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

W.A.K.O. (PORTUGAL)

A modern mixture of thrash, groove and death metal sounding somewhere on the road from early Machine Head to Fear Factory. "The Road Of Awareness" is a more dynamic affair now clinging more towards the Gothenburg thrash/melo-death standards with a good sense of melody added. The groove still comes up on several moments, but generally the concentration is on a more intense delivery with sparse more stylish semi-technical inclusions (the closing "Coronation of Existence").

Symbiotic Existence EP, 2005
Deconstructive Essence Full-length, 2007
The Road Of Awareness Full-length, 2011

My Space

W.C.NOISE (PORTUGAL)

Based on the debut, this is cool power/thrash metal which will remind you of Meliah Rage's "Kill To Survive" and late-80's Overkill. The singer is a bit of a letdown with his gruff, semi-clean delivery, but the music is definitely on the positive side with energetic, mid to up-tempo riffs, and a slight shade of crossover ("Godless"). Seldom will the guys surprise you with more aggressive all-out thrashers: "Nuclear Poo", "You'd Better Shut Up", the latter coming with great leads, again containing a touch of crossover.

Loud & MadFull-length, 1992
Reality AsylumFull-length, 1994

My Space

W.D.M. (FINLAND)

The "Tomorrow's Gone" EP: 4 songs of edgy energetic thrash/crossover reaching Wehrmacht extremes ("Confuture") at times which are well compensated by the mellower punky material ("Communist Disease").

The debut EP is noisy, intense thrash/crossover with buzzy guitars and very shouty vocals. The music is way more amateurish compared to the subsequent EP being one-dimensional bash with a few melodic digressions ("Brains", which is a more carefree punkish number).

Democracy? EP, 1985
Tomorrow's Gone EP 1985
Freedom of Music EP, 1987

W.I.L.D. (FRANCE)

Based on the full-length debut, this band play modern semi-technical thrash which starts with the fast, not very predictable, "Seize the Day". "A Voice in My Head" is even more intense with shades of death metal, and the following "Pick Me Up" is another wild piece, a formula shared by the remaining pieces the "idyll" in this cavalcade being the peaceful lead-driven balladic instrumental "Choices", a very surprising edition having nothing to do with the surrounding mechanical sterile "carnage" which again reaches deathy dimensions with "Wake Initiated Lucid Dream". Near the end the guys show their more tender heart once again with "Awaken Nightmare", a peaceful ballad with very good clean vocal presence the latter a total contrast to the dominant semi-shouty death metal vocals.
"The Domination Chronicles" preserves the intense mixture between the two genres with death metal prevailing on brutal walkabouts like "Waiting for the Savior" and "Wrong Place Wrong Time", those moments somewhat overshadowing meeker groovy post-thrashers like "Inmate5" and "Skin and Bone". Attempts at a more doom-laden sound ("Until I Bleed") are also well noted regardless of their inertia-stifling nature.

Agony of Indecision Full-length, 2012
Happiness Is Not Allowed EP, 2015
Purgatorius Full-length, 2017
The Domination Chronicles Full-Length, 2019

Official Site

W.M.D. (CANADA)

These lads were previously known as Shrapnal; the style here remains unchanged, brisk old school thrash mixing straight-forward impetuous speedsters ("Capture & Kill") with more entangled complex pieces (the title-track, "The Brazen Bull") the approach on the latter bordering on cleverly-constructed Paradox-esque shenanigans and, respectively, late-80's Metallica. The more contrived shredding on "The Age of Extinction" is another possible highlight, the stylish fast-paced puzzles on "Fragmentation" nicely reminding of another Canadian outfit, Dyoxen. "Thrash Attack" is rather a techno-thrash attack the guys bracing themselves for an alluring speedy, intricate journey with "Virus" closing the proceedings with bouts of both melodic and vehement skirmishes, another admirable roller-coaster of a less ordinary nature. The vocals do a fairly good job with their high-strung clean pathos recalling a higher-pitched and more attached Hansi Kursch (Blind Guardian). Some of the band members are also active with the power/speed metal formation Hrom.

Lethal Revenge Full-Length, 2018

Official Site

W.O.M.P. (ITALY)

Interesting, at least at the beginning, progressive thrash which sits between the old and the modern school, a psychedelic spacey affair that will recall Voivod's "Dimension Hatross" on the air-headed jumper that is the title-track, with "Shit" serving way more than shit with its stylish subdued delivery which suddenly turns to super-twisted Deathrow-esque carnival juts like that. "Lilith" is a diverse semi-balladic saga followed by the slackened groovy charade "Walloping" after which the whole thing collapses after the very promising start, the guys (an a girl, the singer) messing it up with all kinds of incoherent influences, losing the plot completely by the end.

Madness Manipulators Full-Length, 1994

WACKOR (HUNGARY)

Groovy modern post-thrash, quite jumpy at times, but there's nothing technical here, maybe some alternative moments ala Rage Against The Machine or Helmet so don't expect anything heavy or fast.

Lobotomy EP, 2001
Methanolid Full-length, 2004

Official Site

WAELMIST (USA)

This is cool energetic retro thrash sometimes built on catchy melodic licks ("Immolation of the Wicked"), sometimes on fast ripping rhythms ("Buried Alive") with each of the tracks belonging to either of the two sides. This is good stuff, proficiently executed, with a good sound quality and a bit over-the-top shouty death metal vocals.

Waelmist Demo, 2018

Official Site

WAKBOTH (FINLAND)

Based on the "Cass.Lp + Demo' 96" demo, we have two styles mixed here, reflecting on two different periods from the band's career: one is mid-paced, stomping thrash ala Celtic Frost and Slaughter, the other faster, more energetic one, with touches of the modern black metal scene. Both styles work well although the former comes with a much worse sound quality and more screamy, hysterical vocals.

Dreamking Demo, 1996
Cass.Lp + Demo' 96 Demo, 2005

WAKE OF REDEMPTION (USA)

An atmospheric take on the 90's post-thrash done with vision and complexity. The band shred with a lot of heaviness, but the sense of melody is just around the corner (check out the addictive leads on "Break Free"). "Earthshaker" is a masterpiece of intense progressive thrash, a dramatic varied composition which kind of overshadows the subsequent material although creepy jumpy shorters like "Mars", or lead pyrotechnic exuberances like the ones on "Oh, Yeah!" will make quite a few heads turn. The virtuoso performance continues till the end where it takes more epic proportions with the engaging 10-min closer "Artorius Rex" which is a symphony of moods and guitar juggling with seldom a dull moment. The vocals are of the semi-passionate clean type, but despite the guy's effort they can only be humble assistants to the virtuous music.

Earthshaker Full-length, 2012

Official Site

WAKE UP (BELARUS)

Two people are behind this obscure project which offer curious progressive thrash with bad death metal vocals which are very thin and at times plainly shout without a tad of emotion. The album starts with the early Meshuggah-worship "Depression" which features fierce galloping sections and much more quiet balladic ones. More consistent thrashing will one come across on "Welcome To The Hard Times", which is another brisk galloper with very good leads. Then comes the semi-balladic oddity "Sorrows Of The Moon" which is a Celtic Frost cover taken from the Swiss' 1987 opus "Into the Pandemonium", before the technical thrasher "Silent Temps Of Future" takes over with its complex heavy riffs. "Wake Up, Hate" is probably the only unmitigated failure being a modern proto-groovy filler, but "Space Remains With You" is a different story, a jumpy number with nice melodic leads. "Sentimental" is an excellent instrumental mixing intense, almost doomy, riffs with beautiful melodic arrangements and surreal balladic excursions within just over 3-min. The title-track is progressive thrash at its best, brutal proto-death riffs meet eclectic jazzy structures among the obligatory standout leads, a complex multi-layered picture which flows into the closing relaxed speedster "The Tramp" that wraps things up with carefree guitars and merry rhythms. This is an interesting, albeit a bit hard-to-swallow at times, effort which adds up nicely to the good technical scene from Russia and the former Soviet republics of the early-mid 90's.
The demo is a weird, eclectic recording which doesn't stick to the thrashy norms steadfastly, but branches out into modern 90's post-thrash, alternative, and funk almost at will, switching between styles sometimes within a single song-structure, "M.D.L." bringing some verve with more aggressive shreds, and "Predchuvstvie Katastrophi" providing entertainment for the more thinking side of the fanbase with a few more contrived pirouettes.
The EP is a very contrasting offering, ranging from short hardcore-ish outbursts ("I'm Not From Your Life") to hypnotic meditative alternativers ("Stop to Save the World") to jumpy funky digressions. It's a mish-mash with no redeeming qualities whatsoever; a not very dignified epitaph to a once-promising career.

Good Morning Demo, 1992
Look Full-length, 1992
Propaganda EP, 1998

WAKE UP DEAD (USA)

Jumpy modern thrash smelling metalcore quite a bit with technical pretensions, but the frequent time and tempo changes leave quite a lot of ideas hanging in the air unfinished. As a result the few faster passages get rudely intercepted by hectic slower ones which do very little else apart from killing the pace.

God Bless The Future Full-Length, 2009

WAKING MAYHEM (CANADA)

A hellish trio from Edmonton who (based on the EP) indulge in a choppy semi-technical thrash/death blend with cool melodic licks also timely provided to make this recording a less ordinary listen. "All the Same" breaks the thick Alberta ice with wild spasmodic proto-blasts, the first sign that the band here can actually mosh with passion, the mayhem later prolonged with the stylish thrashing shredder "Horns of Hell" and the near-progressive roller-coaster "War of Attrition". Tenderness in spades is also exuded from the instrumental acoustic ballad "Diablo" which skips the weird clean alternative/aggressive deathly vocal duel.

The Reaping Full-length, 2016
War of Attrition EP, 2019

Official Site

WAKLEVREN (NORWAY)

Members of renowned Norwegian acts (Inferno, Aura Noir, Red Harvest, Gorgoroth, Immortal, etc.) have gotten together here. Based on the full-length, this band plays retro black/thrash which is not terribly far from the "antics" of Aura Noir, but comes with more simplistic guitar work and slower doom passages of the chaotic Hellhammer type. The singer is more on the noisy hardcore side, but kind of suits the bleak misanthropic musical delivery.

Brutal Agenda EP, 2005
Tiden Lager Alle Ser EP, 2007
De Dodes Arkiv Full-length, 2010

My Space

WALHALLA (FINLAND)

This act is another stop for the tireless Roope Latvala (Stone, Children of Bodom, Latvala Bros., Sinergy, Warmen, etc.). He has been invited by members of the symphonic black metallers Gloomy Grim to assist them in this project where the guys have added a big doze of thrash to their black metal delivery resulting in good music staying closer to thrash metal with sparse hyper-blasts present. The approach is expectedly fast calming down towards the end, first with the crossover happiness "Winterfuchrer" which, by the way, is completely cancelled by the furious death metal bomb "War Over Nordland" which follows right after; and second with the cool roller-coaster cover of Bon Jovi's "Runaway" which would be ultimately hard to recognize although the tone is much softer compared to the rest with a nice gothic edge, but those scary raspy vocals...
"Release the Beast": Latvala is marching again after a really long hiatus, and this opus shows his more militant, more officious side with battle-like strolls (“Through the Shores of Acheron”) alternating with speedy non-fussy takeouts (“Ensemble to the Feast”, the blast-prone “Peace Love and Understanding”), the raging deathly “Demons over Nordland” and “Sinner” scaring away the unprepared, leaving the more laid-back speed/thrashy pogo for the closing “Punishment of the Crippled World”.

War Over Nordland EP, 1997
Firereich Full-length, 2000
Release the Beast Full-length, 2023

Official Site

WALKEN (USA)

Based on the self-titled sophomore effort, this act pulls out a mix of 90's post-thrash and hardcore which surprisingly concentrates on a slower mid-paced delivery abandoning the faster twists which such a blend generally offers aplenty. There are a few faster offerings ("Bitter Red") with a classic edge, but the tender attempts at ballads (Dylans Song") haven't been skipped, either. Watch out for the nice, albeit a bit overlong (8-min), doom/balladic/funeral closing instrumental "The Bridge". Some of the band members try their hands on much more thought-out music with the progressive metal outfit Grayceon.
"Revel in Abandon" would be quite a surprise for the fans of the previous efforts since the speed here has been notched up quite a bit (check out the awesome opener "Taking Teeth") on top of some interesting progressive leanings ("Dead Weight"). "From Stone to Sand" is a cool nod to all things doom before the fast-paced exit, but "Pills" nails an 11-min opus of pure ponderous doom metal, a sure threat for fans of Cathedral and My Dying Bride. The last two cuts have to make up for the loss of speed and their intriguing quasi-progressive delivery delivers on all counts making this album the finest in the band's discography so far.

Unstoppable Full-length, 2004
1/21/07 E.P. EP, 2007
Walken Full-length, 2009
Revel in Abandon Full-Length, 2016

My Space

WALKER (HOLLAND)

This is thrash/post-thrash which hesitates between the old and the new school, the hardcore-ish "Walker" recalling early Pro-Pain, but later on there are more serious exercises in full-on classic thrashing ("Mosh Is Back"), including a pounding semi-technical cut ("Reprobate"). The shouty semi-death singer is a semi-asset, but only when he abandons the ultra-rending antics which pepper this quarrelsome recording. The band members could also be seen in the death/thrashers Crustacean, the death metal outfit Masticator, and the thrash metal formation Crystal Lake.

My Name in Blood Demo, 1994

Youtube

WALKING CORPSE SYNDROME (USA)

Based on "Human Delusion", these folks provide heavy crunchy post-thrash which acquires both metalcore and death metal-ish "ornaments", not to mention a few really intense pieces ("Price of Pride", the twisting semi-technicaller "Disciple") with a purer thrashcorey edge. The 2nd half is more appealing with the aggressive dramatizer "Ending Created", the weird more melodic jumper "Clarity", and the creepy "Human Delusion". The vocals are very shouty, guttural death metal ones and take quite a bit of space, to these ears for the better.

Forsaken Full-length, 2008
Narcissist Full-length, 2010
Alive in Desolation Full-length, 2013
Human Delusion Full-Length, 2015

Official Site

WALKYRIA (ARGENTINA)

The demo: this band offer three tracks of melodic power/thrash sung in Spanish; the music reminds of a more aggressive version of the Spanish rock legends Heroes del Silencio, especially the heavy, semi-balladic "Guardian Del Infierno". "Walkyria" is a 9-min opus which nicely mixes balladic, more quiet sections with some faster, galloping ones. This isn't very thrashy stuff, but is enjoyable and well played. Some of the musicians are also involved with the classic heavy metallers Dagas.
The full-length doesn't break the established by the debut pattern the more dynamic, thrash-peppered clout of cuts like "All the Time" aptly complementing the more officiant, stomping aura of "Evil Clown", with another more intense thrasher, "March of Die", thrown at the end, boosting this slightly monotonous, not very eventful recording.

Walkyria Demo, 2004
The Invisible Guest Full-length, 2018

Official Site

WALLCRAWLER (GERMANY)

Very typical for the time groovy angry post-thrash with even angrier death metal vocals. The heavy squashing riffs have already worn out their novelty so few would be the ones to stay with this effort till the end which only more pleasant surprise would be the half-min crossover joy "Megablast U.S.A."; and partly the pleasant short balladic instrumental "Big Saroona" the latter a totally unexpected display of musical professionalism.

Scars and Blisters Full-Length, 1998

My Space

WALLS OF BLOOD (CANADA)

A solo project of Mr. Glen Drover, the Eidolon frontman alongside his brother, and an active participant in many renowned acts around the world like King Diamond, Megadeth, etc. It's obvious that the Eidolon saga has come to a more or less timely end, and our shredder is embarking on a new venture here which sees him sticking to the familiar from then Eidolon albums power/thrash hybrid, an edgy, occasionally overtly headbanging ("Waiting to Die") affair which early introduces the staple steel gallopers ("Blood Sacrifice Ritual") those overwriting the several modern-ish quasi-groovers ("Tarnished Dreams", "The Fault of Man") with ease, also with the help of less bridled furious speedsters like the title-track and energetic re-mastered versions of old Eidolon ("Seven Spirits") songs. Well, it all sounds too close to the Eidolon stint excluding the excellent emotional clean vocals which pair very well with Drover's precise, occasionally melodic and technical, guitar pyrotechnics.

Imperium Full-length, 2019

Facebook

WANTED (PORTUGAL)

Based on the debut demo, this outfit deliver clumsy, semi-amateurish doom/thrash which is deep in atmosphere, but when it speeds up it sounds too awkward with blissful melodic tunes which don't make much sense amidst the pounding riffage this symbiosis partly achieved on the more ambitious "Ill Will", and the thrash/crossover bonus track "The In Crowd". The sound quality is quite muddy, and the vocals are gruff semi-death metal ones without a tad of emotion.

Handled Without Care Demo, 1992
Promo Tape Demo, 1993

Demos Downloads

WANTED (USA)

These guys have woken up a bit late for the classic sound, but have caught up fast with one demo and one full-length released the same year. Based on the EP, they play melodic mid-paced power/thrash, not very hard-hitting, with one pleasant surprise at the end: the furious merciless speed/thrasher "Slaughterhouse".

Wanted EP, 1992
Othello's Revenge Full-length, 1992

WANTED INC. (GERMANY)

Based on "Embarrassment to the Establishment", this act serve varied modern thrash which concentrates on the melody with mellower speed metal elements ("Displaced Settlement") also provided, the singer trying to accommodate those moments with a more lyrical delivery as opposed to his dominant semi-clean mid-ranger timbre. The speed almost completely disappears in the second half the guys serving monotonous, not very eventful quasi-progressive mid-pacers with "Zombie Ragout" thrashing more wildly for a change. The band members are also involved with the retro thrashers Encyclia.
"Dead for the First Time" continues with the established style, with fiery shots ("Squared Circle", the melodic delight "Night Capturer"), "Hostile Reaction" ironically being a welcoming milder mid-pacer. Prepare for less bridled Slayer-esque aggression on "Grilling the Globe", but please skip the goofy alternative first half of "Dead for the First Time", the band acquitting themselves later with the ripping headacher "Mind Cleaner" and the simplistic no-bars-held barrage "Fact-Based".

There Is No God EP, 2007
The Scarcollector Full-length, 2009
Demons We Created Full-length, 2012
King for a Day EP, 2014
Embarrassment to the Establishment Full-length, 2018
Dead for the First Time Full-length, 2024

Official Site

WAR-HEAD (CROATIA)

A promising demo of late 80's-early 90's thrash/death metal with a slight technical edge with occasional brutal ultra-fast sections. The vocals are worth mentioning, being sinister throaty semi-growls.
The full-length debut loses both the technicality and the brutality from the demo, opting for slightly monotonous semi-technical thrash metal which recalls the Dutch Warchitect, but this one is not as impressive. The lead guitar work is quite good, but the rest is just a little above average with one pleasant deviation: the "1000 Eyes" (which isn't a Death cover although in the riff sector comes close) which comes with all guns blazing, providing a delight for both the technical and the aggressive metal fans: an impressive track which sticks out awkwardly amidst the much less striking rest. "Who Dares Wins", its immediate follower, retains some of its brilliance, but goes over the top in terms of speed and aggression on a few moments. "Away" serves a more stylish play, but again, too much aggressive blasting... the demo promised more, but apparently the 4-year gap has taken its toll.
"Monuments of Fallacy" is the next-in-line polished semi-intricate offering from these lads who accumulate points from the shorter blitzkrieg numbers ("Apocalyptic Thunder", the title-track), above all, the more technical escapades ("Hail to the Void") reminding of Darkane, the thrashigng urgency of the bonus track "Deathrash Armageddon" a sure highlight at the end.

Demo Demo, 2004
No Signs of Armageddon Full-length, 2008
..Still No Signs of Armageddon Full-length, 2011
Imperium Mundi Full-length, 2014
Monuments of Fallacy Full-length, 2019

My Space

WAR-SAW (POLAND)

Based on the "Spiral of Violence" EP, this is classic thrash metal of the blitzkrieg fast type slightly ruined by the bad deathy vocals. The sound quality is pretty good giving a nice boost to the guitars, and cool variations are offered on the closing "City Of Death", good female vocal inclusions, and arguably the fast blasting burst in the middle and towards the end.

The full-length debut is a huge improvement over the EP's both in terms of musicianship and production qualities. It provides varied thrash in several paces entertaining the listener with the plentiful energetic moments which dangerously escalate towards death metal on "Spiral Of Violence" which features a few not very controlled blast-beating passages. This is thrash metal of the old school done right without any particular highlights and will pass effortlessly through your ears without having to engage you in a more serious listen.
"The Manifest" tries to preserve the accumulated inertia with the debut the guys thrashing with passion, making a few pounding stops ("Bleed Them Out") along the way, also adding several more technical quirks ("Deprived Of Decency") to stimulate the mind which will be totally dazed by speedy "bullets" like "Black Painted Mind" and "Death Comes".

