
Holy War Demo, 2002
Metalurgia Split, 2007
Fight Full-length, 2007
Conflitos Sociais EP, 2017
War for Power Full-Length, 2024

Official Site

TUNGSTENO (ARGENTINA)

With a very regular participation with demos and splits in the metal underground, it's apparent that this young outfit want to make themselves heard. And they should, since what is on offer here is vintage 80's speed/thrash metal with nods mostly to Kreator and Destruction, above all. The music on the "Realidad o Ebriedad" demo is fast and intense, seldom bordering on death metal ("Vino y Velocidad"), ably assisted by the vicious brutal death-ish vocals. "Regimen de Violencia" has a catchy chorus ala the Bay-Area acts, along with a nice headbanging up-tempo. "HxIxVx" is a 1-min brutal grinding explosion, but sometimes a man needs something like this to get all tension and anger out of his system. "El Escuadron del Thrash" from the first demo is a longer, more complex composition frequently changing pace in a cool smart way bordering on semi-technical thrash at times, and "Te-Thrash" from the same demo is direct Germanic speed/thrash metal with more intriguing guitar implements. It would be interesting to see what would come up if the guys choose to develop these tendencies on future releases...
"Inminente Aniquilacion" is a welcome addition to the growing legions of classic thrash metal purveyors from South America; although most of the material presented is already familiar from the band's demos. The guys thrash with gusto, the few newer songs clinging more towards the Bay-Area ("Inminente Aniquilacion"), or taking a sweeping speedy direction ala early Paradox ("La Guarida De Los Chacales"). "Culto del Terror" is a pure speed metal worship with cool attempts at sing-along chorus singing, and "Visiones de Muerte" is a more brutal cut with death metal overtones. The final "Ciudad Toxica" is more relaxed shredding in a familiar, Anthrax-like fashion. The singer assists humbly with his rough semi-hardcoreish voice, which could benefit from more emotional downpours from time to time. This is a good compilation of old and new stuff which shows a band dedicated on raising the flag of classic speed/thrash loud'n proud.
"Lobotomia" is more speed metal-based, like the title of the opener says so well, with shades of early Metallica ("Hierve la Sangre"), and loads of merry-go-rounders: "Basta de Mentiras", the title-track, "Rasgos de Crueldad", etc. "Panico" is a more moderate stomper bordering on power metal, and "Pacto Final" is a more intense moshing headbanger leaving the lyrical acoustic intro for the final "Presos Por el Odio" which is an otherwise an impetuous speed/thrashing instrumental.
"Mania Destructiva" brings back then more aggressive thrashy patterns, the title-track opening the proceedings with strong hyper-active undercurrents, its high velocity admirably sustained by equally sprightly pieces like "Velocidad y Sucio Metal" and "Sonido Subterraneo", the hoarse semi-clean/semi-declamatory vocals not altered from previous instalments, the mellower speed metal tone from the preceding fare still audible on at least half the material, including on the final roller-coaster "Tungsteno".

Tethrash Demo, 2007
Thrash Slash Vol. 1 Split, 2008
Realidad o Ebriedad Demo, 2008
Inminente Aniquilaci=n Full-length, 2011
Lobotomia Full-length, 2017
Mania Destructiva Full-length, 2022

Official Site

TUONI (FINLAND)

Modern power/thrash metal with a certain gothic shade sounding like a thrashier late-period Sentenced and To Die For (both also from Finland). There's a strong presence of groove on many songs, and the music is infused with various gothic gimmicks, like keyboards, clean vocals as opposed to the angry semi-death shouts, etc. There aren't too many sharp guitars to headbang to, but the gothic fans might find it too aggressive for their taste.

ElSvSt & Kuolleet Full-length, 2005
Tuli Kulkee Full-length, 2007

Official Site

TURBO (POLAND)

Turbo started as a heavy metal band, but the thrash metal mania of the late 80's took them away."Ostatni Wojownik" is a great entry for the band into thrash metal with long, interesting songs and excellent, semi-technical guitar work. "Epidemic" is much more complex showing the band's ambition to rival technical/progressive thrash heroes like Coroner, Target, Mekong Delta, etc., and is another fairly strong release. "Dead End" retains the technical tendencies to some extent, but nothing truly exuberant complexity-wise as the overall style is a lot more aggressive, jumping onto the proto-death metal wagon even at times; another excellent effort not far from Pestilence's debut and Invocator's "Excursion Demise". "One Way" follows on the steps of its predecessor in terms of aggression, concentrating on furious unbridled thrash ala Sepultura's "Beneath the Remains" and Devastation's "Idolatry", this time without any technical pretensions, a pure pounding attack, a worthy closer to Turbo's more brutal, thrash-fixated period. Later the band adopted a more modern, power metal-oriented sound, and their subsequent releases are of no big significance to thrash metal.
"Piaty Zywiol" is the next in line from the band radio-friendly affair streak which almost has no ties to thrash metal providing mild pleasant stuff mostly in the heavy/power metal camp with not very audible groovy implements.

Last Warrior/Ostatni Wojownik Full-length, 1988
Epidemic/Epidemie Full-length, 1989
Dead End Full-length, 1990
One Way Full-Length, 1992
Piaty Zywiol Full-Length, 2013

Official Site

TURBO (SLOVENIA)

A very cool classic mixture of power, speed and thrash which is at times on the more immediate roller-coaster side ("Die With Sword", the vigorous galloping delight "Lady Made For Kill"), at others exudes catchiness and epicness ("Stand Up") in spades, at others thrashes with more verve and a moderate amount of complexity ("The Power of Metal"). Outbursts of hardcore-peppered linearity ("The Dogs of Distance") are very rare, but they ensure the less predictable character of this enjoyable effort which wins a lot from the vocal department where the guy is a consummate emotional siren no worse than John Arch (Fates Warning). Some of the musicians were involved with the heavy metal stalwarts Requiem.

The Power of Metal Full-length, 1995

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TURBOCHARGED (SWEDEN)

Ronnie "Ripper" Olson (Vomitory, Gehenna, Gehennah, etc.) is at the helm of this band, but don't expect any black, or death metal: this is modern post-thrash mixed with power/speed metal resulting in abrasive, energetic music which alternates the tempos the whole time coming up with several nice speedsters ("Nekronobodies", "The Paradise They Lost", the short energizer "Blasphemachine") with strong echoes of Exciter and Destructor as well as with one brutal grindy explosion ("Globalize the Blasphemy"). "Species of Jesus" towards the end is an exemplary speed/thrasher which lashes fiery riffs to no end, ably assisted by the merrier crossover hymn "Wake up and Smell the Christian" and the more engaging closer "The New Sodom" which nicely crosses fast rhythms with antediluvian doom ones (check out the exiting passage). Ronnie is also in charge of the vocals, and his forceful semi-death metalish antics are quite close to the ones of Lars G. Petrov (Entombed).

"Area 666" clings more towards the old school and is decidedly more aggressive with more frequent death metal references some of them pure blasting outrages, mostly placed in the beginning. Still, the more friendly speed/thrash tone hasn't been lost completely, and at least half the tracks come with this abrasive old school edge so typical for acts like Destructor and Hallows Eve. "Blood in, God Out" is a heavy hypnotic doomster, but the surrounding it material is much more light-hearted reflected in short shooting cuts among which only "Rogue Evangelist" spoils the fun a bit trying to insert a small doze of grind into the roller-coaster.
"Apocalyptic" is a cool old school thrash fun the guys not diversifying the approach too much this time, sticking to the more convincing speed/thrash formula reflected in brisk melodic pieces like "Private Nightmare". "Blessed Are The Heretics" is a more varied proposition with more progressive arrangements the band reducing the speed, adding more technical strokes to an otherwise calm, semi-balladic at times, template. "Eleven" brings back the aggression that stays around till the end with more relaxed crossover touches added to the closing "Show Me What You Got".
"Alpha Beast, Omega God" sticks to a familiar retro thrash/death formula, but the level of fun generated is decent, the band mosh with genteel recklessness, the fast-paced Motorhead-ish "Irreligious" a noteworthy pogo stirrer, "Slave Rhetoric" more on the harder speed metal side, "Phantom" entering full-fledged death metal territories, the most aggressive cut here. The thrashing urgency of "Chaos Chronicles" can pass for the highlight, a more technical cut with nice screamy lead sections.
"Above Lords, Below Earth" is a more aggressive deathly recording, the intense head-splitting "Total Doom Arise" leading the hyper-active pack which calms down, but just a bit, on the title-track before accumulating more inertia with the dynamic abraser "Doomsday Hammer". Nope, there's no doom here under any form despite the song-titles, the guys moshing impetuously, "Low-tech Blasphemy" tolerating a couple of lyrical digressions, "Black Tornado" justifying the "tornado" part of its title with a gust of rowdy thrashcore rhythms.