Thrash Metal War Machine EP, 2009
Spiral of Violence EP, 2010
Nuclear Nightmare Full-Length, 2013
The Manifest Full-length, 2017

Official Site

WAR-TOG (BOTSWANA)

One of the few African thrash metal acts presented here, this band pulls out (based on the 2nd demo) heavy modern thrash, a bit boring and clumsy, relying on a pounding mid-paced rhythm section. There are semi-progressive attempts ("Mind Control"), but the insertion of the odd balladic interlude would hardly make them reach soon the heights of the genre, especially when there is so much to be desired in almost every department (the singer in particular is awful with his unemotional hardcore-ish rending).

StampedeDemo, 2001
Second DemoDemo, 2008

My Space

WAR AGENDA (GERMANY)

The debut: these Germans warriors serve the expected from their motherland energetic retro thrash with ripping guitars and a few, probably not as obvious, staggerings towards the Bay-Area ("Geocide"). When the guys thrash they take no prisoners: check out "Sentenced" and "Night Of Disaster". "Time Heals Nothing" features a cool balladic digression on an otherwise pretty dynamic background, and "Destiny Of A Mad Man" is the only heavy stomper here before the slightly elegiac, not as speedy, closer "Gone But Not Forgotten". The singer rends his throat in an attached, semi-shouty fashion and matches the incessant speed/thrashing melee. Some of the musicians mix doom and thrash metal with Pulse Of Decay.
"Propaganda" offers very similar stuff, Germanic speed/thrash played with quite a bit of intensity, the more complex veneer of "Human Race" betraying the band's more proficient side, but it's epic speedy hymns like "United in Hypocrisy" and the vigorous uncompromising attitude of "Apartheid" that propel this opus forward, the heavy mid-paced rhythms on the closing semi-balladic saga "Child of Dreams" another mellower more dramatic moment.

Night of Disaster Full-Length, 2015
Propaganda Full-length, 2020

Official Site

WAR ANGEL (IRAN)

Based on "Tales of the Damned", these lads specialize in modern thrash/post-thrash which has quite a bit of energy, the bouncy groovers ("Tomb of the Pharaoh") not a total throwaway, the prevalent dynamic mid-tempo established by heavy hitters like "Jack the Knife" and "No Room in Hell". Variations on the doom and the ballad ("Dragon of Blood", "Dead Man's Lullaby") are also worth checking out although the very shouty quarrelsome vocals ruin those a bit. Some of the band members also play with the similarly-styled outfit Demonic Ritual.

Symphony of the War Full-length, 2017
Tales of the Damned Full-length, 2020

Official Site

WAR COMMAND (CANADA)

This is an intense fast mixture of thrash, death and black metal which is both aggressive and melodic in a way not too dissimilar to Destroyer 666 and Suicidal Winds. The raging hyper-blasting tracks are only occasionally intercepted by the odd more epic riff the latter never extending into a full-fledged number. The mainman here is Sven Cannon, a famous underground figure from the Quebec underground, having taken part in the foundation of the first Canadian black metal act Blasphemy as well as having taken part in other purveyors of the black metal idea from the recent and more distant past, like Cudgel, Lust, Domini Inferi; and had also hit the drums for the thrash metal legends Infernal Majesty.

Warlords Supremacy Full-length, 2010

My Space

WAR CURSE (USA)

The debut: this outfit indulge in vigorous classic power/speed/thrash which alternates between heavy stomping and fast, blitzkrieg passages often within the same composition. There's an attempt at a more serious song-writing as the song length is within the 5-7min parametre, a good example of this trend being the closing "Drudge", a nice engaging cut in the vein of early-Xentrix.
"Eradication" stays a pretty similar course the guys this time fonder of the speedier delivery with less controlled ragers like "Possession" being a not such rare occurrence, with "Serpent" retaining the drama with more vidid dynamic riffs. The speed metal-ish ornaments on "Iron Veil" oppose to the more officiant veneer of the closing duo of which "Deadly Silence" is a dark brooding stomper graced by the presence of Exhorder's Kyle Thomas, with Forbidden's former axeman Glen Alvelais also helping with a couple of licks on "Sands of Fate".
“Confession” doesn’t change the selected course too much, the band following their trajectory relatively faithfully with power/thrash amalgams (“Fortress of Agony”) crossing swords with dramatic stompers (the title-track, “Miracle Broker”), which are the dominant part, and occasionally more bellicose anthems (“Illusion of Choice”), the cover of Grip Inc’s “Rusty Nail” from the mythical “Nemesis” close to being the highlight on this somewhat one-dimensional, not very exciting entry.

Final Days Full-Length, 2015
Eradication Full-length, 2019
Confession Full-length, 2023

Official Site

WAR DANCE (UK)

Classic power/thrash metal in the Bay-Area tradition with uplifting punk-ish touches. "O.P.D. (Officialy Pronounced Dead)" is a cool optimistic diverser with some progressive touches whereas "Terminator" is a much more immediate raging speedster. "Hours Of Sunday" is a cool, not very predictable choppy instrumental with admirable bass support; and the closing "Against The Grain" is another speed/thrashy roller-coaster of the more carefree type. The vocals are of the jolly clean variety often accompanied by the other band members for the creation of several memorable choruses.

A Short Sharp Shock Demo, 1988

WAR DANCE (USA, Venice, CA)

Heavy groovy post-thrash which contains more stylish moments recalling mid-90's Voivod ("My Country Tis Asleep"), but the guys' desire to be all over the place (the bluesy instrumental "Red Bridge", the stoner ballad "The Ballad Of Crazy Horse", etc.) leads them nowhere, with only one other track (the dark doomy creeper "Vision Quest") capturing the attention, but only for a while.

Path of Power Full-length, 2008

My Space

WAR DARMEN (CHILE)

Fast blitzkrieg classic thrash/death which is built on speedy aggressive foundations ("Dyson Sphere", "Wolf of Damnation"), with death metal participating more actively, the varied progressive title-track showing the musicians as more proficient shredders, the more atmospheric "Forgotten in Time" laying the ground for the final saga "VyCanisMajori", a sprawling 10-min journey with an insistent technical rhythm-section implemented as well, the band making sure there's seldom a dull moment on this highly entertaining roller-coaster.

Fermi's Paradox EP, 2017
Colonization Full-length, 2022

Official Site

WAR DEVICE (GREECE)

Based on the full-length, this act provide crisp modern/classic thrash with lashing guitars and a few references to death metal. The music is fairly energetic and the band obviously have fun moshing out reaching Salyer-like aggression on cuts like "Shattering My Thoughts" which is also graced by a cool balladic interlude. "Mind in Panic" is another rager with melodic implements, and till the end the guys seldom show mercy thrashing with force having a break on the short lead-driven instrumental outro "Unknown Path". The vocals are of the subdued muffled death metal-type, not very expressive.
"Infinite Chaos" is another all-out headbanging fest the approach now more on the classic side shooting a "bullet" after "bullet" "Void Of Perception" serving as the milder mediator with its more sophisticated, semi-technical shreds. "Feel The Power" is a fiersome galloper with steely sharp riffs, and "Silent Pain" is a rigorous speed metal winner matched well by the closing instrumental "Another Reality" which "flirts" with melody (check out the great leads) and more flexible, progressive arrangements.

The Anger EP, 2013
Whisper of Souls Full-Length, 2013
Infinite Chaos Full-Length, 2017

Offical Site

WAR ENGINE (SERBIA)

The EP: energetic stuff crossing retro thrash with less bridled death metal inclusions, the resulting therapy decidedly on the aggressive side with ripping sharp riffage packed into short songs, but rest assured that this is full-fledged thrash all the way without any dissipating hardcore shades. The singer delivers with his not very emotional but passing semi-shouty timbre.
"Decadence" is a decent achievement, the guys moshing in their staple up-tempo manner, the more complex veneer of "Weight of Green" confronting the crusty corey aura of "Dead Branches", the atmospheric stomps of "Prison of Comfort" changing the trajectory a bit, before "Lab-O-Rat-Or" brings back the mosh in again a more contrived fashion, the final "Don't Look Back" also helping in this direction with a portion of intense semi-technical rhythms and an alluring doomy closure recalling Slayer's "Seasons on the Abyss". .

Machete EP, 2012
Adrenaline Rush Full-length, 2012
The Verdict Full-length, 2017
Decadence Full-length, 2022

Official Site

WAR KRY (SWEDEN)

Based on the full-length debut, this act specialize in brisk energetic old school thrash that rips through the speakers with the opening aggravator “Protector”, before the delivery acquires even more rushing tendencies with the remorseless “War Cry” and the more technical title-track. More sizzling old school rhythms with “Recon” afterwards, the vocals accepting the challenge with subdued but still deathly semi-declamatory comprehensible overtones.
"Existence Omega" continues in the same vein, having been released mere months after the debut, the bellicose tank-like "Protector" recalling the war-like tactics of Bolt Thrower, but this is strictly thrash later on, like the vitriolic hymns "Raven" and the familiar from the debut "War Cry" shows so well, the fervent headbanging parade finalized by "Sharpened Steel" and more measured steam-roller "Endure the Pain".

Prepare for War EP, 2023
Symphony Of Mortality Full-length, 2023
Existence Omega Full-Length, 2023

Official Site

WAR MIND (BRAZIL)

Based on the "The War of Mind" demo: this band offers quite cool old school speed/thrash in the vein of the German school and the Canadians Sacrifice. The songs are fast-paced with slower, more laid-back implements, very good guitar work and harsh vocals sounding like a more vicious and higher-pitched Rob Urinari (Sacrifice).

The War of Mind Demo, 2007
Into the Mad Circle Demo, 2008

My Space

WAR OF ATTRITION (USA)

Standard modern thrash/death metal, not very fast and aggressive, with tasteless metalcore breaks which awkwardly interrupt the few attempts the guys make to liven the sound up. The singer delivers, though, with his very angry, semi-death metal-ish growl.

...And The Void Stared Back EP, 2008

My Space

WAR ON THE HIGH SEAS (USA)

Based on the demo, this act ingulde in modern semi-technical thrash with sterile mechanical riffs and a few more dramatic death metal-ish moments. The tempo is mid the whole time and doesn't bear any surprises later. The singer is a screamy/shouty hysterical throat at times mixed with a gruffer more brutal one.

80" Pizza Too Demo, 2014
?????? EP, 2015

WAR RIPPER (USA)

A 4-sond EP of raging black/thrash metal with heavy twisted riffs ala Hellhammer and a considerable doze of punk.

Hell Storm 7"EP, 2007

My Space

WAR TESTAMENT (COLOMBIA)

Based on the "Metal Command" demo, this act provide rough intense classic thrash which shares all the virtues/flaws of the early Brazilian scene including the underground sound quality which gets a bit better on the cool mosher "La Patacera El Tupa Tupa". This is raw bashing stuff which doesn't have any merits music-wise, and would hardly impress anyone nowadays if we exclude the expressive hysterical screechy vocals which strictly belong to the black metal arena.

Almas en Pena Demo, 2010
Metal Command Split, 2011
Eternidad, Soledad y Destruccion Demo, 2011

Official Site

WAR THRASHED (COLOMBIA)

The EP: two songs of fast thrash/crossover ala early Prong and Nuclear Assault; the band play fast and straight in a stripped-down manner the singer ably assisting with his rough shouty tone.
The full-length is now closer to the Germanic patterns and as such rips the air with might no worse than early Deathrow and Exumer's debut. Yes indeed, "Thrash Metal Destroys" here, like the title of the song suggests, and a sure testimony for that is every other track including the two from the EP which are also here. The album may have the effect "Reign in Blood" had on the fans some 30 years ago due to its short length (25-min) and the plentiful aggressive rhythms which are intercepted by chaotic screamy leads along the lines of... well.
"Bienvenido a tu Ejecucion" follows pretty much the same pattern the guys thrashing with gusto ("Plaga", "Rastros del Tiempo") and verve, crossing the borders towards both proto-death and hardcore with the less bridled "Krokodile". "Muerte Inminente" introduces a few more intricate moments, but the mosh prevails elsewhere making this effort another sure pick for the headbangers.

Metal Attack EP, 2011
Into the Nightmare of Violence Full-Length, 2013
Bienvenido a tu Ejecucion Full-length 2019

Official Site

WAR WITHIN (GREECE)

Very cool old school power/speed/thrash that ranges from fist-pumping heroic speed metal ("Bloodshed for Victory") to heavy seismic steam-rollers ("Bloodshed for Victory"), to more stylish semi-technical propositions ("The Last Laugh"). "Anger Rising" fully justifies its title with an array of aggressive sharp riffs, before "Enemy Mine" grabs both Paradox and Manticora straight for the throat with dazzling technical/progressive decisions. "Pain" flirts with the semi-ballad to a poignant near-romantic effect, and the title-track jumps around in a not very predictable quasi-neurotic fashion, transferring its volatile structure on the excellent closer "Lust and Desire", a dynamic shape-shifting saga that again recalls the two mentioned outfits, with a pinch of mid-period Blind Guardian added for good measure, also in the authoritative attached semi-clean vocal department.

Lords of Promise Full-length, 2019

Official Site

WAR WITHIN (USA)

This is the band where the guitarist Greg Messick from the speed/thrashers Intruder has decided to play some more metal again for a change. If you look for bombastic, technically-tinged speed/thrash, you have to look elsewhere because his new act play heads-down angry groovy modern post-thrash; well done, with heavy crushing riffs and the right attitude, but nothing really exceptional.

War Within Full-length, 2007

My Space

WARANFO (COLOMBIA)

Brutal amateurish black/thrash metal, fast raw stuff totally marred by the awful sound quality. There are only two original songs here, the rest being covers: of Impaled Nazarene's "The Lost Art of Goat Sacrificing" done in a frolic jocund manner not matching the original's manic intensity; and of Venom's "Black Metal" done in a more faithful way ruined by the hissing whispered vocals.

Live in Terror Live, 2010

WARATTAH (FRANCE)

An intriguing 4-track demo of chuggy, groovy thrash not too far from Machine Head; the good news is that these Frenchmen are far from satisfied to sound derivative, and they "insert" genuine technical touches which turn their music in a different direction, towards the technical modern thrash realm where bands like Baghead, Obliveon and mid-90's Voivod belong. At times the sound is accessible with a good headbanging potential, but suddenly it takes a more unusual, harder to follow turn. It would take a few spins before one learns to fully appreciate this band.

Distorsion Demo, 2006

My Space

WARBASTARD (USA)

A good 4-track EP of sharp and speedy Razor-like thrash metal with slightly awkward synthesized vocals similar to the ones Razor themselves used on "Decibels", but these here are more in the whispering mould. "Thrashbastard Hell" takes a more melodic turn sounding like something which bands like Motorhead, or Tank, could have done, but is enjoyable and catchy nonetheless.
"Principia Thrashmatica": the "principles of thrash" are given here by these guys who disappeared for a while only to re-emerge with this faithful tribute to the early German school and Whiplash. A strong sense of melody nicely permeates the whole album which works well embedded into the hard-hitting riff landscapes and the soaring screamy vocals which are quite effective when going for the high notes. "Headbangers Balls" is a cool epic proto-galloper, but surprises of the kind are not too many the band speed/thrashing their way without much ado the word "thrash" present on at least half of the song-titles clearly stating the guys' intent, the closing "1983" (a possible allusion to the genre's spawning stages?) being a great nod to early Destruction with a fine semi-technical "sting".

Thrashing Bastard HellEP, 2004
Principia Thrashmatica Full-Length, 2013

Official Site

WARBEAST (USA)

The debut: the guys from Gammacide have teamed up with Bruce Corbitt (Rigor Mortis, among other acts) for the recording of this decent mix of modern and retro thrash which is less intense and arguably less impressive than the aggressive technical thrash/death of the Gammacide only effort. The songs are well-executed alternating between slower and faster ones with a good balance between the two sides. Corbitt sounds too hardcore-ish here consequently favouring the modern half more. The band was previously known as Texas Metal Alliance under which name they only released one demo in 2008.
"Destroy" will try hard to "destroy" your senses with a portion of furious, again hardcore-tinged, thrash which is seldom intercepted by the casual more intriguing riff ("Egotistical Bastard"), but apparently the guys are quite happy at this stage to just bash violently excluding the steam-rolling oddity "Nobody" and the morose quasi-doomster "The Day Of...". The speed gets lost partially towards the end, but this is the time when one will hear some really cool melodic leads "dueling" with the merciless riffy barrage. The band are not intent on making huge waves on the scene at present, and as such are just one of the many thrash resurrectors "roaming the fields" serving cool "blasts from the past".
"Enter the Arena": with Rigor Mortis (although the band's career will reportedly continue under the Wizards of Gore moniker) unfortunately out of the picture, Corbit can return to his other project. The approach hasn't changed compared to its predecessor, and the guys carry on with the same no-bars-held attitude "bullets" like "Punishment for Gluttony" and the title-track entering a more serious thrash territory. "Maze of the Minotaur" is a nice attempt at more complex thrashing and wins the "laurels" for the highlight here with its bouncy galloping rhythms and the wider arsenal of tempo shifts. "Chemicals Consuming" reminds of the band's hardcore histrionics with a more modern sound, and the closing "Ancient Hate" is a cool more technical variation on the band's rigorous style with interesting riff-patterns and an officiant doom epitaph.

Krush the Enemy Full-length, 2010
Destroy Full-Length, 2013
Enter The Arena Full-Length, 2017

Official Site

WARBIFF (BRAZIL)

This is speedy blitzkrieg retro thrash the guys moshing through both the shorter and the more elaborate numbers with the same passion and enthusiasm which is an admirable achievement for an album of whole 14 numbers. "Thrash or be Thrashed" is the band's slogan very well exemplified by the song of the same title, a rigorous headbanger with a shouty chorus and blazing lead sections.

Pig's Parliament Full-Length, 2017

Facebook

WARBIRD (CANADA)

These "warbirds" play creepy brooding retro thrash which is not a "stranger" to faster cords ("Taste of Betrayal"); it's just that this is not the focus here the guys settling for minimalistic doom sounds which seldom leave the mid-pace and may depress the listener at some stage also thanks to the growling agonizing deathly vocals which try to shout with their limited abilities to an even more frustrating effect.

Warbird Full-Length, 2012

Official Site

WARBOUND (BRAZIL)

The debut: this is ripping no-bars-held old school thrash, not far from the style exhibited on the musicians' previous initiative, the stalwarts Bywar. Even on more elaborate opuses like "Mass Infection" and "Into the Desolation" the mosh never stops, the epic more melodious histrionics on "Winds of Orion" the only unmitigated respite. The rest is thrash to the death, the latter overtly suggested by the infernal proto-blasting closer "Declaration of War".
"Necrothrash" produces no surprises, the guys moshing with the expected doze of dynamics, with vigorous blitzkriegers (the title-track, "Isolated in Chaos") timely provided, the more tamed "Illumination" coming with a few dramatic deathly extrapolations, "Condemned in Fear" turning the tables towards an unbridled Slayer-esque ball of fury. "Fallen Kingdom" attempts something more intricate, and "Omega" tries to retain the more complex approach with an array of more flexible albeit energetic rhythms.

Behind the Unreal Full-length, 2019
Necrothrash Full-length, 2024

Youtube

WARBREATH (CHILE)

Some decent classic/modern power/thrash metal hybrid from Chile this way comes; the guys like it melodic so expect plenty of catchy tunes and leads which will captivate, but the lack of speed is hard to remain unnoticed the heavy riffage not compensating for it a lot. Still, there's a fair amount of professionalism at stake here including the very good dramatic clean vocals. The band name promised more dynamics and intensity, though... Some of the band members play similar stuff in Punishment.

Gates of Beyond Full-Length, 2013

Official Site

WARBRINGER (USA)

A cool EP of classic thrash with a slightly raw production as though it had been recorded in the 80's; the style has something in common with the scenes from both sides of the Atlantic ocean, sounding like a cross between Exodus and Sodom. This act evolved from the short-lived one Zombie who released one split and one demo in 2006.

"War Without End" fulfills all the promises given with the EP, and goes well beyond that. This is heads-down classic thrash at its finest; "Total War", the album opener, will blow you away with its speedy assault (very sparse blast-beats involved as well), in the best tradition of Slayer and Vio-Lence. The attack continues through the whole album unabated, slowing down to galloping rhythms on the excellent "Dread Command", or reaching for the very extremes with the blast-beats on the furious "At The Crack of Doom". The album closer "A Dead Current" is a nice slower instrumental with heavy stomping riffs and a cool lead guitar which was not that well accentuated on the other tracks, but this is hardly a complaint. It's hard to think of a better beginning for the thrash metal scene in 2008...

"Waking Into Nightmares" is quick to capitalize on the debut's success seeing the guys thrash with no mercy, at least in the 1st half, in a way pretty faithful to the previous album. "Jackal" is an aggressive Slayer-esque opener, and the next "Living In A Whirlwind" is a ripping speedster touching later-period Death, if we exclude the somewhat unnecessary ultra-blasts. "Severed Reality" will "sever" you from "reality" big time with its fast lashing riffs, but your prayers for something a bit slower will, unfortunately, remain unanswered since the following "Scorched Earth" is another maddening mosher. "Abandoned By Time" is the late answer to those prayers crushing in a heavy mid-pace akin to late-80's Slayer. The problem is that this mid-tempo "infects" a whole string of songs, even including the tender instrumental ballad "Nightmare Anatomy" (are you serious?!). The headbangers will definitely dissatisfied with the second half despite the brisk pace of the closer "Forgotten Dead", which nicely mixes technical with speedy riffs to produce the finest moments on the album. This effort leaves a certain aftertaste lacking the spontaneous "downpour" of the debut showing a band with a polished delivery where the enthusiasm obviously obeys the improved musical skills, for better or worse.

"Worlds Torn Asunder": the thrash machine carries on on regular intervals, and it seems as though this time the band are angrier and less willing to compromise, an attitude shown with the opening "Living Weapon", a headbanging delight, which pretty much sets the tone for what ensues. The classic attack is nicely spiced with the odd modern flavour ("Future Ages Gone"; the short trip down melody lane "Treacherous Tongue"), or with the more technical hooks ("Savagery"). The longer compositions ("Echoes from the Void") certainly offer something less intense, but bombs like "Enemies of the State", on the other hand, would hardly make the guys any "enemies" among the true fans of the style. The quiet piano-driven instrumental "Behind the Veils of Night" near the end is kind off-context, but the closer "Demonic Ecstasy" will try to please the listener by summing up all which has been heard up to this point, by combining fierce riffage with heavy stomping moments to a positive effect. By no means as compulsive and arresting as the debut, this album is still a testimony that the band remain one of the major representatives of the new(old) school of thrash at present.
"IV: Empires Collapse" takes a more melodic approach trying to follow the path carved by more recent Kreator, and the final result is strangely lyrical and mellow. The variety is much bigger and even includes direct nods to later-period Death ("Hunter-Seeker", the more brutal, but beautifully melodic at the same time "Scars Remain"), among other more death metal-influenced numbers (the epic mellower "Black Sun, Black Moon") which hardly bring anything too pleasant except reminding of the guys' bigger ambition shown here which serves only to dissipate the band's monolithic approach without shaping a more lasting individual face at the moment, the sole highlight being the closing technical rager "Towers Of The Serpent" which reminds of the band's previous exploits, and sadly recalls how good the guys were not far back.
"Woe to the Vanquished": the guys have learnt their lesson, and here they have brought back their more aggressive roots with full force although "Remain Violent" reminds of the previous effort's mellower feats. Still, there would be few sitting still on "falling bombs" like "Shellfire" and the more varied steam-rolling "Descending Blade", as the more lyrically-inclined will savour the speedy galloper "Spectral Asylum" which comes with a lot of virtuous melodies; and by all means the elegiac/doom closing saga "When the Guns Fell Silent" which lasts for whole 11.5-min., and partially ruins the impression from the earlier much more intense material.
On "Weapons of Tomorrow" the dynamic speed/thrash saga goes on unabated the band serving a couple of more restrained mid-pacers ("The Black Hand Reaches Out", the atmospheric progressiver "Defiance of Fate") to alleviate the seeping drama which on "Crushed Beneath The Tracks" is pure maddening death. Bigger ambition is pursued with "Heart Of Darkness", another near-death experience, and with the officiant epic marcher "Notre Dame (King Of Fools)", and those tendencies should be developed further although the dominant shorter, faster-paced material will by all means satisfy even the more capricious.

One By One, The Wicked FallEP, 2006
War Without EndFull-length, 2008
Waking Into Nightmares Full-length, 2009
Worlds Torn Asunder Full-length, 2011
IV: Empires Collapse Full-Length, 2013
Woe to the Vanquished Full-Length, 2017
Weapons of Tomorrow Full-length, 2020

Official Site

WARCALL (CANADA)

Based on "Invaders", these folks, who were previously known as Plan B, serve energetic roller-coaster classic thrash which seldom stops for respites the guys relaxing with several psychedelic touches ("Riding With Zombies") scattered around, also showing casual interest in a more epic power metal-ish song-writing ("Mass Extinction", the melodic semi-balladic progressiver "The Man Who Suffers") the latter contrasting with the harsh shouty death metal-ish singer.

Demonarchy Full-length, 2009
Blood, Guts and Dirt Full-length, 2013
III Full-length, 2015
Invaders Full-lengt, 2017

Official Site

WARCHEST (CHILE)

This young Chilean act offers a nice mix of modern and retro power/thrash metal which relies on heavy pounding riffs to pull it through, and not much speed except on isolated moments (the vigorous headbanger "Contradiction"), but the guys' approach hardly needs them. There is one good ballad ("Let Me Down") in the middle, amidst the steam-rolling mid-pacers, and the closer "Fear of the Machine" is another enjoyable faster piece ala early Xentrix, similarities with the British act also in the vocal department where the singer delivers with a cool attached mid-ranged clean delivery.
"Downfall" thrashes harder and the opening string of speedsters will stun the listener with their aggressive nature the title-track even blast-beating for a while. The rage reaches death metal proportions on "21st Century Violence", but the situation gets under control later with several more moderate pieces. "Fake Disciple" is an invigorating thrash/crossover speedster, and the closer "Riots to Destroy" is another lashing epitaph with semi-technical tendencies, plus a great acoustic exit, a masterful not very expected touch.
"Sentenced Since Conception" follows the less compromising path again with raging fast-pacers like the title-track and "The Haunted Chapel", the guys sounding quite angry and belligerent, seldom pausing for a break along the way, even notching it up to death metal proportions on the entertaining 8-min behemoth "Repulsive Existence", an admirable ball of fury for a large portion of the time save for the soothing balladic finale.

Aftershock Full-Length, 2011
Downfall Full-Length, 2015
Sentenced Since Conception Full-Length, 2019

Official Site

WARCHITECT (HOLLAND)

An excellent representative of the traditionally technically-inclined Dutch metal scene, and quite original at that; "Mind" is a really good progressive thrash effort with slight shades of death metal; the music is heavy, never fast, with steam-rolling riffs and interesting time changes. Because the guys don't bother to spice things with occasional speedy riffs, the songs tend to merge into one another, carried by the slightly monotonous feeling. Some of the songs go beyond the 8-min limit, and this is where the band manage to show their best, trying to keep them floating with more stylish guitar work. "A Sea of Red" goes deeper into death metal territory, but the music is not radically different from the debut, resulting in another strong offering.
"Matter" arrives after a long 4-year hiatus and sees the guys having acquired a more modern and a less technical sound. The riffs have the necessary edge, but the influence of the Swedish school has sneaked through and the guitar work is considerably more melodic this time. "Separate" comes up after three not very impressive semi-technical tracks to provide both more complex and more aggressive guitar work, but then everything gets "lost" on the slower groovy "Lost" which influences the remaining material, consisting mostly of mid-paced melodic thrashers, quite similar to the more recent Lyzanxia output. The good leads on a couple of songs ("Tolerate Intolerance", "The End", which is indeed the end, being the closer) can not improve the bland situation a lot, and as a whole this album is quite a step back from the cool calm progressive/technical death/thrash from the previous two efforts.

Mind Full-length, 2002
A Sea Of RedFull-length, 2004
Matter Full-Length, 2008

Official Site

WARCLAW (SWITZERLAND)

This is intense but melodic modern thrash/death which straddles between epic thrashers ("Again") and more or less disguised tributes to the Gothenburg school ("Nightmare"). The guttural not very expressive death metal vocalist is just a side-show especially on the more thrash-prone material where also the ripping headacher "Blame Yourself" belongs.

Death Dealer EP, 2019

Official Site

WARCKON (BELGIUM)

This band play a mixed bag of classic and modern thrash which is spiced with crossover and hardcore. Ironically, the best results come when the band put all these ingredients together into one song ("Trapped"; the jumpy less predictable "Lord of Lunacy") or when they play with less speed involved ("After The Noise"). "Salvation" is an overlong (3-min) balladic instrumental interlude followed by a duo of not very impressive power/thrashers the situation partially corrected by the final "Back Against The Wall" which speeds up with brisk energetic riffs also introducing a cool melodic mid-lead section. The singer is by all means an asset with his forceful semi-clean tone which elicits the casual melodic flavour reminiscent of Gerre (Tankard).
"High Treason" is the next roller-coaster in the guys' catalogue which is served with less distractions this time raising the flag of classic speed/thrash quite high producing energetic anthems with a decent length (5-7min) without sounding boring or overdone. "Choir of Shadows" is a more ambitious, almost progressive-sounding, composition which is all-instrumental, and its entertaining mid-tempo aesthetics are immediately picked by the shredding masterpiece "Sleeper" which is anything but a "sleeper" even speeding up in the second half. The exit is also worth of note: "Mutant Messiah" is a frolic speedy number, and the final "Grief is in the Eye of the Beholder" is a cool, again more elaborate, cut which crosses its more thought-out structure with impetuous fast-paced passages and a memorable chorus. The band have done a much better job here, and are on the right way to revealing their full potential which I'm sure is eagerly waiting for the next instalment....

The Madman's Lullaby Full-Length, 2011
High Treason Full-Length, 2014

Official Site

WARCLOWN (USA)

The debut: this is interesting modern thrash with a nice progressive edge which doesn't give much room to many fast-paced riffs, but the music works thanks to the clever semi-technical execution and the nice melodic tunes which contrast with the not very pleasant very shouty quarrelsome vocals. "Bullhorn" is a funky oddity, but the rest merges into one whole as the modern landscape is seldom ruined by grooves or other detrimental insertions.
The sophomore doesn't betray the band's customary style with more brutal death metal overtones ("Last Laugh") detected at times, but otherwise the staple modern thrash fiesta seldom pauses for a break if we exclude the more melodic walkabouts on "This Is What You Came For", the more complex progressive arrangements on "Hammer and Coin", and the excellent melodic shredder "The Hate You Create".
"Agents of Chaos" is a more aggressive offering, the guys more often relying on overtly rowdy tunes ("Chloroform"), the volcanic stomper "Trigger" pairing well with the more technical shredder "Isolation", but shy away, please, from the banal groover "Coffin Nail" and the cumbersome atmospheric saga "A Plead to God", the final "Broken Bonds" a cool modern/classic thrash blend with heavy sharp riffs.

Devastation With A Smile Full-Length, 2013
Crooks Of Justice Full-Length, 2018
Agents of Chaos Full-length, 2022

Official Site

WARCODE (GREECE)

The demo: decent retro thrash metal of the brooding Infernal Majesty type with rough death metal vocals; the music moves between the mid and up-tempo the whole time "Demolished Lives" leaving the most positive impression with its fast moshing riffs and the cool doom-ornate exit.
The full-length debut is a brutal affair with death metal now having found its secured place feeling quite comfortable on cuts like "The Vile Truth" and "Venomous Words". The second half is more diverse and serves the slower surprise "To Predict a Retribution" which is a Celtic Frost tribute wits its doom-laden guitars; plus a few mixtures among which the closer "Molotov" is the better song with its Slayer-esque speed and the pounding chorus passages where some tasteful melodic tunes can also be caught. The vocals now are more polished, and are aptly helped by the other members on the numerous shouty choruses.
"Post-Modern Delusions" still pursues the death metal idea more vehemently although the thrashy breaks matter whenever they appear, making this effort a more versatile affair than its predecessor. The overall approach this time recalls Torture Squad and Thanatos with vicious headbangers like "Ruination" and "Left Drained Out" peppering the landscape, the epic stompiness of "This Civilized Decay" and the macabre doom clout of the closing "Architects of Immoral Dogmas" ensuring the requisite deviations.

Warcode Demo, 2008
Vortex of Chaos Full-Length, 2014
Post-Modern Delusions Full-length, 2019

My Space

WARCOLLAPSE (SWEDEN)

Based on the full-length debut, this band plays fast hardcore-ish thrash with hoarse death metal-vocals and a somewhat black metal attitude reminding of the first two Bathory albums. There's a certain Motorhead-like atmosphere (the music is simplistic and catchy resembling the legendary Brits) and there are light-hearted punk-ish moments ("No Hope") present as well.

Indoctri-NationEP, 1993
Drunk Collapsed DestroyedSplit album, 1994
Wandering in DarknessEP, 1994
Crust as Fuck ExistenceEP, 1995
Divine IntoxicationFull-length, 1999

Official Site

WARCRY (USA)

A good blend of heavy doom riffs and up-tempo thrashy ones of the classic variety; there is a slight hardcore-ish touch in the music bringing to mind Carnivore, but this band display a higher level of musicianship, and are heavier.

Warrior's Path Full-length, 1999

Official Site

WARCURSED (BRAZIL)

The debut: this Brazilian formation specialize in edgy squashing thrash with classic echoes which possesses both melody and aggression despite the relative lack of more energetic passages ("Sandstorm" has a few wild speedy sections, but that's about it). A more epic sound takes over in the second half where the compositions become longer and more officiant the whole saga finished with the slightly underwhelming tribute to the Swedish school "Spectral Whisper".
"The Last March" continues the roller-coaster from the debut the band staying faithful to their staple sound the drama reaching technical crescendos on "The Last March" and the effective semi-puzzler "K.I.Y". "Renegades from Hell" is a melodic steam-roller at its most smashing best (check out the lead section on this one) which kind of suggests at the catchy memorable rifforama which the next "Deathmachine" is. The album loses steam a bit near the end where the Gothenburg formulas take over once again expressed in longer cuts with a few lyrical moments.
"Stages of Death" takes no prisoners from the get-go, and there's seldom mercy shown later with rippers like "Algor Mortis" and "Pallor Mortis" floating around. "Rigor Mortis" is a heavy stomper, and "Livor Mortis" is a more varied semi-progressiver, a tendency also observed on the pounding shredder "Decomposition", and especially on the closing 7-min opus "Skeletonization" which reduces the speed for the sake of more intricate arrangements.

Escape From NightmareFull-length,2012
The Last March Full-Length, 2014
Stages of Death Full-Length, 2017

Official Site

WARDANCE (GERMANY)

A German speed/thrash metal band again with a female singer; the music is more laid-back than the one of Holy Moses, for example, and is more in the speed metal camp similar to Warrant, or the second Angel Dust album or, if you remember the 80's speed/thrashers from Canada Messiah Force (their singer there was also a girl). This is a good band although the music is more on the melodic side which is well reflected in the merry opener "Heaven Is For Sale" the girl Sandra Schumacher emitting a passionate melodic timbre sounding like a higher-strung Doro Pesch. The speedy crescendos come graced by some of the catchiest, most melodic leads around. A few mid-paced numbers, including a cool soulful, albeit a bit overlong, ballad ("I Don't Love You Anymore") are also present, but things get more serious in the second half when "Death Caress" brings forward more intense speed/thrash ala Angel Dust's debut, a hard-hitting piece despite the quiet acoustic interlude. Another highlight is the speedy cover version of The Animals' hit "House of the Rising Sun", a soaring composition which totally overshadows the clumsy semi-balladic doomster "Friday The 13th" and the jokey attempt at metal blues at the end called "Blues". Having come a bit too late on the scene, when the time was hardly ripe for this kind of music, the band disappeared and neither of them has ever been seen in any other formation.

Crucifixion EP, 1988
Heaven Is For Sale Full-length, 1990

WARDEAD (SPAIN)

This band play roughly produced old school thrash with gruff subdued death metal vocals which can be barely heard at times. "Manifestation Of Darkness" is a major neck-sprainer and its brutal aesthetics are faithfully followed later "Pestilence Worship" arriving hardcore-decorated, and "To The Weak" smelling death metal for at least half the time to ensure decent headbanging fun for all involved.

Inmortalized Full-Length, 2015

Official Site

WARDEATH (BRAZIL)

An impressive debut of classic speed/thrash; "Preladio Para A Destruio" is a cool energetic instrumental, and a great way to open the album. The following songs are by no means less effective: short, blistering speed/thrashers, containing the best from the 80's scene; mighty speedy riffs in the Helloween, Iron Angel, the Finns Solitaire spirit, shake hands with aggressive thrashing ones along the lines of Kreator, Necrodeath, the Swedes Cranium, among others. This is an uncompromising speedy attack, which will never give you a chance for a break, but one will hardly need it carried away by this cool stuff. An excellent cover of their German colleagues Minotaur comes at the end: "Savage Aggressions", made much better than the original, with marvelous melodic, very fast guitars. This is pure old school delight, a main pretender for the "Best Debut Album" award for 2008.

Confronto Bestial Full-length, 2008

Official Site

WARDOG (USA)

This is Tom Gattis' (Tension, Ballistic) second and longest running project so far, and arguably the best. The style has something in common with Tension, but is rawer and heavier, mixing power, thrash and speed metal in almost equal dozes. The debut is a cool affair blending heavy, slower power metal numbers ("Blasphemy") with smashing speed/thrashers ("Rip & Tear", the closing piece of fury "Oblivion"), with Gattis in fine form. The shadow of the good old US power metal soars high on heavy epic stompers like "Beyond the Soul (Crying Cow)", but expect less merciful /power/thrashing on "Justice Denied" where also the finest lead guitar work on the album belongs.
"Scorched Earth" is more diverse and more power/speed metal-based with the title-track leading the pack here, the epic bounces on "Sounds Of War" winking at the glory of the 80's American power metal scene although this one turns to some smattering gallops at some stage, the more radio-friendly rhythms of "Broken But Not Dead" dissipating the tension. Still, speed metal keeps coming in copious amounts with "Seeing Is Believing"" and the very aptly-titled "Killing Speed", the academic doom veneer of "Nothing Left" a bit more welcome as a respite. Don't ignore the overt frolic thrash/crossover spirit of "Bucket 'O' Beer", way more than just a joke this one, the doom-measured gravity of the progressive "Tomb Of The Slain" adding more diversity towards the end.

"A Sound Beating" carries on in the same vein with clear moments from the 90's power/speed metal scene present, but harder thrashers are still scattered around like the contrived heroic opener "Welcome to the New Underground" and the dramatic pounder "Seven Minutes to Hell". The speed metal flag is raised high on the fast-paced rippers "Changing of the Guard", "A Stronger Poison", and especially the short furious neck-sprainer "Breakneck", but expect the ponderous doom-laden variations on the closing "Close Friends, Closer Enemies" and the more welcoming heavy metal jolts on "Dead Man Alive" and "CIA".

Wardog Full-length, 1994
Scorched Earth Full-length, 1996
A Sound Beating Full-length, 1999

WARDOM (AUSTRALIA)

Decent retro speed/thrash metal of the more laid-back type clinging more towards the American scene, plus the casual nod to classic heavy metal ("United Thy Horde"). The main complaint would be the gruff low-tuned singer who would much better suit some death metal act.

When Darkness Reigns EP, 2010

My Space

WARDRESS (GERMANY)

This is optimistic speed/proto-thrash with some really captivating melodies those mostly coming from the lead department. The foundational energy gets lost on the longer more epic numbers ("Thou Shalt Now Kill"), but one would hardly complain too much on frolic speedsters like "Metal Melodies", and especially on the Helloween-esque winner "Dark Lord". The album loses steam towards the end on two heavy/power metal hymns which at least give the cool clean mid-ranged vocalist a chance to exhibit more passion.

Dress for War Full-length, 2019

Facebook

WARFAIR (GERMANY)

Melodic power/thrash metal which walks the fine line between the modern and the classic sound, not too far from 90's Flotsam & Jetsam and Sacred Reich's "Independent". Some of the band members also play in the modern groovy thrashers/post-thrashers Scornage.

Existence Under Pressure Demo, 2001

Official Site

WARFAITH (FRANCE)

Based on the full-length, these folks deliver modern energetic thrash with very shouty synthesized vocals which create quite a bit of noise "quarrelling" throughout with the abrasive guitars. A bit of melody is also presented: check out the more moderate mid-pacer "Purgatory", but this gimmick can't stand on the way of explosions like "Cracks Whore" and the maddening death metal-laced "Terrorist". Near the end the band cut themselves some slack with a string of more simplistic crossover cuts which bring in more optimistic atmosphere as a finishing touch.
"Atomic Hangover" continues the trend, the band moshing with less moderation, the wild ripping "Brainsucker" spearheading the show, the remainder courting hardcore ("Light Your Fire with Beer"), thrash/crossover ("Catzilla"), and mellower power/thrash mixtures ("Alf Must Die"), the title-track letting it loose with more relaxed heavy/power rhythms.

Blood and War EP, 2013
Wise Man Is Dead Full-length, 2015
Pint of Pills EP, 2019
Atomic Hangover Full-Length, 2023

Official Site

WARFARE (ARGENTINA)

This act indulge in brisk old school thrash that provides both heavy pounding tunes (“Asesino Demencial”) and relentless pummeling mosh (“Da Pelea”, “Eterna Amistad”), the latter side better covered, also with the uplifting speed metal odyssey “Macabro Plan”, which also receives a gust of vehement proto-deathiness. Welcome the singer as well, a versatile throat with bigger adherence to leveled semi-clean croons, his attempts at vicious deathly semi-shouting notwithstanding. Some of the band members are also busy with the death metallers Transmigration Macabre, and the retro thrash cohort Herejes.