AntiXtian Full-length, 2010
Christ Zero EP, 2012
Area 666 Full-length, 2013
Apocalyptic Full-length, 2017
Above Lords, Below Earth Full-length, 2019
Alpha Beast, Omega God Full-length, 2022

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TURBOWARRIOR OF STEEL (BELGIUM)

Based on the full-length, this power trio unleash fast thrashing crossover of the old school. "Keep Thrashin'!" is indeed an invigorating thrasher deserving its title on all counts, and the other pieces try to catch up with it with fast-paced riffs and energetic tempos. The drums have an annoying hollow sound at times, but the high energy compensates for such pitfalls although the latter needs more before being considered real "turbo". The vocals are shouty and angry, but suit the intense, roller-coaster musical delivery.

Turbothrash EP, 2015
Full Throttle Turbothrash Full-Length, 2016

Official Site

TURBULENCE (GREECE)

This Greek act plays classic power/thrash metal in the 80's American mould with a strong bass-bottom, moderately sharp riffage, and casual adherences to progressive. There are certainly more aggressive headbanging moments, but they rather serve as distractions from the calm picture. The leads aren't bad coming with a strong classical edge (check out "Shellshocked") ala Chris Impellitteri, and the singer delivers with his mid-ranged melodic timbre which carries strong drama and the odd higher-pitched note.

Cryonics EP, 2008

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TURMION KETILET

Industrial thrash, coming as a more aggressive version of Rammstein and Ooomph; another close soundalike are Die Krupps. The frequent use of keyboards stifles the sharp guitar sound. The tempo admirably speeds up at times ("Min", "Paha Musta Veri"), but again... these keyboards. Inevitably the music takes occasional dance dimensions ("Shuttle To Venus"), but the guitars have enough edge most of the time to pull this album through.

U.S.C.H. Full-Length, 2008

TURN OUT (AUSTRIA)

Based on the "Faster than Satan" EP, this act play a dark atmospheric, all-instrumental, brand of post-thrash which is creepy and minimalistic with suggestive doom overtones, but also with a few groovy "decorations" which kill the accumulated dynamics despite their appropriate application at times. This is pensive music which may depress the listener with its gloomy rhythms and dispassionate mechanical shreds.
"Bleed" introduces vocals and besides that totally contrasting to the EP dynamic impetuous riffs which, despite their abrasive nature, deliver quite well and make one mosh around on tunes like "Mind Voids" or the opening title-track. Things slow down later with the doomy semi-balladic hymn "Dampfwalzer", but the choppy tribute to Dead Kennedys "Jello Biafra Boogie" is an excellent roller-coaster "boogie" with some of the finest leads of recent years; really addictive stuff and a sheer testimony at some musical audacity at play. But that's not the cream of the cake since right after one will encounter the ultimate shredder "Sin Eater" which moshes out in a raging less restrained fashion. More headbanging fun with "Hordes Of Disgust" which also serves cool technical guitars plus a brutal blasting mid-section. The fun never stops till the end which is again on the more complex side on "Blues Breaker" before the final "Sphaerytale" brings the guys' experimental spirit forward with several more restrained spacey funky passages including cool cleaner vocals as opposed to the aggressive deathly shouts witnessed for most of the time.
The "Die Hippiezeiten sind Vorbei" EP brings back the more friendly approach from the debut EP's resulting in another appealing effort which excels in the melodic lead department producing a few addictive tunes: check the ones on the opening roller-coaster "Die Hippiezeiten Sind Vorbei 2". "Torture Garden" is quite a curiosity, more on the positive side, serving creepy sinister semi-technical thrash; which gives way to 2-min of twisted puzzling guitars on the very cool "Faster Than Satan". "Spanish Fly" is another mazey technical composition with abstract progressive motifs and again superb lead virtuosities. "BRTTRKLLR" finishes this entertaining amalgam with a portion of fast-paced riffs which are split for the umpteenth time with a great surreal lead section. This is a very good short offering which sees the band keeping their inventive spirit running on full throttle in 2014.

Faster than Satan EP, 2000
Was isch'n da los? EP, 2001
Prepare to Burn Full-length, 2006
Bleed Full-Length, 2014
Die Hippiezeiten sind Vorbei EP, 2014

Official Site

TURRIGENOUS (USA)

Based on the "A Slight Amplification" EP, these folks provide modern thrash/post-thrash which sounds both technical and progressive at times and generally has enough energy to pull it through (check out the intense speedster "War Inside"). The leads are on a high level the whole time (check those on "Emptiness, Darkness, Acceptance"), and the only major complaint would be the big diversity in the vocal department: we have clean mid-ranged ones, clean alternative ones, clean emotional and too tender ones, and more. The music twists and turns at times in ways not too predictable, and one would be curious to check if those twists and turns originate from the full-lengths released earlier...
�Black Stone Opus� is a a first-rate entry into the progressive metal annals, with thrash colliding with progressive and rock on regular bases, the diverse crooked �Drawn to an Edge� covering quite a bit from the prog-metal niche, the more aggressive �Hegira� satisfying the headbangers with a couple of rowdy less bridled extrapolations. �A Prism Divine� is pulverizing fusion-esque prog at its finest, and �Whited Sepulchre� is a tantalizing twisted musical conundrum ala Zero Hour and Canvas Solaris. �Citrinitas� is a quieter introspective etude, and �The Annealing� is a pounding virtuoso-prone drama with epic embellishments, the guys warming up for the excellent larger-than-life 11.-5min odyssey �Aurum Nostrum� at the end, a multifarious kaleidoscope of moods and motifs, with several arresting fast-paced accumulations, atmospheric laid-back passages, and tight highbrow riff-knots.
�Vesper, the Evening Star� is another standout achievement, the band reaching the very top of the progressive metal echelon, �Invocation� throwing everyone into spasms of crooked rhythms and moods, the combination of hard thrashing and complex vortexes deftly displayed throughout, the more sprightly �Azdaha� doing away with a few atmospheric quieter passages, �The Council of Phoenix� further consolidating those mellower sentiments. The creepy twisted �Bloodletting Dance� is a true revelation, so is the formidable seeping drama �The Beast in Chains�, before the short �The Apostate� thrashes the neighbourhood with bile to spare. The fusion-esque meanderings of �Day Zero� are on the melancholic side but expect bouts of some inspired tech-thrashing on �The Quiet Earth�, the highlight on this very cool opus.

Subterranean Sweatshop Full-Length, 2001
Turrigenous Full-length, 2003
Bastard Songs Full-length, 2005
A Slight Amplification EP, 2008
Black Stone Opus Full-length, 2013
Among the Stone EP, 2015
Vesper, the Evening Star Full-Length, 2023

Official Site

TUXEDO (AUSTRIA)

This is derivative unimpressive modern thrash which boldly ventures into metalcore at the first appropriate moment created. This is melodic, but also quite noisy at times, stuff which would be quickly forgotten after listening being as pedestrian as this sub-genre can possibly get nowadays.