Respiro Venganza Full-Length, 2023

Official Site

WARFARE (MEXICO)

This Mexican trio specializes in intense, vicious classic black/thrash which develops at insane speed with a sparse adherence to blast-beats, trying to reach the intensity on Impaled Nazarene, but gives up somewhere on the way to "Pleasure to Kill" and Massacra's "Enjoy the Violence". The relentless bash is really tiring, both for the listener and probably the musicians, and also because of its repetitive nature: there's very seldom staggering towards the mid-pace; all is sustained in non-stop, brutal very fast riffage topped by mean black/death metal vocals.

Um' Moarak Full-length, 2012

My Space

WARFARE (UK)

A cult UK band with a style reminiscent of Venom, Motorhead, Tank with a jolly punk-ish attitude; on "Conflict Of Hatred" the music moves towards more serious thrash recalling the Canadians Pile Driver, or even the Dark Angel debut, a really good work. "Wax Works" is a haunting atmospheric intro after which "Hate To Create" comes forward with fast, choppy riffs with no traces of uplifting, merry moods. "Dancing In The Flames Of Insanity" switches onto almost progressive thrash being much longer, slower, with the inclusion of violins and sax in the middle. "Fatal Vision" thrashes with no mercy again after which comes one more longer, more complex piece ("Deathcharge (Doomsday)") which doesn't forget to be dynamic accompanied by very cool guitar hooks. "Order Of The Dragons" is a fine speed/thrasher with a cool inclusion of the leads and an imposing orchestral ending. "Elite Forces" is the most speedy track here, breaking the "fast song-slow song" formula. "Rejoice The Feast of Quarentine" closes the album the way it started: in a nice energetic headbanging fashion, showing a band now firmly belonging to the thrash metal brotherhood.

Their last release is a tribute to the legendary British Hammer Studios famous for their horror films from the 1950-1970's, and is quite an original effort with an atmospheric, orchestral intro, preceding each song. The style is still thrash-ornate, maybe not all the way, but enough to arouse the thrash metal fans' appetite. "Baron Frankenstein" is a nice mix of heavy doom riffs in the Celtic Frost vein and one more intense middle section. The two parts of "Scream of the Vampire" are atmospheric tracks with cool guitars with a gothic shade. "Plague of the Zombies" is a very enjoyable, more light-hearted speed metal number, but is canceled by the more hard-hitting "Tales Of A Gothic Genre" and "Dance Of The Dead" which are full-blooded thrashers with good, energetic riffs. "Phantom of the Opera" is an excellent melodic gothic song with great female vocals and haunting keyboard melodies; hey, there's strong guitar support as well, but it's not of the thrashy type, and one can't help but notice how much the future doom/gothic acts owe to tracks like this.

Two Tribes EP, 1984
Pure Filth Full-length, 1984
Total Death EP, 1985
Metal Anarchy Full-length, 1985
Mayhem, Fuckin' MayhemFull-length, 1986
A Conflict of Hatred Full-length, 1988
Hammer Horror Full-length, 1990

My Space

WARFARE DC (USA)

Based on the compilation, this collaboration between two Death Angel members (the drummer Will Carroll & the guitarist Ted Aguilar) deliver had another band before that one, Armament, the delivery quite comparable. This is perfectly acceptable classic thrash which can be both impetuous and seismic ("Inner War") and contrived and elaborate ("Everyday Nightmare"), the wild unfettered thrashing unleashed on "Dealing with the Agony" a sure page-turner, also with the help of the intense shouty semi-clean vocals. There's some not very pertinent deathly baritone that shows up here and there, but it can;t possibly fit the sure-handed old school thrash show which also features the slow-burning march "Last Act of Faith" and the engaging thought-out delight "Trapped in a Circle". The very good sound quality also favours the short uncompromising material ("Some Things Never Change", "Living Hell"), the guys covering a fair ground from the retro thrash spectre.

Warfare D.C. Demo, 1989
Lethal Injection Demo, 1990
Victims Demo, 1991
Reflection Compilation, 2023

Official Site

WARFARE NOISE (PARAGUAY)

Old school black/thrash that goes in a speedy mode from the get-go and never lets off thanks to remorseless fast-pacers like “Apocalyptic Throne of Fire” and “Ave Caligula”, the low-tuned guttural death metal vocals creating bigger impression on the death-paced violator “Lust on the Pagan Altar”. “Waiting for Arrival of the Great Infernal Serpent” is a pure speed metal joy, and “Desesperacion, Tortura, Tormento” is a fair tribute to the 80’s German fraternity (Destruction, Necronomicon, Sodom, etc.), with a tinge of death. Some of the band members are also engaged with the similar black/thrash hybriders Chainsaw Slaughter and Caligula.

R.O.T. EP, 2018
Eternal Supremacy of the Tyrant Full-length, 2021

Official Site

WARFECT (SWEDEN)

The debut: modern melodic thrash/death with the obligatory mix between energetic moshing and slower groovy sections; the guys know how to mosh, and "Never to Return" is a really cool semi-ballad, but it'll take more for them to leave the comfortable middle ground of the style where so many of their colleagues have ended up. The clean vocals, another compulsory addition these days, are actually good and powerful, and may even give the music an additional boost if they turn into the dominating ones in the future. The guys were previously known as Incoma with two demos released in the mid-00's.
"Exoneration Denied" is an aggressive "beast" which will rip you from the get-go with the exhausting moshing title-track which sets the tone for this roller-coaster which sounds equally as intense on slower stompers like "Filled With Hate" and the very cool melodic dramatic piece "Inflammatory". The speed appears for a while replaced by swirling mid-paced sections, but this is hardly a complaint since the guys sound convincing all the way. "Nation Divided" is an almost doom anthem, but comes "Slit With Razor" and aggressive thrash reigns supreme turning to wilder proto-death on "Roman Disfigure" before the more technical closer "Pried From Farth" wraps it up. This is a better album than the debut seeing the guys in an inspired shape who should be able to produce a few equally as good efforts.
"Scavengers" is another sure nail into the band's discography the guys not letting their fans down, but keep thrashing with the utmost intensity once again, and there's no mercy shown from the first to the last track the remorseless delivery carved by short, proficient leads. "Watchtowers" shows a more intriguing approach with a more diverse tempo alternation, but by no means expect a tribute to the progressive thrash wizards of the same name. Later on it's business as usual with a mosher after mosher rising in quick succession with a surreally doomy deviation from the path in the face of the hypnotic creeper "Evil Inn", its sinister effect slightly dissipated by the quiet acoustic instrumental "Into the Crypt" at the end.
"Spectre of Devastation": an alluring all-instrumental, lead-driven intro ("Spectre of Devastation") lulls the listener initially, but later on the band don't betray their very effective blitzkrieg sound with lashers like "Pestilence" and "Rat King" early forming the moshpit, the ball calmed down on the crisp semi-technical jumper "Left to Rot". The assault is pretty deadly after wards, with "Hail Caesar" racing with the speed of light, the more technical delivery on "Into the Fray" a most welcome deviation. "Colossal Terror" is a near-progressive experience with myriad intriguing decisions ala Darkane and Vektor, leaving the pogo sessions for "Witch Burner" and the vehement speed/thrash closer "Dawn of the Red".

Depicting The Macabre Full-length, 2009
Exoneration Denied Full-Length, 2013
Scavengers Full-Length, 2016
Spectre of Devastation Full-length, 2020

Official Site

WARFIELD (BRAZIL)

Modern death/thrash metal of the pounding type not too dissimilar to Obituary and Gorefest, but still fast and even blasting on occasion. It holds a certain amount of technicality ("Mao Fechada"), and the sense of melody has not been completely forgotten, but overall the heavy crushing riffs bury it all ably helped by the brutal low-tuned death metal growls.

Death Full-Length, 2010

WARFIELD (FRANCE)

This is modern death/thrash with abrasive shouty death metal vocals. The delivery possesses a thinly veiled progressive character ("Run"), and the not very frequently-changing, pounding nature of the riffage creates a feeling of consistency... it's just that the guys never bother, not for a split second, to add a bit more dynamic moments merely as a spice ending up somewhere on the road to doom/death, and even pure doom, near the end.

Seven Skins Full-Length, 2015

WARFIELD (GERMANY)

The EP: this outfit pull out quite good dynamic Germanic thrash which crashes onward with fast, relatively short, blitzkrieg songs and a bunch of cool melodies ("Killing Ecstasy") which recall Destruction, above all. The musicianship, actually, is on a pretty high level and some of the leads (check out those on "Terror Will Prevail") can even grace a Shrapnel album. The singer is a cool witcher often adhering to semi-whispering creating a kind of sinister atmosphere slightly reminding of early Schmier.
The full-length is a logical continuation on the approach from the EP the guys thrashing with gusto, seldom slowing down as a result, the more speed metal-prone "Divine Winds" the seeming respite. Elsewhere we have the short semi-technical shredder "Atomic Strike", the formidable stomper "Vision Genocide", and the piercing roller-coasters "Under the Surface" and "Martyr" which wrap up this opus with all the ferocity that can be mustered nowadays.

Call to War EP, 2014
Wrecking Command Full-length, 2018

Youtube

WARFIELD WITHIN (GERMANY)

These guys were previously known as Khaosick, under which name they released one album ("The Hunt Continues") in 2005, with the style being classic death metal. The name of the game now (based on the debut) is a thrash/death metal hybrid, still more death metal-based, quite fast, but also technical. The overall approach comes as a mix between the Swedish school and the Canadians Quo Vadis with the same good sense of melody displayed (check out the addictive Oriental hooks on "Warfield Within" which will also remind you of Bolt Thrower's "As the World Burns" from "The IV Crusade"). "A Future Dark" is a stylish technical piece in a solid galloping pace, but the rest is played at breakneck speed for most of the time which kind of impedes the technical leanings from developing fully.
"Beast Inside" shows that the band are still alive and well, but the sound this time is a bit drier and more mechanical, the title-track reminding of the first instalment with both more melodic and more intricate decisions. Bigger aggression comes pouring out of "Silencer" and "Pessimist", the more measured mid-tempo stomps of "Black Antidote" changing the scenery for a bit, but expect no mercy on the explosive "semi-technical Hermit´s Path" and the hyper-active "Hate Doctrine", both numbers showing the guys' penchant for more extreme death metal-based histrionics.
The “Pure Purge” EP doesn’t carve any new burrows but opts for the familiar thrash/death blend, the intimidating brutal aura of “In My Domain” stood up by the steam-roller behemoth “One Belief”, the more technical leanings of “Godlike” supplementing the wall if intricate fury that the title-track is.

Inner Bomb Exploding Full-length, 2010
Beast Inside Full-length, 2023
Pure Purge EP, 2024

Official Site

WARFIRE (BRAZIL)

These Brazilians offer energetic classic power/speed/thrash which boasts a very clear sound quality and nice expressive high-strung vocals not far from those of Rob Halford himself. The music has enough sharpness although the melodic licks aren't too few, either, but there'll be plenty of moments for one to "bang his head", like the title of one of the three tracks featured says. This is music which would appeal to a wider audience due to its diverse character which shows its more power metal-based teeth on the closing "B.T.K.": a stomping mid-pacer in the vein of Omen and Warlord.

It's Time to WarEP,2012

Official Site

WARFIST (POLAND)

Based on the split: cool old school speed/thrash borrowing readily from the early German scene producing as a result a couple of major headbangers: the very aptly titled "Speed Metal War", "Abuse and Scorn". "The Heretik" is a surprise serving heavy slower riffs in the spirit of early Celtic Frost, before the last "1999: Karmakeddon Warriors", which is an Impaled Nazarene cover, shoots everyone at close range with its uncompromising fast-paced guitars. Some of the musicians also take part in the death metal outfit Ebola and the black metal formation In the Depth of Night.

The "Hell Tyrant Rising" EP relies on heavy doom-laden riffs with a touch of epic except for the slightly faster "Night of the Wicked Ones", and the nice faithful cover of Behemoth's "Pure Evil and Hate".

The debut demo is "pure fucking hell" of brutal black/thrash with an appropriate underground sound "courting" Bathory and, partially, Possessed. The guys bash with violence not caring too much about the musical side of their delivery; neither of the vocal one since the man behind the mike just quarrels not very intelligibly with a rending gruff voice. Some musical proficiency miraculously sneaks on "1665", which is a melodic black/thrasher with a more audible guitar sound. The final track "Tormentor Infernal" is a cover of the Polish black/thrash "monsters" Witchmaster which merges with the other material and may be hard to recognize at first.
"The Devil Lives in Grocnberg": yes, indeed, the "devil lives" there, and not only him, but also some coolly-constructed old school speed/thrash which occasionally gets quite wild ("The Fire Of Our Wrath") and fast to the point of maddening blast-beating ("The Last Pyre"), but anyone should be able to survive "the night" with the catchy roller-coaster "Thrash Through the Night" which is more on the milder side. That can't be said for the cuts in the second half which are short aggressive bursters with a pinch of proto-death melodic relieves provided on the final title-track which is longer and more engaging. Some of the band members have a more lasting career as black metal purveyors with Moontower.
"Grunberger" is another hyper-active affair, the band marching onward either with heavy stomping ("Feasting on Dead Bodies") or with fast ripping ("Slay, Swive and Devour") strides both sides well balanced throughout the album although the speedier one seems to be the more convincing, the guys' hearts apparently fonder of the good old bashing also reflected in the proto-death violator "Death by the Cleansing Fire", and the speed/thrashing roller-coaster "Grunberger (Drinking with the Devil)".
"Teufels" is a cool old school thrashing affair, the guys establishing thrash's hegemony thanks to energetic cuts like "Tunes of Black Contagion" and the proto-death rager "Scorching Trauma"), the mid-tempo frolicker "Tuol Sleng" also offering a slew of cleverer riffage. The aggression has been toned down compared to previous recordings, "Angel Maker" the most brutal proposition here, a wild thrash/proto-death number, starkly contrasting with "Fire< the Arthur Brown cover served at the end, the same cut which Die Krupps covered some quarter of a century later.

Pure Fucking Hell Demo, 2005
Tunes of Hell and Alcohol Demo, 2006
United In Annihilation Split, 2008
HellTyrant Rising EP, 2008
The Devil Lives in Grofcnberg Full-Length, 2014
Grunberger Full-length, 2019
Teufels Full-Length, 2022

Official Site

WARFORGER (GERMANY)

Quite intense modern thrash/death metal the guys alternating fast moshing sections with more elaborate, semi-technical ones. "Glass Prison" is a nice short thrasher with a very good sense of pace, and "No Future" is a really cool exercise in more thought-out technical thrash. The vocalist is a subdued death metal semi-shouter whose forced antics are at times barely heard. Some of the band members also play with the black metallers Apega.

Global Extinction Full-Length, 2016

Official Site

WARFX (BRAZIL)

This band is the continuation of the underground act Prophecy although at the time of writing that other band is still active as well. Nevertheless, this one here is still hesitating between several styles offering bland modern groovy post-thrash in the first half (based on the full-length). Fortunately, the second half takes off with "New Order" which is a nice little headbanger managing to even sound retro at some point. The other cool moments are the up-tempo "The Meaning Of Terror", the somber doom-ornate "Eye Of The World", the proto-Megadethesque "The Anger Day", and the excellent brisk closing thrasher "Alone".

War Effects EP, 2003
War Songs Full-length, 2006

Official Site

WARG (SPAIN)

This young outfit, who appeared once the thrashers Adamantivm split up a few years back, indulge in classic speed/power/thrash which mixes the dominant clean, a bit hoarse, vocals with more brutal death metal ones. The music hardly requires that, however, being melodic and relatively friendly despite the presence of the intense galloper "Mastermind" and the more aggressive death metal-laced "Loki". "Sword In The Darkness" is an epic hymn, a tendency which becomes too cheesy on the Celtic epic-driven "Tales From The North"; a situation saved by the excellent semi-technical thrasher "Seas Of Lies" and the cool mid-paced shredder "Hell Is Real".
"In the Dusk of Men" is a more pleasing effort with a lot of epic melodies roaming around making this album the definitive party viking power/proto-thrash affair. Every track has a hit potential, but the sharpness of the riffs goes missing more than now and then turning the approach towards mellower waters later on with echoes of Cruachan and Korpiklaani, especially with the beautiful female vocals applied on some of the tracks.
"Dark Tales": this next portion of "dark tales" has more bite and verve as evident from vigorous blitzkrieg pieces like "Winter" and the more playful but equally as energizing "(Dunwich) Arrival". The more melodic, pagan-viking motifs ("(Dunwich) the Horror") inevitably spring up at some stage also bringing interesting cleaner vocals with them, but thanks to rousing epicers like "Vader" and the boisterous closer "To Madness" the delivery never degenerates to a mere soap opera-like fiesta.
"The Endless Travel" flirts with insistent keyboard-guided motifs, those stifling the riffs' sharpness at times, and respectively thrash doesn't materialize as frequently as before, the band sounding like a Blind Guardian clone more than just now and then, if we exclude the gruff death metal vocals that pop up occasionally. There's a barely an up-tempo tune featured here, save for a few sprightly hooks on "The Answer", and the timid semi-gallops unleashed on "In the Eye of the Beholder".

Back from the Shadows Full-Length, 2014
In the Dusk of Men Full-Length, 2016
Dark Tales Full-length, 2019
The Endless Travel Full-length, 2023

Official Site

WARGAME (ITALY)

Based on the full-length debut, these Italians deliver uplifting old school thrash/crossover which can be quite aggressive ("Mud'n'Blood.") going towards Wehrmacht, but this never turns into the dominant tendency as is evident from the party thrasher "Drink Beer" which flirts with a popular dance hit, also unleashing an addictive melodic lead section. The title-track is another melody-abundant number, but its memorable hooks aren't translated on the remainder which is stripped-down hardcore cuts sounding like an almost entirely new act performing there.
"Dead Skaters Brigade": the thrash/crossover fiesta carries on unabated here with simplistic direct hardcore-fixated cuts ("Fast Cars") taking turns with more serious intimidating thrashers ("Wallbreakers"). The party element is big here, especially with frolic uplifting roller-coasters like "Toxic Fog" and the nice semi-technical jump-arounder "Terror over Neo-Milan" also present.

Acid Barf EP, 2014
Sick of Italy Full-length, 2016
Dead Skaters Brigade Full-length, 2017

Official Site

WARGASM (USA)

"Why Play Around" is a triumphant album, one of the ten best thrash metal releases ever, pretty much the culmination of the whole scene (and 1988 was indeed the peak year for thrash metal); some of the finest thrash pieces are here, folks: "Wasteland", "Revenge", "Undead", "Humanoid", and all the rest. No more comments about a masterpiece like this.

A follow-up was badly needed immediately to place the band on the forefront, but the guys lost momentum and took it easy (or could have been label problems, or other obstacles) right until 1993, when they struck again with "Ugly". The album title is not very attractive, but the music is quite good although much less striking than the one on the debut: it opens in a nice fast-paced way with "Rude Awakening" promising another great riff-fest. Well, the very next track ("Enemy Mine") shows the band having accepted the new 90's laws with a much more restrained, almost groovy sound. Later on the speed returns ("I Breathe Fire" and the very aggressive, but also technical "Dead Man's Smile") alternating with slower, more modern-sounding songs. "Ugly Is to the Bone" is a fine energetic thrasher, the highlight here, even worthy to be on the debut. The guys attempt something more complex and technical ("One Man Army") suggesting at new, future tendencies. Alas, these were just solitary experiments as "Suicide Notes" is too far from anything the band have done at that point being plain modern metal, more melodic than the old material and much weaker.

Why Play Around Full-length, 1988
Ugly Full-length, 1993
Fireball EP, 1995
Suicide Notes Full-length, 1995

Official Site

WARGOD (MEXICO)

80's speed/thrash metal with more brutal death-like vocals and other influences thrown in along the way; the music is cool, ranging from all-out thrash assaults ("Wargod", "Sangre y Acero") to mellower speed/power metal offerings ("Somos Eternos"). "Crimenes De Guerra" is high-octane speed/thrash at its best and fastest: the finest song on the demo. "Vertigo" is the odd slow number which doesn't quite belong here; "Tormenta De Sangre" is way better with its galloping speed/power/thrash rhythms. "Muerto" is a ballad with a faster twist at the end, but watch out for the next "Mente Criminal": aggressive death-laced thrash metal with cool melodic guitar interludes. "Reptando I" is blasting death metal, quite good, but it remains to be seen which direction the band will follow on future releases... this wide amalgam could be reduced to fewer styles...

Credmenes De Guerra Demo, 2008

My Space

WARGOD (USA)

This is the band from where the drum-machine Gene Hoglan started his career, along with the guitar wizard Michelle Meldrum (R.I.P.- she sadly passed away on May 21st, 2008), who later founded the all-female Shrapnel outfit Phantom Blue. Their first demo is furious devastating thrash which precedes "Reign in Blood" and "Darkness Descends" with a few months, and have definitely been an influence on the formation of the death metal genre; fast aggressive stuff, interrupted by short, but very coherent listenable leads.
The 1986 demo is only two tracks compared to the four ones on the first one; the music is in the same vein, merciless speedy thrash with very good, more melodic, higher-pitched vocals.

Demo Demo, 1985
Demo Demo, 1986

WARGRAVE (SOUTH AFRICA)

This act play intense modern thrash in the vein of Dew-Scented and Hatesphere. These lads's sense of melody is a bit bigger probably, and they use the bass more prominently as well as the short beautiful lead-driven instrumentals ("Delusions Of Grandeur") the latter a really nice spice to the blitzkrieg proceedings. Melodies flow from all sides and can prove addictive to those who like their thrash more lyrical, and these leads can grace any Shrapnel effort any time. "Suffering The Void" is a smashing progressiver with blistering riffs, an obvious warm-up for the closing 8.5-min "Blind To The Light", an encompassing piece with hard thrashing shaking hands with breath-taking acoustic interludes. This is a promising start of a promising career showing some big potential at such an early stage.

Suffering the Void Full-length, 2015

Official Site

WARHAMMER (GERMANY)

A band exclusively devoted to Hellhammer and early Celtic Frost; this is truly an impressive commitment, and the band should get kudos for that, but there's absolutely no variety here; once you've heard one album, you know exactly what to expect from the rest: pure Hellhammer-worship through and through with a few faster twists added here and there to stir the depressive mood.

The Winter of our DiscontentFull-length, 1997
Deathchrist Full-length, 1999
The Doom Messiah Full-length, 2000
Curse of the Absolute EclipseFull-length, 2002
No Beast so Fierce... Full-length, 2009

Official Site

WARHAMMER (GREECE)

The debut: this formation provide, after the elegiac lead-driven intro, blitzkrieg old school thrash with echoes of Attomica ("Disturbing the Noise") and Devastation. The guys lash with speed and will sweep the fan into spontaneous headbanging till the very end. The leads are clever and melodic dueling with the slightly noisy riffage the latter falling on the edge of pure speed metal at times ("Erevos"). The closing "Reminiscence" would be a surprise being a much milder power/thrasher in mid-pace which still works as an epitaph to this wild tiring roller-coaster.
"At The Threshold Of Eternity" overcomes another pompous operatic intro to get mosh started although "Through the Realm" is just a melodic speedy roller-coaster, and "Collision" not a very eventful mid-tempo pounder with an accentuated bass bottom. A major change of style is witnessed here the band having softened down radically, embracing the progressive metal idea wholeheartedly on "Stone Dead Warrior" before the more aggressive "Pandemonium" pours some life into the meek proceedings. Still, one number isn't enough to turn the tides, and this effort leaves a solid aftertaste after the prime basher which the debut was.

Mass Burial Full-Length, 2013
At The Threshold Of Eternity Full-length, 2017

Official Site

WARHAMMER (ITALY)

This obscurity is decently executed retro thrash along the lines of Anthrax with several mellower power metal insertions ("Beware Of Liars"). The inspired, but naive bash gets interrupted with a couple of more thought-out numbers ("The Vengeance") where the guys try something really intriguing with the leads being the most striking, albeit being too screamy at times. The singer is passable with his attempts to sound emotional and attached with his not very versatile mid-ranged clean timbre.

Every Man's Nature Demo, 1989

WARHAMMER (UK)

Based on the Rehearsal, this act pull out really vicious and brutal thrash/proto-death which for the time may have smitten every other recording in the dust in terms of aggression. This is bashing chaos in the vein of early Messiah, only released earlier; very fast relentless stuff with mean semi-declamatory, death-laced vocals finished with a cover version of Hirax's "Bombs Of Death". This is easily the most extreme effort from the UK underground from the 80's, by no means for the faint of heart... Later the band members carried on under the name Unseen Terror to produce the groundbreaking grindcore "atrocity" "Human Error" (1987), and their drummer Shane Embury was later covered in glories hitting the kit for Brujeria, Napalm Death, Meathook Seed, Lock Up, and others.

Abattoir of Death Demo, 1985
Prophecy of Violence Demo, 1985
Rehearsal Demo, 1985

WARHATE (BRAZIL)

Based on the compilation, this band's style is not too far from the early wave of Brazilian thrash: Sepultura, Sextrash, Volcano, Sarcofago. In other words, we have here brutal raw thrash/black/proto-death with unlikely heavy slower parts ala early Protector, plus the thousandth cover version of Motorhead's "Ace of Spades".

Thrash InvasionDemo, 1988
Biological DecimateSingle, 1990
Action & AttitudeDemo, 1993
Destructive YearsBest of/Compilation, 2005

WARHAWK (USA)

This US formation play an uneven mix of power, speed and thrash metal with not very relevant heavy metal tracks ("Vengeance") thrown in without much care. Still, when the guys decide to thrash, they do exactly that: "Unholy Martyr", the sweeping closer "The Summoning/Litany of Woes", the best cut here. The bad news is that for most of the time the songs come as mixtures of all the aforementioned styles the "cocktails" not working very consistently, especially on the monstrous 12.5-min opus "The Chalice in the Square" which is an extravaganza of the progressive variety sounding like several songs stitched together without any clear idea to hold them tight. The singer semi-recites with force, and his more shouty inclusions are also quite effective being unleashed unexpectedly at times scaring the listener in a way no worse than Jon Van Doorn (Deathwish).

Sic Semper Tyrannis Full-Length, 2012

Official Site

WARHEAD

Four tracks of mid-paced heavy Celtic Frost-like thrash which livens up for the occasional headbanging section ("Curse of Death", and the 2.5-min Slayer-esque bomb "Wartorn"). Not bad at all with hypnotic one-dimensional riffage and rough semi-clean vocals, not far from the ones of Cronos, with a pinch of James Hetfield.

Warhead EP, 2000

WARHEAD (BELGIUM)

When people talk about Belgian thrash metal, this band is often being forgotten, and it shouldn't be so. Perhaps the reason is that their style is more speed metal-based with hints of thrash mostly on the second album, and an overall style recalling the German heroes Helloween, Steeler and Grave Digger. "Speedway" is a good slab of power, speed, and a little bit of thrash metal which works quite well, and separate numbers really pack a punch: the energetic instrumental "Attack and Kill", the excellent short speed metal killers "Driver" and "Kill the Witch", the cool intense speed/thrasher "Speedway".

"The Day After" introduces a harder sound, and although the music still remains more in the speed metal camp, cool mixtures of speed and thrash are present ("Devil's Church", "Evil Night"), which for some reason remind me of the Pile Driver's second album "Stay Ugly" with their direct, sincere approach. The new instrumental "Fall Out" is even better, albeit more quiet and slower, but with very cool lead guitar performance, which actually takes the whole space, and that's well deserved. "Last Night" is a good semi-ballad with a nice speedy section, recalling Living Death's "Grippin' a Heart" from "Metal Revolution". "Legions of Hell" is another good take on speed/thrash metal with a heavy, doomy beginning, followed by the awesome thrashing closer in the Iron Angel-vein "The Day After". I've always wondered at the unexplained disappearance of good acts like this one (Warrant, Iron Angel, Attacker, Savage Grace, to name a few others), at the peak of the genre development who played fashionable, and quite good for the time, music, with a wider appeal.

Speedway Full-length, 1984
The Day AfterFull-length, 1986

WARHEAD (ECUADOR)

Energetic classic thrash which is majorly boosted by the crisp production. The band thrash on with no remorse shooting fiery riffs to no end seldom slowing down even on the longer tracks in the middle which hint at some progressive Paradox-esque heights ("Babilonia"), and not without merits. The hard thrashing returns in the second half with the shattering closer "Impunidad" doing the final damage seeing a young act determined to stay true to the old canons. The vocalist is not on the very impressive side his angry shouts not having the needed impact.

Exterminio Full-Length, 2013

Official Site

WARHEAD (GERMANY)

This obscure, but quite prolific band have done a fairly good job in the German underground; their debut is a nice slab of classic speed/thrash metal which apart from the lashing thrash pieces ("Let Me Die", "Good Christian") offers more quiet, longer tracks which still hit hard, but in a more sophisticated way ("Hatred", "Good Part For Each"). The overall style reminds of the first two Squealer albums with a pinch of mid-period Testament; the singer also recalls Chuck Billy at times. On some songs the music loses its edge sounding like pure power/heavy metal; there's a cool ballad, too, in the Testament vein again ("Missiles").
"Perfect Infect" takes a more modern direction, but fast thrashing numbers of the old school are still present ("Celebrate Your Loot", "Perfect Infect"). The modern side of the music is not bad, and boasts some fine songs: the very cool progressively-tinged opener "The Other Side" which reminds of early Vicious Rumours in a great way; the heavy, atmospheric thrasher "Into the Light"; oh, and another good ballad: "Behind My Eyes", this time more romantic and softer.

"Captured" is a fine return for the band to the scene after a long, 7-year hiatus. The guys still thrash in the good old way on most songs, which this time are longer, but are still of the more immediate type. The new material even surpasses the better achievements from the past: the speed/thrashing "Captured"; the jolly speedy piece "Alive"; the raging thrasher "Zombie Ride"; no ballads this time, and no fillers. The new singer does a fine job with his style now reminiscent of Steve Souza (Exodus) and Scott Waters (Ultimatum).

Good Part for Each Full-length, 1997
Perfect Infect Full-length, 1999
Beyond Recall Full-length, 2000
Captured Full-length, 2007

My Space

WARHEAD (ITALY)

One person, the name Damiano Perra, is in charge here for the release of this raw, but charming speed/thrash which captures the dark spirit of the Brits Deathwish ("Swords Of Damocles") and generally keeps the tempo up for most of the time even on more serious epicers like "God's Grave". "And Beyond" is the only more relaxed power metal anthem, but the rough semi-clean vocals of Damiano kind of don't suit this approach very well. The production qualities aren't great, but manage to ensure a passably underground sound without too many fuzzy annoyances.

Demo Demo, 1990

WARHEAD (POLAND/UKRAINE)

Although on some sites this band are presented as a black metal act, at least based on "Bloodthunder" there are no many reasons for that. This is heavy mid to up-tempo thrash, sounding like more one-dimensional Abomination; the singer also recalls the Paul Speckman's performance on that band's works. This is good headbanging stuff with short lashing songs and simplistic guitar work which delivers the goods most of the time. All the tracks are in the same fast tempo so don't expect any highlights, but rest assured that this is not the same song played over and over again.

Warhead EP, 2000
Defenders of the Blood Full-length, 2001
Aryan Nation's Rebirth Full-length, 2003
Explosion Split, 2004
Bloodthunder Full-length, 2006

WARHEAD (RUSSIA)

Based on "Various Views of the Present - Day Reality", this act plays modern power/proto-thrash metal with more elaborate arrangements, and gruff semi-clean vocals. The approach is mid-paced with not very sharp guitar work relying on cool melodic hooks which work well since at least half of the songs lean towards the semi-ballad ("We Love", "The Pain", the romantic closer "She", etc.).
"Strange Age" is a harder effort with more adherence to sharp thrashy decisions although the dreamy aspect of the guys' early period is still present. The guitars are crunchy and more dynamic although they again seldom leave the mid-pace coming with a pinch of doom/gothic ("Grave Worms") ala mid-period Cemetary those moments accompanied by better cleaner vocals with a deep timbre.

The Realms of Fancy Full-length, 1996
Various Views of the Present - Day Reality Full-length, 1998
Hate Full-length, 1999
Strange Age Full-length, 2002
Death Rattle Full-length, 2010

Official Site

WARHEAD (USA, AZ)

Based on the full-length debut, this act play edgy retro thrash which is a nice reminder of the mosh antics of Anthrax only coming with a dirtier, less polished, sound which also captures the spontaneous immediacy of the Metallica debut (check out "Social Phobia", the title-track). "Phantasma" is a longer more engaging galloper, and "Evils Of Humanity" is a nice wild shredder which sets the tone for the final trio among which "Rapid Fire" is a very good reminder of Metallica's "The Four Horsemen", and the closer "Bent On Destruction" is a pleasing furious epitaph lashing "rapid fire" riffs in a machine gun-like fashion for over 5-min. The singer is by all means an asset with his meanish clean timbre semi-singing or semi-reciting throughout, always on par with the energetic musical delivery.
"Age of Tomorrow" is built on similar diverse grounds the sound now acquiring a more carefree crossover colouring which surprisingly works well with these fast energetic tracks among which the excellent "Pit Viper" may remind of Megadeth at their best, and the title-track will split you at the seams with its furious riffage and will enchant you with its stylish slower breaks. "Widowmaker" is a light-hearted speedster, but "IG-88" thrashes like there's no tomorrow also adding a couple of really cool technical twists. "Lost Souls" is another merry roller-coaster with again nods to the early Metallica heritage; and the closing "Sacrilege" follows a similar pattern speed/thrashing with gusto, finishing this effort with well deserved aplomb.

Who's Next? EP, 2010
Death Row Full-length, 2013
Age of Tomorrow Full-length, 2016

Official Site

WARHEAD (USA, CA)

This band play punishing heavy thrash of the retro type which comes spiced with power metal elements the final result not far from the early efforts of Meliah Rage and Metal Church only that here the speed is missing more than just now and then which is, surprisingly, provided aplenty on the final 9-min epic composition "Iron Youth". The singer is a good emotional cleaner who exercises authority and detachment without crossing too many ranges in the process.

The End Is Here Full-Length, 2012

Facebook

WARHEADD (USA)

Modern, mostly mid-tempo thrash/post-thrash which picks up speed on occasion ("The Beast"), but the brooding efficiency of steam-rollers like "Excalibur" and especially the squashing delight that is "Walls" will mortify such vivid deviations, the quarrelsome but soulful semi-shouty vocals facilitating the more volcanic side of the guys' repertoire.

Imminent Destruction EP, 2019

Facebook

WARHELL (BRAZIL)

These Brazilians are "dying for thrash", like the title of the opener suggests, and apart from that they pull out comprehensive old school stuff with fast riffs with a strong abrasive edge recalling the early efforts of Sacrifice. "Trapped" is a slower piece, but generally this is intense music with a few less controlled blasts on the final "Annihilation Begins" which is an otherwise ripping storming thrasher. The leads are proficient, of the screamy type, and the singer isn't totally bad with his husky mean death metal-ish voice.

Offer Your Blood to the Mosh Demo, 2009

My Space

WARHORDE (USA)

This is a one-man project who goes under the abbreviation P.H. He does a good job handling all the instruments to come up with cool retro black-ish thrash metal in the vein of early Bathory and the Slayer debut. "Death Rattle" is a tad more laid-back now sharing quite a bit of the playful atmosphere of early Motorhead. The new gimmicks, however, ruin the impression from the cool music: the vocals are very strongly synthesized, and the guitar sound is very fuzzy and dirty making the faster songs sound like a string of chainsaw massacres. The innovations only work on the slower "Witch Cult" which is a nice nod to Bathory's "Raise the Dead".

Satanic LustFull-length, 2007
Death Rattle Full-length, 2010

Official Site

WARHORN (FINLAND)

Based on the "Expanded Holocaust" demo, these guys pull out classic black/thrash metal which is as close to early Bathory as it is to Impaled Nazarene. The music is often quite fast, but the more controlled thrashy breaks are quite a few as well topped by horrifying satanic rasps. The band members play much softer classic heavy metal with their other band Northern Invasion.

Demo Demo, 2003
World Wide Desolation Demo, 2003
Expanded Holocaust Demo, 2004

Official Site

WARISE (BRAZIL)

This is classic thrash metal ala Assassin and Paradox. The title-track opens the album in a furious speed/thrashing manner, and the next "The Prisoner" does its best to be on pace with it. "By Your Glory" calms the ball down with meaty semi-balladic riffs which go up the speed scale a bit on "Poisoning". When "Blood On Earth" refuses to speed up beyond the mid-tempo, the listener may start worrying that there would be no more intense thrashing here, but comes "The World", and things get back to normal with another portion of fast blitzkrieg delivery. The remaining two songs are dynamic, albeit not as fast, topped by the great leads which are the highlight all over. The singer is not bad pulling out confident clean mid-ranged performance reminiscent of Heinz Mikus (Risk).

The War Is The End Full-Length, 2011

WARKILL (MEXICO)

Based on the full-length, this act provide energetic classic thrash with very shouty, near-rending death metal vocals. There's little wrong with lively sagas like "In Memory" and the ripping "Lethal Assault", and the more pensive aura of the title-track and the steam-roller "Decades of War" also works but in a more subversive, less exuberant manner. "Skeleton Rebellion" exacerbates the environment with brutal blasting strokes, and the final "Beauty of Chaos" is another near-surrender to the death metal realms with a more officious battle-like flair.

World of Lies EP, 2018
Total Extinction Full-length, 2021

Official Site

WARKNIFE (ITALY)

Based on "Amorphous", this act specialize in interesting modern thrash/death which is more on the calm, almost progressive, side creating the impression that nothing truly develops beyond the semi-balladic pace and indeed, the approach is strictly pensive and meditative with some cool surreal sections which channel mid-period Opeth, also in the vocal department. The band hit the top on the final "F.A.I.L." which is a technical atmospherer with nice melodic progressions, a very cool number which shows the guys in a more proficient light. Some of the musicians are also active with the progressive death/thrash outfit Kronium.

Dream of Desolation Full-length, 2009
Amorphous Full-length, 2014

Official Site

WARKRANK (USA)

These folks pull out classic thrash which is both direct and more elaborate. The initial string of sincere thrashers is replaced by the varied speed/thrasher "Dust Of The Ancients" and a live performance of "Blood Circus" which is a furious track showing plenty of uncompromisng attitude which should find its fuller realisation later.

WarkranK EP, 2013

WARKULT (FRANCE)

An intense mix of death, black and thrash metal generally comprehensible slightly recalling the early Messiah efforts, except for the blasting sections which in their turn are assisted by nice melodic technical leads the latter being the highlight of the album. The music zig-zags between heavy stomping sections, thrashy up-tempo ones, and brutal fast outbursts with both a death and a black metal flavour. "Time for Oppression" is a cool thrashing instrumental with melodic hooks, and the closing "Mother Earth Revenge" is the other exercise in pure thrash relying on heavy pounding rhythms and sparse speedy insertions.

Kult Of Disorder Full-length, 2009

My Space

WARLAMB (SPAIN)

This is a one-musician project, the name Salva Campuzano, who directs his creative energies towards the good old thrash with sharp lashing riffs and somewhat corrosive atmosphere, the latter favouring the faster-paced material among which one will find the delightful Destruction-esque roller-coaster "Victim's Advocate" and the more straight-forward basher "God's Left Hand". "Plague" is an effective moody complexer, and "Priest Eater" is a non-fussy speed metal fiesta. Campuzano also provides masterful leads at times, and a husky mean timbre behind the mike, with echoes of Schmier (Destruction).
“Predator” is an even more abrasive and archaic-sounding recording, Campuzano disturbing the peace with both short creepy extrapolations (“Putrid Oxide”) and heavy volcanic dramas (“Axe Mountain”), the energetic title-track stirring some commotion mid-way, the latter supported by both the unrestrained blacky hyper-blasts of “Grave Beyond Thought” and the epic aggravations of “Crystal Tower”.

God's Left Hand Full-length, 2023
Predator Full-Length, 2023

Official Site

WARLORD U.K. (UK)

This band's debut was one of the best steam-roller, battle-like efforts this side of their compatriots Bolt Thrower. It's a compelling mixture of thrash and death with the title-track marching onward with sweet memories of both "The IVth Crusade" and "...for Victory", with "Disintergration" picking up more speed, and "Change" adhering to tumbling doom-laden motifs. "No Where to Run" introduces a more uplifting corey flair, but the dark squashing character of the album never gets lost, with "Vivesection" and "Alien Dictator" keeping the tanks rolling with unflinching determination, the thrashing urgency of "Theatre of Destruction" keeping that genre in the game, including with with a very well executed cover of Slayer's "Raining Blood", this one preceding two Amebix renditions ("Nobody's Driving", "Chain Reaction").
It's a real pity that they disappeared soon after it... But they're here now ("Evil Within") after 14 years of absence, and the fans should prepare for battle once again. The approach is now more prone to thrash, if there was any thrash on their debut at all, and consequently the sound is not as squashing the guys adding moderate dozes of melody whenever needed. Energetic thrash/crossover pieces alternate with more aggressive death-fixated cuts the latter dominating the landscape although it's dramatic mixtures between the two styles ("Slow Motion Demise") which are the highlight with their bigger musical proficiency with the more technically executed deathly pieces ("Life"; the closing slammer "Never Forgive-Never Forget") a close second. The singer is the staple low-tuned death metal growler very close to Karl Willets (Bolt Thrower again).
"We Die As One" is the next in line squasher the trade mark seismic riffage intact with their compatriots Bolt Thrower again the closest soundalikes. Actually, thrash is just a subjective description since the band care more about the deathly side of their repertoire the battle hymns following one after another to an apocalyptic smattering effect. The bass support is admirable as well as the super-brutal guttural vocals, and again this is more of a death metal entertainment. "Human Inner Core" ravages the environment in the staple for the band steam-roller manner, but this is a more energetic proposition which even creates spontaneous headbanging atmosphere, the latter almost completely missing from the epic atmospheric saga "Masses Gather in Masses". Expect both sides to be aptly mixed on the Bolt Thrower worship "Insurgents Breed", with death metal fully taking over with the impetuous "Strength Defeats Decay", relying on more melodic tricks ("Last of Our Legacy") at times, at others stirring more crusty drama the intense macabre death metal growls serving as the vocals supervising the squashing show with general-like authority.