Flowerfield Melodies Full-Length, 2013

TWELFTH GATE (USA)

This band started strongly with "Summoning" which was a fine slab of progressive power/thrash metal ala Nevermore and the French Kragens; dark haunting music with crushing riffs, heavy mid-tempos and good powerful, albeit slightly one-dimensional, vocals. Dramatic steam-rollers ("Mortal Coil") take turns with pulverizing gallopers ("Malevolent Sky") and creepy semi-technicallers ("Forgotten Names"), the more light-hearted progressiver "Orpheus" recalling early Queensryche. The dark brooding "Flames of Anger" will also remind of Sanctuary, apart from Nevermore, this impetuous shredder later backed up by the excellent more labyrinthine opus "Sugarcoated", a slow-burning but effective drama with the finest, most attached vocal performance on the album.
"Threshold of Revelation" three years later brought about a more modernized sound, and despite the more aggressive attitude (the sharp uncompromising "Loyal", the corrosive Grip Inc.-esque thrasher "Critical Elements"), some of the magic of the debut has been lost somewhere. The songs are more simplistic, and some moments (the stomping doom guitars on the lethargic "Delving Too Deep", the poignant balladic atmospheric passages on "Inner Core", etc.) don't sound as convincing. "Human Swine" acquits itself with hard-hitting sharp riffs, the near-headbanging environment stirred later supported by the short concrete ball of fury "Branded". However, the trite abrasive groovisms on "Black Robe" and the doom/balladic banality of "Come Alive" can hardly be counted as positive occurrences. The guys have various other projects among which the thrash/speed metal outfit Burning Blade comes close sound-wise.

Summoning Full-length, 2003
Threshold of Revelation Full-length, 2006

TWELVE GAUGE (USA)

This band specializes in minimalistic power/thrash of the mid-paced variety (based on "Violent New World") reminiscent of more recent Venom, the Nasty Savage debut, and Hallows Eve on the more intense moments. The music walks all over the music spectre, also offering something more punk-like ("Empty Headed Youth"), pure heavy metal hymns ("Integrity"), and of course the occasional full-blooded thrasher ("Wartorn": this one is quite violent; "Civilized Man").

"The City Is Burning" is by all means the better achievement, successfully mixing their slower and faster side on the opening "Invasion". "Meth Head" is full intense thrash ahead, but "Our Time To Die" decides that its predecessor wasn't aggressive enough and thus includes furious blast-beating moments ala Slaughter: resemblance between the two acts further aggravated by the slower stomping section which follows them. "SFS" keeps thrashing with no mercy, and it's somewhere in the middle when "Status Climber" slows down recalling the debut in many ways. "The Iceage" is a nice tribute to the early Canadian scene: Exciter, Anvil, a forceful speed/power metal killer, but "The City Is Burning" brings the album back to the more aggressive patterns boldly wading into Slayer territory. "Winds of Doom" very well justifies its title, slowing down again, recalling mid-period Cathedral with a pinch of thrash. Although there's nothing revolutionary in the band's approach, few will complain when the good old power/speed/thrash metal from the 80's has been brought with such dedication and competence.

Violent New World Full-length, 2002
The City Is Burning Full-length, 2005

Official Site

TWILIGHT HAMMER (CANADA)

Fast intense black/thrash metal with a strong German influence; the guys indulge in long compositions where nothing really technical happens, and as such also resemble the Canadians Sacrifice, "Passage to Babylon" hitting the top in this vein closing on 13.5-min., an interesting varied track with nice epic deviations and cool lead improvisations. The guitar work delivers with sharp speedy riffs producing furious unbridled thrashers along the way: "The Flames of Toronto" which can indeed set Toronto on fire; this one needs very little to qualify for the Sacrifice raging debut. More controlled speed/thrashing fury comes on "Another Heaven Burns" and on the closing roller-coaster "The Torch of War" which, with its merry riffage, comes close to crossover; could have been written earlier since the singer strays from his husky sinister rasp here sounding unpleasantly synthesized.

Orcish Steel Full-length, 2007

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TWILIGHTFALL (UKRAINE)

Members of the symphonic black metallers Nokturnal Mortum are entertaining themselves in a more downtuned, still quite atmospheric, fashion unleashing calm mid-paced gothic thrash with nice melodic "ornamentations" some of which are a direct nod to their operatic histrionics under the other moniker. This is pleasant music with also some classical references ("Welcome to New Day") and the faster-paced escapades ("Storm") aren't many at all, the more brutal thing being the subdued death metal growler who starkly contrasts with the virtuoso guitar work the latter not far from Yngwie Malmsteen at his nonchalant best.

The Energy of Soul Full-Length, 2014

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TWISTED ESCAPE (USA)

Energetic, "high velocity" old school speed/thrash which doesn't lose intensity throughout, the cool semi-declamatory vocals accompanying this hyper-active melee with panache save for the interesting, more progressively-executed saga "From the Depths" where shades of Sabbat and Drifter can be detected. Carefree thrash/crossover takes over on "Most Wanted", but ironically "Hardcore" is the longest track here, a cool over 7-min diverse rifforama with echoes of the early German speed metal movement.

High Velocity Full-length, 2018

Official Site

TWISTED INTO FORM (NORWAY)

This band could be considered the continuation of the progressive metallers Spiral Architect who, for some reason, were praised sky-high in various media. This formation is the better one still playing progressive metal, but with a more aggressive thrash edge although the latter hardly recalls the band godfathers (Forbidden, that is). The album starts strongly with the first three songs summing up the best from the more technical side of metal; within small 3.5-4min structures the guys nicely fuse very twisted and vortex-like riffs with more intense ones resulting in three masterpieces which will remind you of Depressive Age, later-period Death, Watchtower, early Psychotic Waltz, among others; great time changes will one come across here which never stray too much from the structure, keeping its coherence. With the slow dreamy "The Thin Layers of Lust" the sound loses its edge quite a bit going straight into a classic progressive metal territory ala later-period Sieges Even and Dream Theater. With "Manumit" the thrashy sound returns resulting in another fine string of thrash-laced progressive numbers (check out the marvellous labyrinthine "The Flutter Kings"). For the last two compositions the more complex progressive sound returns with the obligatory elaborate sections and quiet atmospheric passages, but "Coda" exits the album in an imposing thrashing manner with sharp smashing riffs. As with every progressive metal act we can't talk about speed or aggression too much, but this is truly compelling music which flows nicely most of the time without any unnecessary "musical show-off" sections (except, maybe a few ones on the longer tracks).

Then Comes Affliction To Awaken The Dreamer Full-length, 2006

Official Site

TWISTED MOTIVATIONS (USA)

This is a 2-man project; the music is progressive power/thrash metal reminiscent of Eidolon and early Eldritch. This is good stuff although these guys often insert peaceful acoustic passages more than necessary (almost on every song), but after all the intention is not to create a headbanging material. Still, the more aggressive riffs are more than enough to keep you on the alert, at least in the 1st half. The songs flow nicely in the beginning, without too many complications, until they reach the middle, where two more complex affairs await you, one of which ("Marjan") goes over the top, and is the actual flop here, with its balladic, toothless, non-thrash approach, too long for what it was intended to be (an interlude, that is): 10-min. The bad news is that after this monstrous song the band never manage to elevate the quality of their performance to the higher levels from the beginning, and the remaining tracks are nothing more than your average power/progressive metal output, quite dreamy and soft to be classified as thrash anymore. Apparently the guys' target isn't primarily the thrash metal audience, and as a work of progressive metal this album delivers the goods on all counts.

Red Shift Full-length, 2004
Timespan Full-length, 2008

Official Site

TWISTED POSSESSOR (LITHUANIA)

Competent classic thrash which can be both infectiously galloping ("Summoning the Twisted Possessor") and heavy and dramatic "Summoning the Twisted Possessor") with a sniff of early Celtic Frost, the speed metal urgency of "Revenge of the Apparition" by all means favouring the husky shouty black metal vocals, the fine lead pyrotechnics on the short "The Seas of Satan's Piss" the seeming highlight on this relatively direct, non-fussy recording.