Maximum Carnage Full-length, 1996
Evil Within Full-length, 2010
We Die As One Full-Length, 2013

Official Site

WARLUST (GERMANY)

The debut: this German horde specialize in hyper-active furious retro black/speed/thrash which knows some mercy in the form of more intricately executed speed/thrashers ("Altars Of Hell") whereas some cuts ("Morbid Execution") smell death metal with more brutal riffage involved. "Speed Metal Tyrants" deserves its title being a feisty roller-coaster, and "Witchcult" is a more fulsome black metal rager which partially influences the closing diverser "Infernal Night... of Desecration".
"Unearthing Shattered Philosophies" is a more brutal offering now incorporating a bit of death metal as well into its already hyper-active core, but thrash still leads the parade on impetuous headbangers like "Wolvewhore" and the diverse multi-layered progressiver "In the Shadow of the Alchemys". Elsewhere it's black metal that dictates the plot leading to both pleasant melodic ("My Final Sacrifice") tractates or less restrained aggressive ("I Spit on Your Grave") outbursts, all influences coming together nicely on the final epic "To Fall Apart".
“Sol Invictus in Umbrae Satanae“ is a more elaborate slab, the compositions are longer, “Serpent Crown” alone closing on nearly 8-min, “Between Apeiron& Plague” blasting with pure rage and fury, the same layout epitomized for “...Of Gallows & Absurdity”, the epic grandeur of ‘Forgotten Cult of Chronos” sidelined by the infernal hyper-active complexities of the encompassing 8.5-min closing saga “Black Souls”.

Morbid Execution Full-length, 2017
Unearthing Shattered Philosophies Full-length, 2020
Sol Invictus in Umbrae Satanae Full-length, 2024

Official Site

WARM HAZE (CANADA)

This is relaxed not very intense power/thrash which develops in a predictable mid-tempo the whole time the guys trying to spice the proceedings with more experimental funky "tricks", but the relatively lazy way of execution doesn't give the fans too many opportunities to mosh around except for a bit on the more vigorous "Again". "Smoke Song" is a stylish nod to the band's peers and compatriots Voivod with its twisted quirky rhythms, and "Time To Quit" is a less ordinary thrash/crossover shredder which also excels in the melodic department where also the indifferent punk-ish vocals belong.

Try T'ill the End Demo, 1990

WARMACHINE (CANADA)

A good debut which is mostly classic heavy/power metal with occasional more aggressive thrashy parts. The vocalist does a very good job with his levelled attached clean timbre, suiting the not extremely eventful, mostly mid-paced delivery which accentuates on the melody as evident from the emblematic title-track and the crowd pleaser "Eye For An Eye ". "Forgotten Demise " and "Dust To Dust" move the spirits around with more vivid, more intense rhythms, occupying loftier, speedier dimensions.

The Beginning of the End Full-length, 2005

Official Site

WARMATH (FINLAND)

Another hidden gem in the metal underground: on "Damnation Play" Warmath play power/speed/thrash metal in the tradition of Agent Steel, Wrath and Toxik with nice technical riffs, brilliant solos and great galloping rhythms; very good guitar-driven music which would have fitted nicely even into the Shrapnel catalogue. The opener "Damnation Play" is a strong technical up-tempo track, and sets the tone for the remaining ones. The album flows in an energetic speed/thrash mood, seldom exiting the field with softer heavy/power metal numbers ("The Land Of The Living", "The Fifth Season"), but this is nicely compensated by the more aggressive ones ("Slavery", "The Darkest Age"). After all, this is not an all-out thrash metal effort, but is a blend of the aforementioned 3 styles, so it is not strictly for thrash fans.
The EP is slower with a heavier sound, now fully focused on thrash, recalling the Bay Area scene, and more particularly late-80's Metallica and Testament. The guitar work is still on a high level, but the concentration is not on speed anymore; the riffs are heavy, pounding, with separate sections within the songs speeding up, but just a bit ("The Death Joy").

GehennaEP, 1990
Damnation PlayFull-length, 1991

WARMONGER (ITALY)

Cool classic thrash metal: the music is close to Destruction and the Toxic Shock and Iron Angel debuts. "Rites of Vengeance" is a good example of perseverance the guys finally getting to the official release stage five years later without having lost their penchant for the good old speed/thrash metal. The album starts ambitiously with the long speed/thrasher "Possessed by Metal" which is an obvious nod (title-wise) to the Exumer debut the music being full-fledged Germanic speed/thrash all the way. "Senseless War" is a short explosive number the rest following close in terms of speed and intensity, "T.N.T." trying hard to break the sound barrier, and almost succeeding. The middle will be quite a surprise: a nice speedy cover of Celtic Frost's "Into the Crypts of Rays" here turned into an optimistic speed/thrash roller-coaster. "Right of Vengeance" is a very good tribute to early Destruction, and the closer "Merciless Riot" is a speed metal killer in the best tradition of the Angel Dust debut. Without offering anything new, the band delivers on all counts by taking the listener on a thorough entertaining tour around the early days of German speed/thrash metal.

Marching On The Warpath Demo, 2002
Beer Maniac Single, 2003
Mors Tua, Vita Mea Single, 2004
Rites of Vengeance Full-length, 2009

My Space

WARMONGER (SWEDEN)

This obscure Swedish trio acquit themselves with the typical for the time intense blend of thrash and death metal. The approach is expectedly pretty close to their compatriots Merciless' debut, also sharing some of the atmospheric qualities of the Floridian movement (think early Death, above all). The guitars have a characteristic dark tone which will also remind you of Bolt Thrower (the battle-like "Dawn Of Obscuration"), and the singer is a gruff, albeit pretty intelligible, low growler. Expect a pleasant surprise near the end: a cool energetic cover of Venom's timeless hit "Black Metal"; followed by the closer "Skinned Alive" this one betraying the energetic feel of the demo treading slow doom-filled waters for most of the time.

Only Death is Real EP, 1992

Official Site

WARNAMENT

Pretty cool retro thrash which starts in a more laid-back crossover manner before "Disturbing The Peace" which is a smashing speedster giving the album an enormous boost the latter immediately evident on the next ultra-thrasher "Hollow Of The Innocent Victims". "Life Consequences" is another commendable piece, slower and stomping, but "Alarm" is a fine edgy speedy number with cool technical leanings. "Violator" could have been more intense to justify its title since it's more of a power/thrash metal mixture in mid-tempo. "Game over" with the final "Game Over" which thrashes hard with power in the best manner of Paradox's "Riot Squad", adding the casual more clever hook. Some of the guys are also active in the classic heavy metal warriors Steel Thunder.

...Where Home is Found... Full-length, 2010

My Space

WARNING (GERMANY)

A 3-song demo which dedicates one song to each of the following metal genres: power ("Blind Hate"), speed ("Revelation"), and thrash ("Victims of the Insane": this track is more of a mix between speed and thrash) metal.

Victims of the Insane Demo, 1986

WARNING SF (USA)

This is the new band of Jon Torres, a guitarist who has made a name for himself during his involvement with bigger names from the thrash metal world in the past (Laaz Rockit, Heathen, Ulysses Siren). Whoever/whatever he liked from those bands, he used to take it with him; that's why in Warning SF there are also members of Ulysses Siren and Laaz Rockit. This band's style is more along the lines of mid-period Laaz Rockit ("Know Your Enemy") combining thrash and power metal in a good way with nice guitar work and fine forceful mid-ranged vocals. "Road Death" is a bumpy power/thrash opener, pairing well with the galloping urgency of the title-track, and the speed/thrash impetuousness of "Thunderhead". The singer holds onto a pretty effective mid-ranged clean baritone, not too adventurous but emotional enough to deliver appropriately on the more dramatic moments. "Sounds of Armageddon" is an imposing epic along the lines of Manilla Road, and "Happy Doomsday" is a catchy heavy/power metal sing-alonger. Brace yourselves for "The Noose", a hard thrashing piece, and for the speed metal winners "Not a Chance in Hell " and "Metal Maniac" at the end.

Aftermath Full-length, 2002

Official Site

WARNING SIGN (CANADA)

Based on the full-length, this band play rigorous epic power/thrash which opens the proceedings in the best possible way with the galloping instrumental "Eat a Bag of Hell". Later on the approach is more aggressive, first with the hard thrashing "Going to War", then with the progressive speed/thrasher "Doomsday Prediction". The speed metal tunes come in an endless supply and heads will bang on the title-track and "Piercing the Veil". The ending takes much more ambitious proportions with two lengthy 8/9-min opuses of which "Evil in the Dark" is the better offering with more aggressive thrashier riffs whereas the closing "Shifting Sands" is more on the emotional, balladic side where the vocals fully reveal their excellent clean, dramatic range.

Wake the Dead EP, 2013
Left to the Sharks Full-length, 2016

Official Site

WARNYNG (GERMANY)

The debut demo: cool energetic speed/thrash with proficient screamy leads and passable semi-clean/semi-shouty vocals ala Kermitt (Tyrant, Germany); the longer material is more laid-back with an overt power metal flavour which makes the songs heavier and a bit clumsy.
"No Chance for the Weak" is really cool vehement speed/thrash topped by not very suitable throaty proto-death vocals. The music is full of energy, from the more violent melee on "Inquisition" to the infectious gallops on "Attila", to the more serious progressive layout on the excellent title-track, everything seems perfectly in place for a truly thrilling journey, "Rock This City Down" the only more relaxed track, a frivolous speed metal jollier.

Victims of Insane Demo, 1986
No Chance for the Weak Demo, 1987

WARP SPASM (UK)

Based on the "Smell My Pipe" demo, this formation provide playful jocund thrash/crossover which is too soft and friendly to really strike a cord although the leads are really good and sharp. Otherwise the guys just have fun moshing out in a relaxed manner, occasionally "flirting" with the oncoming groovy vogues, the harsh inebriate singer another precursor to the dominant singing style of the 90's. Reportedly on earlier demos the band had played more aggressive old school thrash, and some of them continued in the music business for a while in the early/mid-90's under the name Cosmic Juggernaut where the style had shifted towards doom/stoner.
The "Cauldron of Blood" demo, this is raw, very poorly produced thrash/crossover which leaves quite a bit to the listener's imagination as the sound is plain awful for at least half the time, which is a pity as the title-track is a not bad mid-paced stomper, the shorter material ("Why Don't You Die", "Real Life") openly bordering on outrageous grind ala O.L.D. "One Thousand Years" is a playful bumpy punker, and "Mind Killer" is a surprising more melodic and more atmospheric cut with proficient leads and tranquil balladic developments. The vocalist is a semi-clean semi-reciter, plainly slubbering incomprehensibly on the faster-paced sections.

World Insane Demo, 1991
Barmy Fluid Demo, 1991
Smell My Pipe Demo, 1992
Cauldron of Blood Demo, 1993

My Space

WARPATH (BRAZIL)

The EP: sharp classic thrash; fast brisk music topped by vicious Mille-like vocals. The first track is a short immediate headbanger, but later on the guys take things more seriously and start thrashing in a slightly longer and a more complex manner, again remaining within the German thrash confines, "courting Destruction, above all, by adding the odd clever hook on the next three numbers. The end is given in the form of live songs from their debut demo which alternate direct with less immediate thrashers boasting a very good sound quality.
"A Hell to Behold" is an intense blitzkrieg offering the guys thrashing with gusto and passion, producing a couple of more intricate roller-coasters ("Signatures Of Death") along the way. Still, it's all-out moshers like "Chernobyl" and "Scourge in the Flesh" which will make the fan's day more fully with their unbridled spirit, the band admirably sustaining the high-speed delivery for the 7-min closer "Territory Of Discord".

Massacre EP, 2010
A Hell to Behold Full-length, 2019

Official Site

WARPATH (CHILE)

The first two demos are of a more simplistic, but enjoyable, nature, whereas the last two are excellent technical thrash. "Torture" is by all means the band's highest achievement; it starts with the title track which hits with its heavy, but also energetic guitar sound which will bring to mind even Dark Angel's "Time Does Not Heal", as well as Heathen's "Victims of Deception" (and these two albums were released later). The songs are complex with plenty of great technical riffs and interesting musical decisions which never leave the metal field. The singer is the only drawback having a slightly undeveloped timbre, something like how Dave Mustaine would sound after a long drinking party.

"Mental Acceleration" is in the spirit of the other two 1988 demos thrashing in a direct semi-Bay-Area/semi-Slayer-esque fashion. The guitar sound is really abrasive taking away from the sharpness of the riffs. The music is up to mid-tempo, and "Endless Zone" is a nice technical piece, the only reminder of the future metamorphosis, offering excellent twisted riffage with a shade of Coroner. The vocals are again close at times to Mustaine, but here sound even more drunken.

Alternative DoseDemo, 1988
Shock ForceDemo, 1988
Mental AccelerationDemo, 1988
TortureDemo, 1989

My Space

WARPATH (GERMANY)

Based on "When War Begins...Truth Disappears": heavy, mid-tempo thrash metal with crushing riffs; the style isn't too far from the UK thrash masters Cerebral Fix, but the riffs here are slower and more aggressive. The songs are long (6-7min), and perhaps it would have been better if they were a bit shorter because the guys refuse to speed things a lot except on a few occasions.
"Kill Your Enemy" adds more speed to the proceedings and the result is more satisfying, albeit more diverse; at the same time there are pure doomy songs ("Die Maschine"), and modern tendencies have found place in the band's sound (the slightly boring and monotonous "Overrollin'"), plus pure crossover delights ("Sign of Hard Times").
"Bullets For A Desert Session": the band are back after a lifetime of absence and they're eager to prove their worth once again with fast ripping sounds pouring from the opener "Reborn". Later on the intensity isn't that big the guys indulging in slower, modern-ish post-thrashers the monotonous string broken by the more vivid abrasive cruster "Unseen Enemy". "No More Time to Bleed" is another raging headbanger near the end opposing to the cool epic, balladic closing title-track.
"Filthy Bastard Culture" is a marginally more energetic affair although the abrasive crusty vibe permeating it can be cumbersome at times. Again, the staple for the band slow-burning stompers ("Back to Zero") are here, but it's livelier propositions like the title-track and "Below the Surface" that catapult the album forward with the final "Violent Starr" wrapping it on in a most unrestrained hardcore manner.
"Disharmonic Revelations" is a more aggressive offering, with shades of death boldly showing on the sides, the title-track and "A Part Of My Identity" stirring a vehement crusty mayhem, the pounding steam-roller "Parasite" finishing off the infidels, deftly assisted by the tank-like "Visions And Reality". The alternation between the two sides carries on, the more relaxed speed metal-ish closer "Decisions Fall" adding a more light-hearted touch to this grave opus.

When War Begins...Truth Disappears Full-length, 1992
Massive Full-length, 1993
Against Everyone Full-length, 1994
Kill Your Enemy Full-length, 1996
Bullets For A Desert Session Full-Length, 2017
Filthy Bastard Culture Full-Length, 2018
Disharmonic Revelations Full-Length, 2022

Official Site

WARPATH (UK)

This band could be considered the continuation of the short-lived Headless Cross. The music on the debut is more aggressive, and better than the one of the old band being excellent classic thrash recalling the Japanese Ritual Carnage and Vio-Lence's "Eternal Nightmare". So expect steel sharp riffs, mostly in up-tempo, accompanied by good mid-ranged intelligible vocals. Some songs betray the fast-paced character of the album ("Hostile Takeover", "Spitting Venom"), but this is when the guitars add nice melodic hooks. There are plenty of moments to break your neck here: the heavy mid-paced crusher "Face to Face", which blasts out at the end; the explosive opening duo "Damnation" and "Infernal"; the Slayer-esque "W.M.D. (Weapons of Mass Deception)"; the merciless closer "Expendable Forces". This band, along with other young acts like Gama Bomb and Evile, does a really good job to elevate the British thrash metal scene to the high levels of the 80's.

Cataclysm EP, 2005
Damnation Full-length, 2008

Official Site

WARPSPEED (UK)

Based on the debut demo, this obscure British trio indulge in fairly good speed/thrash with Agent Steel a clear influence including on the vocalist who is a passionate clean high-strung semi-shouter and leaves a fairly positive impression. The music is nothing short of outstanding, though, even coming with a couple of technical licks ("Broken Silence") also recalling the US underground heroes Ulysses Siren. "Overcast" is a raging speed/thrasher seeing the guitarists in a very bright light with flashy constant "duels" all over backed by a thunderous bass bottom. It's a real pity that such talented acts never saw the light of day...

Break The Silence Demo, 1988
Distant Screams Demo, 1989

WARPSTONE (FRANCE)

A strangely effective modern technical/progressive thrash offering which engages from the get-go with the unpredictable short opener "Blood Painted Mountain" which twists and turns in many directions during its less than 3-min. The band keep the songs relatively short which makes their work even more compelling with the numerous tricks present. A few more lyrical, purer progressive cuts, roam around ("The Witchtower") contrasting with the more elaborate and longer compositions ("Obsidian Circles", the closing "Deathvoid Uncharted") which kind of lose the dynamics, but arguably feature the more proficient musical execution. The musical "duel" between the gruff death metal and the emotional clean vocals is well achieved as the final "battle" is won by the latter who could have easily taken the whole space without any regrets.

Daemonic Warpfire Full-Length, 2012

WARRANT (GERMANY)

"First Strike" will strike you (no pun intended) with its sharp speed/thrash attack, sounding like a cross between Angel Dust's "Into the Dark Past" and Living Death's "Metal Revolution". "Satan" is an explosive opener, which will make you headbang for days. "Ready To Command" slows down, showing the softer, power metal side of the band, but "Condemned Forever" will stir the blood again with cool speedy riffs. The next couple of tracks follow the same pattern, maybe with a less thrashy edge, but the closing "When The Sirens Call" is another heavy metal hymn, maybe a bit too long a number for just an EP.

"The Enforcer" followed a few months later, as though the guys were not willing to lose the accumulated inertia. The opener "The Rack" wastes no time thrashing forcefully with a cool speed metal shade. "Ordeal of Death" is a mid-paced power/thrasher, followed by another fine faster number: "Nuns Have No Fun" (which is not a Mercyful Fate cover), and those two approaches take turns until the end, resulting in another good effort, which is probably closer to speed/power metal in a way similar to Iron Angel's "Winds of War" and Angel Dust's "To Dust You Will Decay", but this band was the first to soften down. Whether the guys would have taken a more aggressive, thrashier turn in the future, remained a mystery, since they joined the group of acts which untimely, and inexplicably, disappeared from the scene at the peak of the genre's development.

"Metal Bridge": the guys are back with a fully functional "metal bridge" for all fans to use. It's only fair for these veterans to give themselves another go after their abrupt untimely "demise" nearly 30 years ago. The new album is more in the power/speed metal camp and reminds of their compatriots and colleagues Not Fragile quite a bit. No complaints since the approach is quite energetic and catchy as at least half of the tracks are sustained in a brisk speedy manner blending the 90's power/speed metal school with their staple sound from the 80's. The vocalist Jurg Juraschek hasn't lost anything from his previous charming clean croon even pitching it higher this time adding another heroic, dramatic flavour to this cool "eagle fly free" effort.

First StrikeEP, 1985
The EnforcerFull-length, 1985
Metal Bridge Full-Length, 2014

Official Site

WARRAX (USA)

A very obscure, but recommended band who play cool thrash with nice catchy guitars in the vein of the Brits Cerebral Fix. The opening "Social Decay" thrashes awesomely with heavy, pounding riffs in the mid-paced sector. "Victim of Innocence" is a more complex track, and longer, which refuses to speed up, but the stomping guitars and the quiet interlude in the middle (which some of you may find too long for their taste) create a nice opposition which many progressive metal acts would find hard to match. "Risen Again" is another very cool song which adds faster galloping rhythms, but the focus is again on the heavy, pounding guitar work. "Chamber of Doom" is a very good mix of fast-paced riffs and some heavy ones followed by the short instrumental "440 Interceptor" which gives an opportunity to the lead guitarist to show his skills. "Tight Grip of Society" is a classy exit: a heavy, steam-rolling technical thrasher with a cool speedy passage near the end. It's nice to hear music which gives a twist to the traditional thrash metal sound by concentrating on its heavier slower side with a pinch of technicality.

Chamber of DoomFull-length, 1991

WARRICK (USA)

Based on the full-length, this act indulges in retro thrash of the heavy, stomping variety. They never let the monotony drag them down, though, and here come more vigorous pieces like "The Scourge" and the galloping power/thrasher "Martyr". "Mouth Full Of Shit" is an all-out headbanger offered near the end, energizing the remaining cuts, the closing "For Those Once Loyal" (no references to Bolt Thrower music-wise) thrashing in a more stylish, clever manner for 6.5-min adding several nice melodic hooks as a finishing touch. The singer doesn't really shine, but his emotional hoarse semi-clean antics are by no means impediment to the music.