Summoning the Twisted Possessor Demo, 2021

Official Site

TWISTED TALES (SERBIA)

The debut: a hesitation between modern and old school thrash with more aggressive death metal overtones the latter also strengthened by the hoarse semi-shouty death metal vocals; a mixed bag as a whole that also contains melodic blase-performed progressivers ("God`s Of Decay"), semi-balladic crowd-pleasers ("The Day I`ll Meet My Death"), on top of several steam-rolling stompers ("Time Paradox", "The Odyssey"). "Being Supreme" unleashes a cavalcade of melodic pirouettes standing for the highlight on this passable, but hardly exceptional recording.
"Bringer of Woe" moshes more assuredly with the ripping title-track and more speed metal-based "Bittersweet Sorrow", but the parade has its mellower stopovers (the semi-balladic hymn "Father", the power metal jumper "Open Eyes and See"). "Slow Down" is ironically the most intense number here, hyper-active speed/thrash which overshadows the meek ending comprising a string of not very interesting mid-paced tracks of which "Sheoul" shows some prowess with a couple of more vivid rhythms.

We Shall Be Heard Full-length, 2012
Bringer of Woe Full-length, 2019

Official Site

TWITCH (CANADA)

I call this modern groovy post-thrash, not really protection, which isn't a total waste due to the more playful approach the guys have chosen towards this trite genre, and they actually manage to entertain the audience with a few interesting semi-technical decisions ("Drive") those enhanced by the strangely indifferent alternative tone of the vocalist who sings nonchalantly and trippily, acquiring a more synthesized blend ("Do You Feel Whole") here and there. "The Fun Things" is a cool dynamic shredder which adds further to the quirky appeal of this recording.

They Call This Protection? Demo, 1996

TWITCHING HUSK (SOUTH KOREA)

This is an all-instrumental affair which features a mix of thrash and death metal on a classic ground which is intense and appropriately aggressive suffering a bit in the noisy sound department. There are stylish touches to be savoured: the technical riffage on the slightly computerized second track (the tracks have no titles), but at other times the music is quite chaotic (3rd track; the surreal Portal-esque blasts on the fourth track) the guys just shredding on top of each other (no information as to how many musicians are involved in this project) without much sense. Things get under control on the final fifth track the band pulling out more meaningful fast-paced progressive/technical thrash/death as a finishing touch showing quite a bit of promise for the eventual future efforts.

Demo Demo, 2013

TWO-PIECE (USA)

Modern groovy post-thrash with thick trudgy riffs and aggressive shouty deathly vocals; there's also a cleaner rappy side to the vocal accompaniment which is a bit easier to tolerate, but the music background is too monotonous and one-dimensional to tolerate the entire time, the final product coming as a heavier more confrontational version of Helmet, the closing "Will 2 Die" the only more dynamic piece on this cumbersome tedious fare.

Two-Piece Full-Length, 2022

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TXATAR (SPAIN)

This is the new project of the Legen Beltza lads, the classic/modern thrashers who left quite a trail of high-quality albums behind them. ON this new initiative the guys aim at the hyper-active speed/thrash perimetres with bursting hymns like "Ospel" and "Gutuna" swiftly establishing the dominant fervent template, the more tamed "Zein Hil Zen" siding more readily with the soothing semi-balladic swoon "Natura Esnatzen". Expect more not very controlled mosh later with "Pasaia" and the proto-deathly "Anai Bat", and don't frown to much on the peaceful power/thrash stroll "Itzalik Gabe".

Hildakoen jainko Full-length, 2024

Official Site

TYBURN (SWEDEN)

The 1993 demo is just two songs of cool modernized semi-progressive thrash which shares some of the precise sterile shred of their compatriots Rosicrucian, but is also quite dynamic with frequent tempo changes. The guys thrash with confidence which also comes from the presence of Joacim Persson: the guitar player who also participated in Fallen Angel previously; that's why it should come as no surprise the clever Bay-Areasque hooks which grace the songs calling to mind Testament's early days except for the slightly improvised, hollowly-sounding leads.

In My Mind Demo, 1992
Demo Demo, 1993
Fragments EP, 1994

TYCCOMA (GERMANY)

This is the continuation of the fabulous prog-thrash outfit Metalaxe. The delivery here is a tad more complex, with longer more meandering compositions, and not as thrash-fixated, but it's equally as enchanting, the new vocalist pitching it higher, possessing a more melodic, more emotional tenor. "Thought Device" is a steady mid-paced marcher with numerous spiral-like riff-patterns, the couple of more dynamic passages enlivening the infernally entangled setting. A quieter semi-balladic break in the second half is another sure winner, the band nothing up the aggression on the great Sieges Even's "Life Cycle"'s reminder "Storming the Cosmos", labyrinthine dramatic thrash at its uncompromising best, a couple of more melodic embellishments also bringing more flexible progressive arrangements including a sudden fascinating faster-paced deviation. "Pioneers" is a more relaxed semi-balladic proposition with a nervy jazzy structure and creepy quasi-doom developments; and "Technical Shades" is an eruption of fabulous virtuoso leads initially, before the band introduce a more sprawling layout with slow-burning drama and more urgent galloping excursions. The lead guitar player remains a highlight on that one, his classical-inspired performance abandoned for the ethereal piano-driven epitaph.

Evolution Outerspace Demo, 1995
Tyccoma EP, 1998

TYFOON (BELGIUM)

Based on the "Edge Of Violence" demo, this is very cool thrash metal calling to mind Kreator's "Extreme Aggression" and Hypnosia's "Extreme Hatred" (in other words, all albums which title contain the word "extreme"). Aggression and technicality shake hands here in an admirable way, accompanied by good Mille Petrozza-like vocals.

The End Demo, 1987
Edge Of Violence Demo, 1993

TYMO (CANADA)

The debut: this is vigorous retro power/thrash sustained in various tempos the title-track offering the requisite respite from the dynamic delivery which acquires cool galloping tendencies on the instrumental "Flames to Frost". "Evolved from You" is another optimistic headbanger with another galloper, the closing "Above This Storm", keeping the mosh going the latter ably supported by the passable hoarse semi-clean vocalist.
"The Art of a Maniac" is ornamented with a bigger doze of speed, the band lashing with little restraint ("Tymonicide", "Sanity Clause") the entire time, "Estrogenocide" even trying to beat the speed of light, the heavy pounds on "Age of Deception" a desirable digression, the downpour also tamed on the dramatic proto-epicer "War Beneath the Skull". The signer shouts even more this time, nearly tearing his vocal chords in the process.

The Lone Wolf Full-length, 2015
Purge & Reset Full-Length, 2017
The Art Of A Maniac Full-Length, 2022

Official Site

TYNATOR (USA)

Competently done, but pretty unmemorable 80's power/thrash metal with a kind of an appealing, but not fully developed dark sound. The guys try to play energetically by at the same time putting something more technical in the proceedings ("No Lies"), but this combination leads to somewhat chaotic song-structures although on the longest compositions they have actually done it right: "What Am I Doing Here?", which isn't as fast, and the guitar work is better, albeit less thrashy than on the other songs.

Living in Pain Full-length, 1989
Living in Pain - Demo Series EP, 1990

Vibrations of Doom

TYPE-ZERO (USA)

This act pull out classic power/speed/thrash, the leveled mid-ranged hoarse vocals more suitable for the more hardcore-prone material ("I Am Now"), the atmospheric balladic "New Type" a new type indeed, the guys swinging in all directions, also producing the funky Mordred-esque oddity "I Am Now". Expect also the unexpected, in the form of a Madonna cover of "Holiday" at the end, an entertaining rendition turned into a frolic thrash/crossover roller-coaster. Some of the band members also played with the very short-lived old school thrashers Panic.

F.U.B.A.R. Demo, 1991

TYPHAON (USA)

A 2-song EP of retro merry-go-round speed/thrash with high-strung clean vocals; the band mix the pace creating an uplifting picture reminiscent of the 80's American scene: think Anvil Bitch, Blessed Death, Sentinel Beast. The sound quality isn't good stifling the instruments making the singer sound too boosted.