Metal as Fuck EP, 2007
Beyond Diplomacy Full-length, 2012

Official Site

WARRIOR HOLOCAUST (MEXICO)

Old school speed/thrash sustained in a merry, uplifting mood; don't think about Exciter and Vectom immediately because this is more complexly executed stuff with longer numbers ("Overblood") where more things occur apart from pure bashing although the shadow of the good old speed metal ("Thunderstorm") is quite tangible where one can also hear alluring catchy melodies. The vocalist is not perturbed too much by the latter, though, dictating the plot with a subdued, but authoritative semi-death baritone.

Evil Vengeance Full-Length, 2018

Facebook

WARRIOR SOUL (COLOMBIA)

The demo: a very abrasive guitar sound meets you from the very beginning which makes this death/thrash hybrid a not very pleasant listen at times. Otherwise, the band try hard playing with understanding of the old school canons, sticking to familiar mid-paced patterns, spiced with sudden outbursts of energy, assisted by really brutal low-tuned growls.
"Warrior of Death" improves on the sound quality, but with it the more brutal moments from the preceding effort have been gone as well. No complaints at all as the title-track easily restores a lot of dignity with more fiery riffs, but the rest is more on the mellow side, still having its shining moments like the technical delight "Testament", the rigorous crasher "Name in Vain", or the interesting progressive composition "Fear of Loneliness" which even reaches wilder death metal-ish dimensions at some stage. "The Four Warrior Troop" is a stomping epicer, and "Fade Away" is a diverse instrumental with interesting time changes. "Courageous" is an imposing thrasher with a formidable rhythm-section and intriguing technical chops, the highlight on this very entertaining roller-coaster which sees the guys in a really fine form to do some major damage on a worldwide scale.

Heavy Clouds Demo, 2011
The Lost Child Returns to Hell Full-length, 2013
Warrior of Death Full-length, 2017

Official Site

WARRIOR SWORD (COLOMBIA)

This is the same band as the one above; what caused the name change, that only the guys can tell, but music-wise we have capable classic power/speed/thrash which lashes both impetuous speedsters ("Stage Is All") and more contrived pieces ("Virus Letal"), the short vigorous "Tough Path" racing with the equally intense " Always by My Side", the closing "The Further" breaking the tradition by serving cool catchy balladic tunes, an all-instrumental delight that can even pass for the highlight.

Through My Blood Full-length, 2023

Official Site

WARSENAL (CANADA)

The demo: this Canadian trio specializes in vigorous classic speed/thrash which looks at Germany for inspiration, and finds it in the early works of Vectom and Destruction with more playful shades ala the Metallica debut ("Unstoppable"). This is fast melodic stuff with some pretty cool lead performance ("Wars") with a very clear sound quality and a bit underwhelming semi-declamatory vocals.
The full-length debut is a frolic speed/thrashing roller-coaster holding onto simplistic catchy riffs the guys at times enjoying themselves by lashing out pure unadulterated old school speed metal ("Hit 'n' Run"). The spirit of the Metallica debut is still flying high ("Conquer"), but "Stab You One By One" is a more hard-hitting piece with a bit more aggressive delivery adding more fire to this entertaining slab of nostalgic retro speed/thrash.
"Feast Your Eyes" complicates the environment a bit with more contrived song-structures among which "Forever Lost" is a total trail-blazer with the complex guitarisms and the spinning rhythms. Later on such a complexity is not encountered the band bringing back the shadow of "Kill'Em All", again trying something more speed metal-ish ("Insatiable Hunger") here and there, also moshing with bigger vehemence ("Doomed from Birth") whenever they feel like it. The more technical flavour of the closing "Crystal Whip" is definitely worth mentioning, and it should be a model to follow on future endeavours.

Demo Demo, 2012
Barn Burner Full-Length, 2015
Feast Your Eyes Full-Length, 2019

Youtube

WARSICKNESS (BRAZIL)

Based on "Sick Existence", these guys specialize in dynamic old school thrash which is sustained in a full-speed mode for most of the time, the mean semi-shrieky vocals adding to the uplifting roller-coaster setting. The title-track and "Called to Play" keep the moshing on, but expect a few lyrical escapades (the short instrumental "999") and a couple of more stylish technical riffs on the bonus track "Gruesome Origin". Some of the band members are also involved in the retro thrashers Torrencial.

Reign of Chaos, Pain and Torture EP, 2012
Stay Drunk in Hell Full-length, 2015
Sick Existence Full-Length, 2019

Official Site

WARSHALL (RUSSIA)

This Russian formation provide crisp rousing classic thrash/proto-death which is hyper-energetic with a constant downpour of fast cutting riffs those boosted to the maximum by the very clear production. "Headhunter" is a more moderate mid-tempo relaxer, and "Hate Unlimited" comes with a portion of cool melodic leads; all the way to the closing "Pyramid" which is a more complex piece with nice melodic hooks and a few dramatic build-ups, again on a more mid-paced background. The vocals are semi-clean ones with both a shouty and a singing potential equally displayed throughout.

Warshall Full-Length, 2015

WARSHIPPER (BRAZIL)

The good old school thrash/death hybrid is resurrected once again on this short-ish effort which will split you at the seams with its vitriolic, no-bars-held approach. The relentless thrashing is served with taste and a good sense of melody on the progressive speed/thrasher "...And The Darkness Calls". Later the blast-beats on "The Theatrical Dissection" are perhaps not quite necessary, but more complex musicianship arrives on the final string of songs which are varied adventures with death, thrash and even black metal shaking hands assisted by not very intelligible semi-shouty death metal vocals.

Worshippers of Doom EP, 2014

WARSICKNESS (BRAZIL)

Based on the full-length, these Brazilian "alcoholics" borrow the German Teutonic heritage with early Sodom and Destruction the prime targets for worship except that the musicianship here is way inferior to the one of their idols the guys obviously still learning their craft at this early stage. The approach is a bit one-dimensional with fast simplistic riffs following in quick succession "Alcoholic Brain" providing some mid-paced respite alongside a few other isolated, more moderate passages from other tracks. A slight asset might be the hoarse Tom Angelripper-esque vocals which lead this below average show with naive authority.

Reign of Chaos, Pain and Torture EP, 2012
Stay Drunk in Hell Full-length, 2015

Official Site

WARSTORM (ITALY)

The demo: three songs of intense moshing thrash of the old school which prefers to lash in a fast pace, the crisp guitar sound nicely boosted by the appropriate clear production. The delivery is tight and concrete ("Toxic Metalhead" is the only longer composition, but is pretty much direct stripped-down bash) without any more technical decorations the forceful Phil Anselmo-like vocals providing the desirable assistance despite their slightly irritating tendency to overshout at times.
The full-length: the beginning would be quite a surprise the title-track hitting you with classic speed/thrash, an all-instrumental opus lasting for over 10-min. Things get back to normal, though, with the very next ripper "Pulse Of Existence" which introduces the new singer, a mean semi-shouty throat very close to Schmier. As already suggested by the ambitious opener, the musical delivery has been elaborated as well as the songs' length, and now the German school is the main target for worship. The guys try something more intriguing near the end, on "Checkmate for Mankind" which also features a cool balladic interlude; and on the final "Cursed" which includes a participation from members of their compatriots Hyades.

Let the Warstorm Begin Demo, 2011
Goatspel Full-Length, 2014

Official Site

WARTECH (UK)

This short-lived act appeared after the crusty thrashers Axegrinder split up. These two demos see the guys changing their musical approach drastically towards sophisticated dissonant thrash/proto-thrash with strong echoes of mid-period Voivod leaning more towards the less thrash-prone dystopian landscapes of "Dimension Hatross" (the second demo). The first demo contains "Malfunction", a crunchy surreal creeper with jumpy discordant riffs and sudden up-tempo passages where the bass will shatter the walls of your house, not to mention the quirky lead sections. Dispassionate, semi-declamatory vocals assist this futuristic musical scenery which may also recall another deeply underground act from the States, Transilience. The second track "Virtual Reality" is a hectic dissonant shredder the weird jumpiness from the preceding number retained as well as the virtuous bass support. Up-tempo moments are missing in the 1st part, but the band start thrashing with a lot of passion in the 2nd one producing the ultimate dystopian headbanger on the scene.

The second demo contains "I Need Face", a dry mechanical piece which shreds in the most listless fashion with the most sterile riffage around recalling the Japanese avantgardists Doom with the shadow of Voivod still looming very heavily over these outlandish landscapes. A more energetic passage comes forward later on to ensure the thrash metal fans' interest that may wane a bit on the following "Slow Motion" which features a melodic balladic interlude, the latter interrupting illogical accumulations ala late-80's Killing Joke mixed with the quirky progressivisms which the Norwegians Virus would make their own much later in the new millennium. A chaotic fast-paced exit ensures another delight for the thinking metal fans and the lovers of the offbeat and the bizarre in music, also siding with their compatriots Holocaust's eccentric masterpiece "The Sound of Souls" made a few years earlier. These two efforts are pure gems of original, innovative music which would sound relevant even today, and should be much better known.

Demo 1 Demo, 1991
Demo 2 Demo, 1992

Official Site

WARTHANE (SOUTH AFRICA)

Based on "Black Divine", this act offers a cool atmospheric twist to the black/thrash mixture, excelling in evoking moods and emotions with dramatic arrangements in a way quite similar to Dimmu Borgir's 'Enthrone, Darkness, ..." and The Kovenant's "Nexus Polaris". The songs are sustained in a solid mid-pace with keyboards and spacey passages added, plus the odd faster break, assisted by husky black metal vocals which insert a desirable sinister edge into the album. Shades of more recent Satyricon ("Illumination of God and Lucifer") sneak in, as well as doomy operatic ("Betrothed Black Winter's Dawn") moments which give the album a solemn, officiant feel. The leads are brilliant coming out of nowhere, not lasting for very long, but lifting this effort up the professional music scale. This is beautiful music with a great sense of melody which may not score high from a thrash metal point of view, but would be a grand scale entertainment for fans of the atmospheric, moody side of metal.

Day 13 EP, 2007
The Gallows Are Calling Full-length, 2008
Black Divine Full-length, 2011

Official Site

WARTHORN (GREECE)

The EP: a 4-tracker of impetuous classic black/death/thrash that moves onward with vivid up-tempo rhythms and a few blast-beats betraying its more overt black metal infatuations including in the vocal department where the guy croaks with passion, and is at times barely heard. Some of the musicians are also involved with the death metallers Sudden Death.
The full-length stays closer to the thrash side and provides brisk dynamic cuts which don't race with the speed of light, and feature heavier, pounding moments ("Thorns of War") the latter occupying more space on the entertaining epic progressiver "Scythopolis", and on the infectious battle-rouser "Religions of the Dead". The album is wrapped on by more brutal death-prone numbers ("Ak 666", "Bible of the Dead") which keep the headbanging going after the more officiant atmosphere instilled by the last two compositions.

Hades' Storm EP, 2014
G.O.D. Full-length, 2018

Official Site

WARTHRASH (BRAZIL)

A really cool 3-song demo of Germanic thrash along the lines of early Destruction and Iron Angel's "Hellish Crossfire"; the singer is an obvious Schmier worshipper, and he does a really good job imitating him. The opener "Refugio" follows on the steps of the great intro from "Eternal Devastation" preceding "Curse the Gods". This is cool, fast-paced music which will satisfy mostly the Destruction fans as well as those who enjoy thrash metal with a German flavour.

Meanings of War Demo, 1988

WARTHRASH (CHILE)

Fast ripping old school thrash mixing the more thrashy attitude of Exodus' "Bonded by Blood" with the rougher speedy antics of early Whiplash. Not bad, suffering from a raw amateurish production and bad shouty vocals.

Gritos de Guerra Demo, 2009

My Space

WARTHRASH (COLOMBIA)

Cool old school thrash of the fast intense variety with rough death metal vocals; the guys shred with power seldom crossing the border towards death metal ("Creation Of Hate"). Apart from cutting riffs one will catch more melodic hooks which come with the slower pounding sections the latter never anything more than the needed more moderate "pause".

Si Vis Pacem Para Bellum EP, 2011

WARTILLERY (BRUNEI)

Wow, Brunei is waking up for the thrash metal resurgence! Thumbs up! The music at play is decent classic thrash with a crossover potential (check out the hardcore/grind 1-min "atrocity" "Metal Surgery") not far from Hellbastard with distant echoes of the Bay-Area better expressed on the shorter, more aggressive material ("Unleashing The Pain"). "Speed Assault" starts quite disappointingly with slow uneventful rhythms, but in the second half switches onto full-ahead speed/thrash the only annoyance being the thin screamy leads.

Your War Sucks Without Artillery Demo, 2010

Official Site

WARTIME (BULGARIA)

The band's style varies from old school power/thrash to very technical Death-meets-Watchtower hybrids. "Entrapment" is the better achievement, containing quite nice technical thrash with long compositions and interesting complex arrangements, along the lines of later period Death and the Russians End Zone. The guitar work is excellent, not aggressive, but meandering all the time; the sections where some acoustic and bass performance could be heard, are quite a few, but they are perfectly intertwined with the riffage. There is a wide use of leads, which are superb, and are arguably the highlight (check out the magnificent short instrumental "Prelude to Damnation"). The last track "Against Destiny" speeds up, but the guitars are more melodic acquiring power/speed metal tendencies.

"Preordained Game" is only two songs, but it continues the technical style from two years ago; both tracks are in a vein similar to the previous one: technical thrash of the less aggressive variety, maybe with more melodic hooks and more ordinary leads than previously, but still engaging ehough. The vocals have become more brutal compared to the Chuck Schuldiner (R.I.P.) ones used on the first demo, this time being lower and closer to death metal.

"Against Destiny" uses the songs from the two demos as a backbone, but the new material sounds more ordinary and less eventful reducing the technical riffage a bit settling for more conventional modern thrash. The album takes off in the middle with the excellent vortex "Entrapment Of Time" (from the 1st demo) and the instrumental "7 Years" which are dynamic, but also melodic, affairs which set the tone for the better second half featuring the up-tempo thrasher "Awakening (1000 Days In Coma)", another instrumental opus: "Awareness" (both already heard previously), and the more dream-like closer "The Drifter" which still contains the obligatory number of hard-hitting riffs mixed with nice leads which are on a high level on the whole album. After the long wait for a full-length release the band's fans may be a bit disappointed: the technical prowess displayed earlier shows up here and there, but the approach is safer and not very daring including in the more aggressive department. Certainly the guys are capable of more...

"Solar Messiah": the band continue their path from the previous effort with a less adventurous, more standard, approach the more modern mechanical shreds not carrying that much melody anymore with just sparkles of the more technical past ("Inner Sight") thrown in here and there. The overall delivery is uneventful seldom going over the established mid-paced tone the closing "Palette Of Grey" thrashing harder also introducing the finest leads on the album, again just an echo from a more impressive past rather than a promise for a brighter future.
The EP is in the classic speed/thrash camp, and if it wasn't for the sterile artificial sound quality it would have been a bigger winner. The title-track and "On the Edge of Time" mosh hard with slight progressive build-ups and numerous melodic touches both in the riff and lead department. "Neverending" is a short immediate headbanger with the next two cuts slowing down to nearly power metal proportions, also featuring a very wide, more or less appropriate, vocal coverage, anything from shouty semi-death to emotional clean ones.

Perfect World EP, 1998
EntrapmentDemo, 2000
Preordained GameDemo, 2006
Against Destiny Full-length, 2010
Solar Messiah Full-Length, 2012

My Space

WARTOOTH (AUSTRALIA)

Based on the full-length, this Aussie duo pull out dynamic blitzkrieg old school thrash which has no claims at originality whatsoever, but should please the fanbase with its hyper-active attitude which doesn't disappear even on the longer, more thought-out material ("Benevolent Destroyer"). Speedy roller-coasters like "Predator" and "Venomhead" will easily instigate a few spontaneous pogos, but watch out for the frivolous, infectious cover of Skid Row's "Slave To The Grind", the forceful shouty vocals betraying the playful nature of this cut.

Virus EP, 2016
Programmed Dichotomy Full-length, 2020

Official Site

WARTORN (USA)

Based on the "Seek Shelter" demo, these guys take no prisoners with their aggressive uncompromising thrash coming as a cross between Exhorder's "Slaughter In The Vatican" and Vio-lence's "Eternal Nightmare". Wartorn are more diverse perhaps adding ultra-fast blasts sparingly, and there are also attempts at a choppy, more technical play. The singer is also good sounding like a more vicious version of Sean Killian.

The debut demo is the better effort thrashing in a consistent heavy galloping fashion on the semi-technical opus "Rigormortis", before moving onto fast aggressive thrash on "Serpent" and the brutal proto-death lasher "Oppression". "Infantry Of Desolation" is a slow doom number, and the closer "M.A.D." provides another portion of pounding galloping riffs, very good reminders of the not so distant past 80's American scene, as well as the good forceful vocals reminiscent of Harry "The Tyrant" Conklin (Jag Panzer).

OppressionDemo, 1990
Seek ShelterDemo, 1990

WARTRAX (INDONESIA)

Classic speed/thrash with reverberations of early Metallica, among other 80's heroes; the guys bash with panache with a slight crossover edge on the shorter material ("Dominating Power"). "Thrash Attack" is more of a speed metal attack, the band softening the proceedings, nodding towards the early-80's German wave regardless of the overt references to "Seek & Destroy" that spring up at some stage. The vocals are shouty and noisy, but fit the vigorous approach which slows down for the final "Thrashgod", a heavy more officious stomper which again doesn't fully justify its pompous title.

Over Limit Full-length, 2018

Official Site

WARTUNE (SLOVENIA)

Based on the self-titled demo, this band play cool melodic thrash metal of the classic variety with a black/death metal singer, seldom interrupted by deep clean vocals ("Return of the Wolves"), filled with genuine dark gothic atmosphere. The pace goes from more headbanging riffs to slower doom-laden ones. The guitar work is quite good, and some melodic lines are very catchy and memorable. It's not clear whether the guys will follow their thrash, or gothic heart, on future releases, but they can as well produce good results mixing those two contrasting genres.

End of GraceDemo, 2004
WartuneDemo, 2005

Official Site

WARVOMIT (BELGIUM)

The band name already hints at the raw primal proto-death sound one will encounter on this utter obscurity which unknown status is very well justified due to the amateurish bash heard for most of the time: this is violent "perverted" thrash/death with messy distorted guitars and bad gurgled death metal vocals which only relatively sensible moment is the Hellhammer worship "Lead You to Your Grave". The rest is one big wall of sound from which one can distinguish the brutal grindy approach on "1000 Faces of Evil" which makes this cut stick out of the impenetrable fuzz.

Sadistic Perverted Majesty Demo, 1997

WARWITCH (USA)

Based on the full-length, this band, only featuring the multi-instrumentalist Minos the Infernal Judge, specialize in crusty heavy old school black/thrash that lashes with no mercy (“Eternal Conflict”, “Subject to Torment”), the hyper-blasting ferocity of “Born for War” clearly on the militant side, the thrashing fervor returning for “A Horrifying End”, a smashing energizer with Minos, a very sparse presence behind the mike by the way, showing his subdued semi-shouty deathly timbre to a sizeable round of applause.

Monument of Death and War EP, 2023
Thermonuclear Death Full-length, 2024

Official Site

WARYAG (GERMANY)

This satanic trio from Berlin with a Russian connection pulls out a raw early mix of thrash and death metal with an abrasive noisy guitar sound which may have been intentionally made to sound like that in order to recreate the dark underground past more faithfully. The delivery is suitably up-tempo with both slower doom and more extreme proto-blasting elements, but all gets cancelled on the brilliant progressive/technical masterpiece "The Heavens Dripped with Poison", a surreal dreamy all-instrumental piece with great cacophonous structures and dissonant rhythms; surely a sign of much greater things to come...

Waryag Demo, 2010

My Space

WASTAGE (SLOVAKIA)

Modern abrasive thrash with crossover and hardcore overtones; the sterile barrage stops for "Game", a cool abstract relaxer, but right after the situation hardens with the intense Madball-esque "No Way Out", and although the remaining material doesn't carry the same aggressive charge, this effort remains a stormy, mechanized ball of fury not without the help of the dramatic angry shouty vocals.

Slave To The System Full-Length, 2015

WASTE OFF HUMAN (USA)

A sheer representative of the already trite metalcore saga clinging at times towards aggro post-thrash, plus the obligatory more dynamic hardcore passages. The singer is an angry death metal growler, but his expressive rendings are a cool asset to this pretty pedestrian effort.

Inumani Full-Length, 2011

WASTED (DENMARK)

Based on "The Haunted House", this act provide not bad classic power/thrash with an American flavour (think Metal Church, Meliah Rage), as the dominant pace is mid and quite heavy, the vocalist producing a cool attached semi-clean croon not far from the one of Heinz Mikus (Risk). "Nailed to the Cross" is a cool lively speedster, and "Coffin Maker" is a sharp intimidating pounder, but the rest doesn't exude enough courage to pass a sturdy thrash test, regardless of the positive impression it creates. The band members also take part in the modern power/thrashers Missing Link, the heavy metal cohort Cruel Muel, and the death metal outfit Detest.