Typhaon EP, 2013

TYPHON (USA)

This is varied, unfocused quasi-proggy/post-thrash which also borrows from heavy, power and other genres, but without exactly messing it up beyond repair. The title-track is a friendly welcoming gesture, a catchy sing-alonger that is blown away by the stylish vehemence of the short explosive "Cell". "Pow Wow" is more on the quirky all-instrumental progressive side, but the mellow rhythms some kind of devaluate its merits. Later on highlights are hard to come by, the band trying their hands on tepid boring ballads/semi-ballads ("Washed Away") and noisy industrial non-senses ("Slipping"), the not bad semi-clean singer trying to save some dignity with a steady not very emotional baritone.

Delusions of Reality Full-length, 2021

Official Site

TYPHONIC BLAST (HOLLAND)

From the slightly undeveloped, Motorhead-influenced sound on the first demo the band managed to come up with some convincing music on their last one so far which stays closer to the classic school: the Bay Area scene, more specifically; the style is predominantly mid-paced and heavy featuring a cool headbanging winner ("Empty Seat").

Testosteronics Demo, 2001
Hellride Demo, 2002
Typhonic Blast Demo, 2006

Official Site

TYPHOON (AUSTRIA)

So apart from Ravenous there was another thrash metal act from Austria in the good old days. This band come later than the other one and the thrash metal legions, but showed that it was never too late for some fine quality old school thrash. The music at display is speed/thrash metal with a certain progressive/technical edge, sounding quite close to the works of the acts from Germany who were a part of the progressive/technical wave which started a few years previously. These guys are faster, and maybe more straight-forward in their approach, sounding close to Paradox's "Heresy" at times. But the longer tracks spare no technical elements, and some of them are really fine examples of how speed and progressive structures could co-exist: "Wait For Disaster", "Evil Divine". There are the odd slower compositions where the guys try to insert balladic elements and calmer heavy/power metal sections: "Try Again", "Fearful People", but their patience runs out fast and at some point they admirably go back to the speed metal patterns.

Take Good Care Full-length, 1994

Official Site

TYPHUS (GREECE)

Excellent jolly feelgood, also quite technical, retro speed/thrash produced by these Greek minstrels who lash out in a reckless headlong fashion with short ripping cuts like "Dytalov Pass" and "Terrorzone" breezing by, with a few more technical moments ("Krieg-Sanity") recalling Toxik's seminal debut, the high-pitched attached clean vocals also pulling the proceedings in this direction. The more elaborate structure of "In Our Image After Our Likeness" requires more skills from the guys but they pull it off with flying colours, also adding the lofty intricate shredder "Asylum of Deviants" to the foray, with "Pride Breaker" relying on marginally more linear riff-patterns to pull it through. "Faith Machinery" is full-on prog-thrash, a labyrinthine composition with twists and turns galore, without losing its fast-paced mainframe. A really nice effort which is hopefully not the last we will hear from this talented batch.

Mass Produced Perfection Full-Length, 2020

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TYRAN (POLAND)

This is first-rate porgressive thrash, another undisputed gem from the Polish underground; a surreal hallucinogenic experience quite comparable to their compatriots Astharoth and Acrimony. In other words, expect a combination of hard-hitting passages and quirky Voivod-ish escapades both sides perfectly exemplified by "I" (no track titles), a 7.5-min roller-coaster which doesn't stand still for a split second, pouring weird time-signatures and sudden rushing riffs over the bemused listener who will open his mouth even wider on "II", a very minimalistic creepy shredder with some of the most unorthodox rhythm-sections around. Jumpy hectic riffs take over on "III" alongside an expressive bass bottom, this one vintage "Killing Technology" with the dissonant urgency and the illogical time shifts. "IV" nearly hits the 8-min mark, but this is a supreme spacey progressiver the guys covering a wide gamut of nuances not forgetting about a few energetic passages and bewitching walkabouts. "V" concentrates on a less exuberant semi-balladic approach, but this gives the band an opportunity to reveal their more lyrical side which works just fine with the staple weirdness the latter reflected in crooked overlapping riffage. "VI" is a total Mekong Delta-sque madness (think "Kaleidoscope") with outlandish riffs galore not to mention the speedy accumulations which are unheralded at best, and constantly stupefy the fan who will also totally savour the classical predilections displayed on the diverse marvel "VII". Yes, one will be left shaken and stirred by the end of this exuberantly original recording which only pullback would be the not very attached semi-declamatory vocals.

Demo Demo, 1989

Official Site

TYRANEX (SWEDEN)

This young trio is fronted by the girl Linnea Landstedt who both sings and plays a guitar. Based on the "Blade of the Sacrificer" 3-song demo, the band offer a softer version of the classic 80's thrash, mixed with a considerable doze of heavy/power metal. Both music and vocal-wise these guys (and a girl) will remind you of 80's Chastain, more aggressive riff-wise, and more varied in the vocal department, where Landstedt is not afraid to scream quite high whenever needed, or even adhere to some scary growls occasionally. Reportedly their first two demos are solid efforts as well so don't be surprised if you see them signed to a major label some time in the near future...

"Extermination has begun", folks, and the band's full-length debut is a sheer testimony for that. Just listen to the explosive full-on trashy opener "The Weak Strike Back". Things only get higher from now on, first with the aggressive retro speed/thrashers "The Curse" and "As the Cross Crumbles", and then with the purer take on classic speed metal "Dreamland", a perennial delight with lightning speed guitars. "None So Cruel" is a pounding epic power metal anthem, but "Tormentor" is the ultimate furious speedster: a maddening pace reaching the speed of light with ease which will exhaust you within less than 3-min. Meet the early Angel Dust-worship "Awakening the Dead" which also introduces a cool slower interlude, although it would still "awake the dead" in any graveyard around the world. "Road to Damnation" is more moderate, speed/thrashing in a jollier manner with a few merry hooks "roaming" within. The closing title-track has to justify the album-title lashing out fast fiery riffs on full-throttle, the perfect exit to this exhausting listening experience which dedication to the old school is admirable. No traces of heavy metal, no traces of Chastain, the band sounding like an almost entirely new one. Mrs. Landstedt pulls out a standout performance with her high-pitched, but emotional and pretty dramatic, delivery, a fairly rare phenomenon on the female vocal circuit with Tanja Ivenz (Battlefield) a close soundalike.
"Unable to Tame" sees the guys (and a girl) "unable to tame" speed/thrashing in their familiar old school way inserting the more moderate doze of crossover (the rousing title-track). Things are not constantly in the fast-paced parametres ("Chasing Death"), and although the variety is bigger this time, this effort isn't as convincing only picking up the requisite intensity near the end on the speed/thrashing winners "Victim" and the closing "Into Darkness" which are still closer to the speed metal heroics of early Helloween and Warrant than to full-fledged thrash.
"Death Roll" is the next in line hyper-active affair as the approach now is even more reminiscent of pure speed metal as evident from relaxed numbers like "Fight Them Back" which will definitely have problems "fighting them back" with its more relaxed rhythm-section. "No Justice" would be a rude awakening with its brutal thrashisms and nearly death metal drama, a roller-coaster of the highest order which "flows" into "Bloodflow", a much calmer cut with heavy/power metal overtones, its "friendliness" compensated by the rousing closer "Beyond the Throes of Evil", a smattering speed/thrashing melee serving virtuous melodies, acrobatic bassisms, and plenty of headbanging moments. The band have still more to bring back from their old vigour, but as a notable old school tribute this recording still works on all counts.
�Reasons for the Slaughter� rages more aggressively than the preceding slab, with thrash brought back to a slight extent, the catchy uplifting �Rise from the Dead� pairing adequately with the equally wild �Full Circle� and the more tamed power metal anthem �Megalomania�. Jump with joy on the elevating speed metal winners �Reasons for the Slaughter� and �Do or Die�, the more moderate pounds of the closing �Wipe Out� followed by a gust of unrestrained speed/thrashing crescendos.

Demo Demo, 2006
Tyranex Demo, 2007
Blade of the Sacrificer Demo, 2008
Extermination Has Begun Full-length, 2011
Unable to Tame Full-Length, 2014
Death Roll Full-Length, 2017
Reasons for the Slaughter Full-Length, 2023

Official Site

TYRANN (NORWAY)

Fast & furious black/thrash metal which very seldom slows down, but when it does, the music takes off: "Hellridden", which even manages to sound technical and doomy: quite an eventful and diverse composition with fine guitar performance and stylish time changes. The thrashers will hone their ears on the short bombastic "Shub-Niggurath" and on the cool mid-tempo steam-roller "Soulburner". On the rest the hyper-blasting black metal outbreaks may make him jump in his sleep long after this album is over...

Shadows of Leng Full-length, 2009

Official Site

TYRANNIA (FINLAND)

Based on the anthology, these lads serve serviceable retro death/thrash that confronts the listener with both more volatile aggressive shredders (the death-laced �Zombies Walking on the Streets of Virkkala�) and more technical tornados of semi-blasting impetuousness (�Me, My Hatchet and I�). The vocals �death vs. shrieky� dichotomy does the requisite job, to further exacerbate the environment, the latter also receiving a more abrasive hardcore-ish baptism on �Reanimated Impaler�. Some of the musicians are also engaged with the gothic/doomsters Silence After Funeral.

Attack of the Virkkala Zombies?!!! Demo, 2013
Cat Guts and Pig Squeals Demo, 2014
Virkkala Zombies Anthology Compilation, 2023

Official Site

TYRANNO (BRAZIL)

Based on "Skulls, Horns & Lust", this outfit specialize in bashing Venom-esque old school thrash/proto-thrash with shades of Celtic Frost ("Borinage", "I'm Obsessed") on the heavier doomier pieces. The vocalist nicely balances between the mean croons of Cronos and the more aggressive semi-recitals of Tom G. Warrior, and his involvement definitely makes this effort more attractive, not without the help of intense headbangers like "Burned Alive" and catchy mid-paced stompers like "King".
"March of Death" follows a similar trajectory the guys not exerting themselves in the musical proficiency department too much, the one-dimensional semi-bash presiding over the landscape, the doom gravity of "Heading to the Coven" opening more serious vistas for the band wth echoes of Dream Death and Celtic Frost. "Dead Brain, Living Skull" is a wild proto-deathster, but expect more welcoming, hospitable rhythms on "Black Star" and on the semi-galloping power metaller "Harder", the contrasting "doom vs. thrash" layout on "Praise the Horns" going away with the most laurels.

Master of Sin EP, 2014
Skulls, Horns & Lust Full-Length, 2017
March of Death Full-length, 2020

Official Site

TYRANNOSATAN (SWEDEN)

This band play corrosive old school black/thrash supervised by venomous death metal vocals. The delivery is mostly on the epic mid-paced side, with catchy melodic tricks ("Natten Ar Var Tid"), "Kummelgastarnas Forbannelse" speeding up nicely by still preserving the melodic streak. "Det Svarta Stalets Brodraskap" is a short dirgy crusty hymn, and "Skuggan Fran Forr" is an effective battle-like steam-roller. Some of the band members also play with the black/folk hybriders Irrbloss and the speed metal purveyors Armory.

Katakombernas Kakofoni Full-length, 2022

Official Site

TYRANNUS (UK)

Based on the full-length, this is old school black/thrash which is also full of melody, the band combining atmospheric epic dirges ("The Flood") with vicious blasting outtakes (the title-track), the spiteful death metal vocals supporting the variegated show which also boasts a nice quiet ambient instrumental ("Lake of the Undying"). "Light the Last Sun" is a sprawling progressive extravaganza with a wide array of nuances, not leaving much room for thrash to evolve. Some of the band members are also busy with the progressive black metal cohort Ashenspire.

Tyrannus EP, 2019
Unslayable Full-length, 2022

Official Site

TYRANT (SWEDEN)

Black/thrash/speed metal which will remind you of Venom, Celtic Frost, and Bathory in the slower parts, and Sodom and Slayer in the faster ones ("Hell Has Broken Loose"); these fast parts are not that many (three songs altogether), and the focus is on heavy, mid-paced, simplistic riffs which create a monotonous, and even depressive feeling. The production is a little dirty trying to imitate the one from the early works of the aforementioned bands.

Reclaim the Flame Full-length, 2007

My Space

TYRANT (USA)

Based on "The Lowest Level", this band play retro speed/thrash with lively vivacious rhythms, the passionate clean vocals leaving a fairly positive impression, except at the moments when they shout with a pronounced deathly timbre. On the music front we have more ambitious stompers ("Sins of the Many"), short non-fussy speedsters ("The Persuader"), and impetuous speed/thrash hybrids ("Kingslayer") with a sniff of mid-period Megadeth.

Purge EP, 2014
Black Hand EP, 2016
The Pact Full-length, 2018
The Lowest Level Full-length, 2022

Official Site

TYRANT DISCIPLE (FINLAND)

Based on the 2-song self-titled demo, this act plays heavy doom-laden thrash/death metal with crushing steam-roller riffs, a few faster-paced sections, and brutal low-tuned vocals.

Tyrant Disciple Demo, 2006
Fields of Suffering Demo, 2008

Official Site

TYRANT EMPEROR (MEXICO)

Cool well-measured classic thrash that is high on atmosphere, and although the speedy extrapolations aren�t that many, one can�t possibly complain too much in the presence of steady dark mid-pacers like �Falsa Fe� and �Revolucion�, the growling but comprehensible death metal vocalist by no means a detrimental presence. The more diverse riffage served on �Guerra y Muerte� comes boosted by a few intriguing gallops, before �Calcinado� shoots several stylish more technical rhythms into the aether, �Sangre� slowing down the proceedings with a cumbersome doom-laden skeleton. Please welcome some agony with �Agonia�, the lead guitarist a but busier on it with a provision of nice catchy pyrotechnics; the obligatory headbanging baptism arriving eventually on the brisk volatile closer �Vida sin Valor�. Some of the band members are also engaged with the black metallers Black Pesten.

Rotten and Evil Full-length, 2024

Official Site

TYRANT'S REIGN (USA)

It's a pity bands like this never managed to get to the full-length stage. This is quite good classic thrash metal which would have placed them along with the best on the American metal scene. Like with every Best of Compilation, on which this review is based, there are songs which differ in style: the majority are energetic Bay-Area tinged thrashers, but there are longer tracks where the influence of the American power metal scene is obvious. There isn't a dull moment here, maybe the 7-min long semi-ballad "Forever and a Day" isn't very convincing. There's an interesting attempt at technical thrash as well: "Unconditional Surrender", and this could have been the future direction taken by the band if they hadn't split up.

Untamed Demo, 1986
Year of the Tyrants EP, 1987
Demo Demo, 1989
Tyrant's Reign Best of/Compilation, 2004

My Space

TYRANTHROPE (INTERNATIONAL)

An international collaboration we have here, one that concentrates on intense modern thrashcore, the pulverizing short cuts on which this recording is based carving burrows through the listener's brain with ease, "Metropolis" and "As God Disbelieves" able to stir moshpits even in the most scholastic communities, the aggravated shouty vocals perfectly fitting to the hyper-active showdown, the latter losing a few fast-paced notches on the stomping "Brave New Slavery" and the more seriously-executed "History Repeating".

Metropolis Full-length, 2023

Official Site

TYRANTS (COLOMBIA)

This is pretty decent retro thrash which gets nicely technical on the opening shredder �Tyrants�, the excellent atmospheric interlude another valuable addition to this admirable roller-coaster, its continuation having both a direct speedy (�Fight for Your Life�) and a hit-potential power/thrash (�Close to Extinction�) physiognomy. The vocals are of the high-strung screechy variety, but their presence isn�t detrimental at all, especially on the more intense material like �Legion Victrix� and the bashing violator �Warlord�. �ImpiusSenatu� is an interesting choppy mid-pacer with not very regular rhythmic structures, the possible highlight of this cool not very predictable offering.
�Warlord� is a faster-paced and overall ore intense affair, the melodic speedster �Neath the Red Sun� stood up by the non-fussy hardcore shenanigans on �Squad 731�, the sweeping speed/thrasher �Tyrant�s Reign� close to the complex variations of Manticora and Paradox. More straight-forward in-your-face thrashcore with �Killer Machine�, �Graves of the Fallen� a friendly hard�n heavy anthem which pales before the super-addictive melodic tunes unleashed on the fast-paced all-instrumental delight �Relentless Winter�.

Kill or Die Full-length, 2021
Warlord Full-length, 2024

Official Site

TYRANTS (ITALY)

A 2-man band who unleash an epic form of thrash/death and a bit of power metal with Children of Bodom overtones which is clearly on the melodic side overflowing with melody and catchiness. The overuse of keyboards may annoy the listener at times, but for him/her are provided a few faster cuts (the technical exuberance "Revenge"). Still, the elegiac pompous tone of the rest may not be very amusing for the regular thrash fan, but fans of the epic side of power and death metal should be quite happy. The vocals are on the harsh death metal side, often assisted by cool operatic female ones.

Ruchus Full-length, 2011

My Space

TYRANTS BLOOD (CANADA)

This is the new band of Brian "Messiah" Langley, a former Infernal Majesty singer. The music here (based on the debut) isn't too far from the one offered on "One Who Points to Death": this is a pretty decent mix of thrash and a bit of death metal. The guys play fast and tight, but without any technical pretensions, and all the songs tend to merge into one another in the long run. The second half of the album is less frantic and offers more intriguing hooks ("Warhammer", which boasts nice melodic leads), the technically-charged, but also raging "Wolfheart", the excellent more complex closer "Rebel Angel", where the music takes a very unexpected turn towards a more thought-out song-writing.

Langley is helped by two musicians from the power/thrashers Omega Crom for the recording of "Crushing Onward Into Oblivion" which is a violent mix of thrash, death and black metal concentrating exclusively on speed leaving the quite a few technical attempts undeveloped the latter also hindered by the short song-length. Still, the twisted hectic riffage on "Crushing Onward Into Oblivion" can't remain unmentioned, neither can the ambitious closer "Slaine: The Berzerker", a massive 9-min opus which, despite its more complex pretensions, is hardly the highlight focusing on bombastic ultra-fast black metal arrangements for the sake of the more sophisticated thrash/death riffage. With more refinement and less adherence to all-out blasts this band could make more heads turn; now this ultra-extreme downpour would mostly serve to scare away the neighbours...
"Into the Kingdom of Graves": the brutal cacophony from the previous album continues here unabated the band just bashing in a violent manner the several sparkles of technical excellence inexorably buried under a wall of super-fast, hard to decipher riffs. The few moments of serenity ("Revelation in Damnation") deliver, though, with their more sophisticated edge which starkly contrasts with the rest. "Drowning in and Ocean of Fire" has a few genuinely beautiful melodic passages among the raging rifforamas which only slightly get under control on the closing title-track where the technical pretensions of this effort become very clear. It's sad that this otherwise more listenable offering is still more on the extreme side of the spectre; a bit more polished and more tamed performance would have done miracles here...

Tyrants Blood Full-length, 2006
Prophecy EP, 2008
Crushing Onward Into Oblivion Full-length, 2010
Into the Kingdom of Graves Full-Length, 2013

My Space

TYRANTS BY NIGHT (USA)

A brisk blend of modern and classic thrash with melody and intensity unevenly mixed together with several admirable headbangers ("Tyrants By Night") included, but expect for most of the time mellower balladic moments ("Led Astray", "Judgment") where the melodic dashes come a bit too much resulting in quite a few semi-ballads as well, but these soft moments suit better the cool clean vocals.

A Test Of Patience Full-Length, 2017

TYRON (GERMANY)

This outfit were earlier known as Lilith Laying Down the style being a diverse cool mixture of power, post-thrash, progressive and gothic metal. Here the guys have simplified the approach by incorporating the good old power/thrash formulas spiced with not very impressive groovy flavours. Not much to talk about, heavy mid-paced stuff with dramatic, jumpy at times riffs ("Murder") and deep convincing semi-clean vocals.

Rebels Shall Conquer Full-length, 2016

Official Site

TYRRANNICIDE (USA)

Based on the full-length debut: very good aggressive, somewhat semi-technical thrash which will remind you of Gammacide and Slayer. "Hiding Under White" is a complex, slightly heavy-handed opener which suggests little of the more aggressive sound later on with its pounding, slow-ish riffs for the most part; one can't help, but notice how close this track sounds to the future aggro-thrash movement which conquered the metal scene in the 90's. "Nails on the Chalkboard" already thrashes with more power, but the following numbers surpass it by miles: the brutal Slayer-esque "Was It Worth It" and "Think for Yourself", the even more intense proto-death "Drink, Drive and Die". "Peer Pressure" slows down again, but is much better than the opener, with cool technical hooks and a nice balladic interlude. "Inner Peace-Holy War" tries to follow the more technical patterns as well, and it's not bad combining more complex with straight bashing sections: an intense and intriguing listen. The closing "By His Own Hand" begins as a ballad, but the middle is aggressive thrashing calming down near the end.

"Hard Like a Machine" three years later is almost as impressive: both tracks are fine heavy pieces, still quite intense and technical, but recalling Exhorder's debut, rather than the two aforementioned bands.

God Save The Scene Full-length, 1989
Hard Like a Machine EP, 1992

TYRUS (AUSTRALIA)

This band may be the first thrash metal band in Australia, and it's a shame they disappeared after just two demos during the peak for the genre time. The band's style hesitates between quite heavy, with somewhat menacing atmosphere, sound with crushing riffs not too far from early Celtic Frost ("Crucifixion"), and speedy numbers which would have stood quite well even on the Angel Dust debut ("Bubonic Plague"). A great band who only served to "warm-up" the Australian thrash metal fans for the coming of other acts like Mortal Sin, Hobb's Angel of Death, Bezerker, etc.

He's a Liar Single, 1986
Tyrus Demo, 1986

TYSON (GERMANY)

Based on "Unbreakable", this band play pretty decent modern melo-thrash which tolerates both jumpy metalcore-isms ("Death by Silence") and surprisingly stylish nods towards the 80's thrash school (the brisk semi-technical "Bleeding Machine"). The latter aspect receives more nice support by vigorous shredders like "False Gods of Destiny" which occupy at least half the album, the dominant shouty semi-clean vocals at tmes getting unexpected help from more attached cleaner ones those shining on the few sing-along choruses ("Higher", "Thin Ice").

Tyson EP, 2008
Bareknuckle Fights Full-length, 2010
Counterparts Full-length, 2014
Unbreakable Full-length, 2018

Official Site

TYTUS (ITALY)

Based on "Rain After Drought", this act specialize in dynamic retro speed/thrash which marches onward with impetuous headbangers like "The Invisible", the epic battle-prone veneer of "Our Time Is Now" the other side of the multifarious show, to these ears the less attractive one especially when it starts clinging too much towards the balladic sector ("Death Throes"). The vocalist delivers, though, with his emotional clean tenor, pitching it higher on "eagle fly free" speedsters like "Move on Over".

Rises Full-length, 2016
Rain After Drought Full-length, 2019

Official Site

TZANTZA (RUSSIA)

This Russian, the alias Lord Pestis, offers wild brutal retro thrash/death metal which isn't total madness all the way and has its relatively more quiet moments, but when the guy loses it completely ("Silentkrieg") he doesn't shy away from grindcore even. "Life (Part I)", on the other hand, is sincere friendly crossover carrying a few similar tracks after it which tone down the aggression from the first half considerably. The Lord recaptures it near the end, first with the nice melodic thrasher "Why Did I Spare Them?", and last with the closing death/thrash hybrid "Good Night, Worldwide". The Lord screeches and rends in a sinister witch-like blacky way adding the more authoritative death metal growl to spice it up even more.

Insect In A Piece Of Glass Full-Length, 2012

My Space

T0MMERMENN (NORWAY)

Based on "Urbant Helvete": this is melodic modern heavy/thrash metal with influences from various other genres. This isn't intense or hard-hitting stuff, often relying on pure heavy metal, or groove, or stoner/doom, to pull it through, and as a whole this music will not be very satisfactory to the thrash metal fan.
"Morgengry" is another mild affair with thrash metal very barely hinted at. Doom and the ballad have sneaked through to accompany the catchy heavy metal tunes which are topped by the soulful, slightly gruff, clean vocals. This is pleasant feelgood music, but its merits to thrash metal are very passing.

Tommermenn EP, 2002
Tolv tonn Full-length, 2004
Urbant Helvete Full-length, 2006
Morgengry Full-length, 2011

Official Site

T0RP-TH (FINLAND)

This demo offers retro "botnia" (what's that?) thrash/proto-death, fast relentless stuff with hoarse semi-death metal vocals. The music is simplistic with nods to Slayer, Rigor Mortis, Devastation, etc. "No Flowers At Your Grave" at the end is a cool doom instrumental.

Botnia Thrash Assault Demo, 2009

Official Site

T0RR (CZECH)

A cult black/thrash metal band; their first two works are essential with their old school sound in the Celtic Frost/Bathory-tradition. The debut is a heavy, seismic effort which crosses the dark sound of the aforementioned Swiss with even more depressive doom tones, obstinately refusing to speed up, the obligatory exceptions being the slightly faster "Samota v Smrti", and the gloomy speed/thrashers "Zlej Sen" and "Posedlof". The vocalist is a subdued death metal growler, but his rendings are intelligible.
"Institut Klinick Smrti" takes faster proportions, the opening "V Podzemf" already a full-fledged thrash/deathster, although one shouldn't expect a thrashing madness from the band, and cuts like "Seru Krev" are as steam-rolling and gloomy as anything from the debut. Some lyrical, heavy metal numbers are definitely not very welcome ("Odkaz Bestie"), but, on the other hand, one would not be sitting around on compulsive moshers like "Kremator" or engaging, also more melodic, pieces like "Libreto Smrti (Fantom Opery)", the latter offering a haunting operatic beginning. The closer "SebevraPda" is a sheer take on officiant, almost funeral, doom, ruined by the 3-min of noise in the 2nd half.

"Chopni o Kus Defl" is a mild affair, a clear disappointment to the band's old fans, sticking to melodic heavy/power metal patterns with a touch of speed ("Jedu v Tom", "Ubij Ho") of the unexciting, repetitive kind. There's a lot of tenderness here: check/don't check the soulful ballad "Vzpomfnky na Zivot", its soporific qualities "marred" by the heavy doom/thrashing closer "O Psovi S VyraPenem Dechem" which partially acquits this soft effort with 10-ton hammering riffs. A string of 3 albums of the same melodic, heavy/power metal, type followed before the guys decided to harden the course once again, a popular decision having in mind the resurgent interest in old school speed/thrash during the new millennium. "Toerritorium" is a pleasant surprise showing the band looking back at their roots, with the majority of the songs sounding as though directly taken from the band's early efforts, with only a few having the more melodic edge of their more recent works.
The guys increased the hiatuses between the albums, but remain one of the few veterans who never really disbanded, but have always been around, more or less regularly. "Tempus Fugit" is a varied affair comprising of contrasting numbers, throwing the listener from the crossover/punk realm (the energetic opener "AP Me Vocichni Naserou") to the balladic doominess of cuts like "Besnfci Doby" & the title-track. The former side dominates sounding quite close to Motorhead except for the aggressive tribute to Slayer "Tak Vejdi" which is the only clearly thrashy number. There are also proto-groovy pieces towards the end where the approach is strictly modern with a pinch of grunge. There's very little to associate this effort with classic T0rr, and is a definite step down from the more aggressive, darker tone of the preceding album seeing the guys trying to explore new territories, more or less fitting to their style.
"Black'n'Roll" reveals a lot from the title, the band jumping merrily without much tension, the Motorhead-ish flavour from the preceding work only lightly hinted at; the rest is friendly heavy/power metal which is professionally done and all... it's just that it has very few merits for the thrash metal fan who may mosh around on "Mr. Dat", an energetic cut with some of the finest leads the guys have ever produced, the highlight here with its vigorous thrashy riffs. This is one of the softest offerings from the veterans who are obviously not very interested either in their thrash or their black metal roots at the moment. This is by all means roll, and also rock, but black... I don't think so.
"Inkvizitorr" moshes with more vigour, but it's largely speed metal that is churned out of the bouncy "Buh Temnoty", and although "In Extremis" bets on some rowdy thrash tunes later, the remainder is mostly not very exciting mid-tempo chugs, the other exceptions being the vivid short thrash/crossover frolicer "PitevniTrenazer" and the intense rushing "Zavist".

Armageddon Full-length, 1990
Institut Klinicki Smrti Full-length, 1991
Chepni o Kus Dafl Full-length, 1992
Morituri Te Salutant Full-length, 1996
Tanec Sv.Vata Full-length, 2000
Made In Hell Full-length, 2003
Toerritorium Full-length, 2006
Tempus Fugit Full-length, 2011
Black'n'Roll Full-Length, 2016
Inkvizitorr Full-Length, 2021

Official Site

T0XIK DEATH (NORWAY)

The EP: very cool early Germanic thrash, quite fast with great simplistic, but very sharp riffs and slightly sluggish drunken vocals; at times the music acquires crossover tendencies ala Nuclear Assault, but the constantly speedy tempo and the biting riffage are intact throughout. For fans of vintage 80's speed/thrash metal this will be a no-brainer.
"Sepulchral Demons" is a raging beast the guys marching onward with vicious speedy guitars, the abrasive production giving them a sharp chainsaw-like vibe. The headbanging factor is really high on intense moshers like "Malicious Assassin" and "Sadistic Sorcery", the only deviation from the pattern being the lengthy more flexible saga "Morbid Divination", a diverse near-progressive journey superseded by the vehement proto-deathy "Incantation of Annihilation".
"Speed Metal Hell" justifies its title with venomous aggressive rhythms from the get-go, with "Infernal Vicious Attack" blasting through the speakers in a near-death fashion before the speed/thrashing madness begins with "Metal Possessed" and "Sergeant Of The Wasteland", the early German school paid tribute, above all, the abrasive hardcore "D-Beat Destructor" another addition to the hyper-active nature of this unbridled recording.

Happy Fukking Holocaust EP, 2007
Speed Metal Hell Full-length, 2014
Sepulchral Demons Full-length, 2020

Official Site

T0XIK WALTZ (SPAIN)

Retro thrash which is quite ripping and lashing making major claims at "Thrash Metal Dictatorship" like one of the song-titles states very clearly. That same cut is first-rate thrash and sets a fine example to be followed by the remaining material. A bullet after bullet are shot with the utmost precision songs like "Island Of Death" and "Octogenarian Violence" fulfilling all the promises for the new thrash metal hymns for the fans. "Politician" is a heavy squasher opposing to the extreme character of the rest which is finished by "Thrashing Like A Maniac", the last in line hard-hitting thrasher seeing a confident young outfit ready to do damage on a bigger, worldwide scale.

Declassified Full-Length, 2016

Official Site

T-MULE (ITALY)

This band specialize in modern thrash/death which is both groovy and energetic. The band seldom speed up too much, and this may be considered a minus by some of the more demanding fans who will rejoice on the two numbers at the end which are more engaging offerings with numerous tempos changing within a short span of time. The vocals are on the semi-death metal shouty side taking quite a space from the album.

As It Is Full-Length, 2012

Official Site

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