Halloween... the Night Of Full-length, 1984
Final Convulsion Full-length, 2003
Electrified Full-length, 2019
The Haunted House Full-length, 2022

Official Site

WASTED BULLET (HOLLAND)

Based on "Elegy", this act offer modern thrash/post-death which borders on metalcore at times, and generally the delivery is jumpy carved by sudden speedy explosions (check out the highlight "Balthasar") which are on the merry, crossover-laced, side. The vocals are expectedly shouty and angry, but suit the pedestrian nature of the music.

Stand Your Ground EP, 2007
Changes EP, 2009
Light Below Sunrise Full-length, 2011
Arrogance, Ignorance EP, 2012
Elegy Full-length, 2013

Official Site

WASTED DEATH (UK)

Modern thrashcore which is pretty much one face-melting melee, the abrasive "Wirehead" jumping psychotically next to the brutal headbanger "Dogs on Hind Legs" and the industrial dirge "Selfish Enough to Suck Air". The shouty synthesized vocals fit all sorts, including the Ministry-sque noisorama "Keeping the Lid On". Thelea guitarist show bigger musical proficiency at times, check out his stylish insertions on "Wasted Death by Wasted Death".

Season of Evil Full-Length, 2024

Official Site

WASTED MILITIA (SPAIN)

Based on the full-length, this act offer decent choppy semi-technical classic thrash, the merrier crossover tactics of "Hammerfist" gelling well with the steam-rolling seismicity of "Total Slaughter". The dramatic deathly accumulations of "Under the Mark of the White Hand" are surely the most brutal moment here alongside the short explosive proto-deathster "Killing Machine", the band spitting fire and venom all over, thrashing the neighbourhood beyond repair with the vitriolic "Thunderdome", the intense threatening vocalist aggravating the environment with his deep deathly baritone.

From the Frontier to the Grave EP, 2017
The Frontier Awaits Full-length, 2020

Official Site

WASTED MORALITY (USA)

A 4-song demo which is a fine and an interesting cross between D.R.I.'s "Thrashzone" and Viking's "Man of Straw"; at times the sound comes close to crossover, but at others thrashes admirably, even with a certain technical shade. The pace goes from up-tempo to fast, and the singer is a dead ringer for Kurt Brecht (D.R.I.).

StitchesDemo, 1987

WASTED SHELLS (SWEDEN)

Based on "The Debt", this band plays the prototypical modern thrash with aggressive deathly vocals. The music is melodic descending to post-thrash at times, but one can't ignore the impact of vigorous headbangers like "Never Enough" and "Imprint", for example. Unfortunately, the rest is pretty toothless and soft although the ambitious closer "The Darkness" manages to get the most out of such an approach with consistent mid-paced riffage and appropriate progressive and balladic insertions which spread it up to 8-min of good atmospheric, more thought-out, thrash.

Self-Inflicted by Insanity Full-length, 2008
Imprint EP, 2009
The Debt Full-length, 2011

My Space

WASTED YOUTH (USA)

From their punk past on the first efforts, the guys have decided to go into thrash metal; some punk passages are still present, though, but the headbanging thrashers are also here, and some of them deliver the goods no worse than the bigger names on the field: the excellent dynamic pounding opener "Any Gun Can Play". "Ordinary Woman" slows down, and is more light-hearted, but the catchy crossover-laced riffs will stay in your head. "Bucket Head" is a very good instrumental showing the band elevating their music to a more technical level: a really worthy exercise in intense, technical thrash metal. "Black Daze" is a letdown, a melodic, unfocused track which dissipates the hard-hitting guitars with heavy-handed slower sections; this was apparently another attempt at something more interesting, but the guys have messed it up. "Good Day for a Hanging" is an energetic but soft speed/thrasher in the early Exciter spirit. "Gang Violence" finally brings back the more aggressive delivery, but the following "On Fire" concentrates again on a more laid-back play, featuring a short bluesy part, followed by a few jumpy riffs. "The Gift of the Death" is a surprising take on a more complex song-writing, a good technical number, albeit a bit overlong: 9-min, filled with quite a few tempo changes, but never losing the thrash atmosphere.

Black Daze Full-length, 1988

My Space

WASTELAND (GERMANY)

The EP: pretty decent, more classically-sounding thrash with more aggressive death metal touches added, mostly in the very shouty rending vocal department, but also in the music. The guys follow closely on the steps of Kreator and Destruction, and surely the best for them is yet to come. "Lavatory Charwoman" is a calmer mid-tempo piece, but "Dead End", on the other hand, is a sheer speed metal killer, short and direct. "Revelation of Fear" is a bit pointless, being slower and modern as opposed to the firm classic sound of the rest. "How To Get Mentally Cracked", instead of capturing the intensity of the earlier material, isn't too different but at least is more dynamic and not as openly modern.
"Genuine Parts" is a scattered chaotic recording which at least starts infernally with the wild opening "Infernal", but later on the band diversify into quite a few directions, trying milder power/thrash strolls ("Heartwinter", "Bloodthirst Remains"), heavy stompers ("Agony of Christ"), more ambitious doom-laden compositions ("My Own Requiem"), and far-reaching death/thrash/doom conglomerates ("Demon"). "2nd Intergalactical Cyclone" is a goofy rock-ish vaudeville, the only genuine filler, but the rest doesn't generate too many delights, if we exclude the two genuine ripping headachers "Mania" and "Forever Shadow", the closing "Final Knife" a confusing amalgam of rock'n roll and some proto-metal, a step down which isn't that surprising having in mind the dubious nature of at least half the material.
"Torture Tactics-Mercy Killings" is a consistent release, thrashing with full force for most of the time, again recalling Kreator and the Swedes Hypnosia. The guitar work is very sharp, and the approach is not constantly fast although furious stripped-down speed/thrashers like the opener "In Hell's Kitchen" and the vicious "Gang-Bang-Bitchcraft" are truly the more attractive side. Jolly thrash/crossover moments ("Torture Garden, Paradise of Pain", "Break-Choke-Dance") are scattered around, but they have much more edge compared to the similar tracks from the debut. "The Sweet Suffering" is a nice touch offering a very nice peaceful section in the middle, but the fierce 2-min bomb "Axedental Pain And Pleasure" apologizes for that. The second half loses the speed somewhere relying mostly on a more moderate pace, but the riffs remain cutting and heavy.

Mare Tranquillitatis EP, 1995
Genuine Parts Full-length, 1998
Torture Tactics-Mercy Killings Full-length, 2003

Official Site

WASTELAND CLAN (GERMANY)

This is classic/modern power/speed/thrash that boasts a convincing female presence behind the mike, the diva often supported by shouty male choirs, the music front characterized by both measured mid-pacers ("Dark Matter") and more energetic rides ("Who I Am"). "Fight Fire With Fire", which is not a Metallica cover, is an assured semi-complex power/thrasher, canceled by the pacifying semi-balladic stance of "Rising Storm", but is uplifted by the rowdy thrashing currents of "Gods of War".

The End of Time Full-length, 2023

Official Site

WASTELANDER (USA)

Old school black/thrash do these guys offer mixing fast aggressive tracks ala Bathory with slower mid-tempo riffs. Moments from the punk/crossover scene are also audible on some songs, and there is the presence of the odd heavy metal track: the closing "Transmission Lost", which adds more to the diversity of this enjoyable, but not very hard-hitting album.
"Wardrive" is an updated version of the Motorhead and Tank sound, a melodic offering which shows its teeth here and there: the intense black-ish "Mindsweeper", the atmospheric majestic mid-tempo blacker "Knee Deep in the Dead", the sinister black/thrash bomb "Final Combat". This is feelgood enjoyable stuff which even manages to sound cheesy and poppy ("Wastelander").

Wastelander Full-Length, 2007
Wardrive Full-Length, 2008

Official Site

WATCH ME BLEED (GERMANY)

Modern mid-tempo thrash mixing groove with a little bit of straight riffage ala Dew-Scented and early The Haunted; the vocals are hoarse death metal ones, but are too low-tuned to fit this kind of music. Interesting guest musicians can be heard on the closing "The Bleeding Chalice", which is by far the finest track here, switching from epic power/thrash to furious death metal without losing the dominant tone of the album: Andy B. Franck (Brainstorm), whose soaring clean vocals are a nice stark contrast to the other singer, and Constantine (Mystic Prophecy) whose guitar performance easily sticks out of the rest much more ordinary delivery.
"Kingdom": the band is now armed with two ex-members of the power metallers Symphorce which makes the music more melodic, but also more attractive. The groove is still here, but the compositions are more diverse all graced by excellent solos and pretty sharp riffs which seldom straddle in the up-tempo fields, but keep things less predictable. The epic doom hit "Judgement" in the middle is later compensated by a couple of headbangers ("Let Them Try", "Sons of Fenris"), but watch out also for the several quiet instrumental interludes including the mesmerizing orchestral outro "Will You Stand With Me", a classy piece of music, albeit with no relations to metal recalling the mythical My Dying Bride's "For My Fallen Angel" from "Like Gods of the Sun" .

Souldrinker Full-Length, 2009
Kingdom Full-length, 2012

Official Site

WATCH MY DYING (HUNGARY)

Heavy modern technical thrash metal; sounds like a mixture between later period Obliveon and the Canadian industrial "monsters" Soulstorm spiced with orchestral moments in the vein of the Swedes The Project Hate (the very good gothic thrasher "B-Terv"). There are quiet moments, too, where there's a use of clean vocals, and generally the vocal variety is quite big. When the guys speed up, they do a good job with hard-hitting aggressive thrashers.
"Klausztrofonia" is arguably the band's best work, full of chunky heavy guitars and short, but very cool mechanical leads, gruff death metal vocals, and quite a few intriguing technical sections. The "brutal-melodic" vocal blends work well as well as the sudden switches onto ambient, atmospheric passages, "besieged" by aggressive heavy guitar work. Certainly there are moments when the guys speed up, and then the music takes a cool headbanging turn, but for a while: the title-track and the short ball of fury "Technika Angyala 2", which also features some of the most technical performance on the album, but on the other extreme we have purely atmospheric, orchestral short instrumentals: "Nullpont", the nice acoustic outro "Kek Eg Zold Fu", which are not annoying, by the way, and are a nice touch. The only irritation would perhaps be the "dance industrial versus metal" composition "Tuladagolt Ido" that would be more suitable for the works of KMFDM or Die Krupps.
"Fkeny" is a heavier, more aggressive, mechanical and drier sounding release, with the band embracing the industrial idea much tighter, losing energy and technicality in the process. Still the riffs punish without mercy, but the stylish deviations which decorated the predecessor are being decreased, and the overall approach is a bit one-dimensional. The album actually starts in a fairly energetic and interesting way, with the intense thrashy "Elsgi", which boasts nice technical decisions. Then the music slows down, but retains the intriguing part, although those technical decisions are left undeveloped. "Ohm" speeds up again in the middle, and is a nice up-tempo thrasher, with a few quiet breaks thrown in. "H" is a fine romantic ballad sung by a female singer, and sounds like a completely different band. After it the album takes a more aggressive turn with heavy pounding pieces, like "Hinar" which also features a very good fast part; and the industrial thrashing closer "9 Kapu" which again gives its tribute to the headbangers with a short raging middle section.
"Moebius" is much more melodic than its predecessor with the speedy passages completely gone. The music is pretty bland and boring, bordering on alternative with clean both female and male vocals taking part. Some riffs hit hard, but they only serve as a further annoyance adding up to the disappointment which this below average industrial post-thrash offering will throw you into. There's a lot of atmosphere ala the depressive Front Line Assembly manner, and it would be no surprise if this act serves plenty of electro beats next time.
The "4.1" EP is atmospheric industrial post-thrash which isn't too bad full of emotional melodies and several dancey passages not far from KMFDM and Rammstein. The very abrasive guitar sound will pull back the listener since it creates quite a bit of noise the whole time, and strongly disfavours the more lyrical side of the band's repertoire ("Szeraz Felhok").

Rendszerhiba EP, 2000
Fleshmagnet EP, 2003
Klausztrofnia Full-length, 2004
Fekeny Full-length, 2006
Moebius Full-length, 2009
-1 EP, 2009
4.1 EP, 2013

Official Site

WATCHMEN (USA)

Frolic diverse thrash/crossover with rough deathy vocals; the delivery isn't very speedy as the guys like adhering to the stomp more with "Wrong Answer" even suggesting at the future groovy transformations on the scene with an angrier squashing attitude.

Watchmen Demo, 1990

WATCHTOWER (USA)

The fathers of progressive thrash metal, Watchtower showed that metal could be also complex, thought-provoking and appealing at the same time. The debut is a ground-breaking release, with startling riffs and weird time signatures- definitely not easy to swallow, especially back in the mid-80's when noone could even think about such kind of music. On top of that we have the unique, high-pitched vocals of Mike Soliz (also Militia, Assalant) which might be unnerving to some with their hysterical, dramatic blend. Ron Jarzombek creates a great bass bottom showing for the first time that bass can play an important role in the creating of quality metal. The hectic delivery might be startling to some in the beginning: the jumpy, intense riffage on "Meltdown", the slower, but complex, twisting "Tyrants in Distress", the weird, multi-layered "Cimmerian Shadows": arguably the first genuine progressive thrash masterpiece, but with every subsequent listen one will start appreciating this music more and more because, apart from the elaborate song-structures the guys have inserted enough sharp riffs to satisfy the more level-headed fans.

Four years later technical/progressive thrash metal has established itself as a leading metal genre, and "Control And Resistance" doesn't sound as revolutionary anymore, but comes right on time to show that the founders are still alive and well, and there's still a lot to be done by the others to catch up with them. Another high shouter has come to replace Soliz- the former Hades singer Alan Tecchio, and he does a very good job, too. The style is pretty much the same complex, frantic one, maybe more polished, with a more proficient, accentuated lead performance, and with longer compositions although at least to these ears the shorter brisk technical thrashers ("The Eldritch", "Hidden Instincts", which are gems of perfectly executed, tight technical music without any unnecessary stretches) seem to work better. Still, eventful progressive pieces like "The Fall of Reason" which has introduced the ultimate progressive structure with the time changes, quiet breaks and jumpy guitars, and has definitely been an influence on hundreds of bands later, are hard to be ignored despite the lack of many thrash merits. "Control and Resistance" is the other highlight in this aspect, but this one thrashes more intensely. "Dangerous Toy" is a take on slower, less hectic, semi-balladic progressive thrash, but works almost as well: this particular, fairly intriguing approach has later been picked by other quality acts from the progressive metal field (Psychotic Waltz, the Austrian progressive metal wizards Neue Regel (whose music has no ties to thrash, though), Catharsis (again no ties to thrash metal), The Last Things, etc.).

The first line-up has gotten together in the late 90's, and although rumours of a new album (under the working title "Mathematics") in the makings have been quite consistent all these years, apart from an Accept cover song ("Run If You Can" from "Breaker") made for a tribute album, nothing else has come out of their hands so far.

The "Concepts Of Math Book One" EP: apparently the full-length will be released in separate chapters although this first one doesn't hold too many surprises as four tracks from it were already released as single teasers leaving only the closing "Mathematica Calculis" a carefully kept secret. To the songs: "M-Theory Overture" is obviously "an overture", but it thrashes really hard throwing a wide gamut of time and tempo shifts at the listener who will be more than ready for the ensuing lesson in precise, mathematical thrash after this all-instrumental amalgam. "Arguments Against Design" is hectic spastic thrash with jumpy rhythms and brilliant oblivious lead sections galore also bringing back Alan Tecchio who hasn't lost anything from his earlier vocal bravado maybe staying more in the lower-range confines. "Technology Inaction" is a surreal shredder with more aggressive implements and dramatic rifforamas, a masterpiece of super-technical, complex thrash with head-spinning, serpentine passages. "The Size of Matter" serves a few virtuoso lead sections again on top of some jumpy, choppy thrashing and a nice spacey mid-break. Enters the final piece of this "mathematical" puzzle, logically titled "Mathematica Calculis", 10-min of virtuous progressive thrash which resembles the Ron Jarzombek exploits on the Spastic Ink albums, but regardless of the less thrashy execution the song delivers due to unexpected shifts and the numerous nuances embedded some of them more on the quiet, semi-balladic side. If this was intended as a rehearsal for the gigantic opus that was supposedly in the makings for so long, then the fan should start salivating from now; the band have lost nothing of their chemistry of old playing as though they've been jamming together all these years.

Energetic Disassembly Full-length, 1985
Control And Resistance Full-length, 1989
Concepts Of Math Book One EP, 2016

Official Site

WATER'S EDGE (USA)

Edgy modern post-thrash, all-instrumental stuff with more aggressive moments (the very eventful unpredictable "The Obelisk") with a shade of death metal which also carries the most technical charge on the album. Otherwise the shred is mechanical and cold with the melodic insertions making the picture more interesting also with the able support of the virtuous leads which are not omnipresent playing a second fiddle to the inspired riffage. The balladic digressions, typical for this kind or performance, aren't many at all ("The Balance of Realism" has one) and the metallic barrage carries on unabated taking more ambitious proportions on the larger-than-life opus "Birds in Space". This is thought-out stuff which will require the listener's full attention for most of the time.

An Abstract Collapse Full-Length, 2012

WATERS OF LETHE (GREECE)

Dark heavy modern melo-death/thrash with throaty death metal vocals; the riffs are mostly on the mid-paced side, the playful "Disregarded" recalling the repertoire of the Finns Gandalf. "Dark Instict" is a welcome speedy distraction, but such moments are a rarity, including more serious progressive outtakes like "Crystal Pines".

Insurrection Full-Length, 2021

Youtube

WATTAMEZZ (NORWAY)

This band are a pleasant deviation from the black metal-dominated Norwegian metal scene: based on the debut, this is a fairly good take on the 90's sound of The Black Album and 90's Flotsam & Jetsam. A good example of this obsolete, but appealing approach, are the nice semi-ballads "Modern Symbology" and "Sweet Sister"; there are actually quite a few of those here, which may not please the hard sound lovers, but those should never bother to track this album down in the first place. When the guys feel like thrashing, they show their teeth quite wide: the heavy mid-paced thrasher "When You've Gone The Devils Distance", but such exits from the established formula are rare, the other being the semi-groovy "Devils Dance". The singer offers a cool clean timbre which he hardens on the more aggressive material where he comes close to James Hetfield.

Kinky Bastard Full-length, 1997
Soulfuel Full-Length, 2006

WATTGHERN (CROATIA)

Raw pristine old school speed/black/thrash which is clearly on the brutal hyper-active side , with fiery bullets like “The Grave Hag” and “Burning Corpses” flying in quick succession, with incessant hyper-blasts infecting the environment right next to the whispered witch-like vocal presence. The thrashing urgency of “The Gluttonous Rock Troll” is surely a highlight, with the speed/thrashing roller-coaster “The Bloodthirsty Bruxa” a well-deserved close second.

Wild Hound Full-length, 2024

Official Site

WAVES OF DECAY (BELGIUM)

Based on the EP, this band play modern power/thrash which flirts with both the groove ("Destiny) and more dramatic power/thrash patterns ("Cycloptic") the latter smelling old school on occasion, including on the angry vicious shredder "Craving for Misery". "As I Walk" is a more moderate mid-pacer, the harsh semi-death vocals assisted by more acceptable cleaner ones. "The Hurricane" is the highlight, a formidable speed/thrasher with more entangled progressive overtones, a template that definitely deserved more attention later. Some of the musicians are also active with the death metallers Horny Moses.

Cycloptic EP, 2017
Burn Your Angel Wings Full-length, 2021

Official Site

WAY OF NATURE (HOLLAND)

Based on the "The Reborn" demo, this act indulge in brutal thrash/death which follows the early examples from the Swedish school: Unleashed, Dismember, Entombed, etc. The guys change the pace on every track as their dominant one is on the speedy side except on the awkward ambient closer "The Last Episode". The singer is a brutal death metal growler ala Lars Goran Petrov (Entombed).
The full-length contains pretty competent old school thrash/death modeled after early Death and Pestilence. Consequently, the style is closer to death, the expressive shouty vocals another move in this direction, the furious "Fester" scaring away the unprepared while the more technically-inclined "Field of Dreams" complicates the environment in a pleasant early Gorgut-esque manner. "Ignore" lashes mercilessly with stylish outbursts of hyper-active riff-madness, and "The Ultimate Solution" is a heavy dramatic pounder, leaving the wild less restrained shredding for "Like a Wind" and the excellent lively "Reborn", the choppy nervy rhythms of the closing title-track a fitting closure to this entertaining slab. Earlier some of the band members were also involved with the thrash cohort Incursion Dementa.

The Reborn Demo, 1994
Forest of Life/The Reborn Demo, 1995
Forest of Life Full-length, 1999

Youtube

WAYWARD SON (USA)

This demo boasts a fairly good and clear sound quality, and besides that decent melodic power/thrash metal which develops in mid-tempo until it hits the headbanging piece "Hammerhand" which deserves its title, and adds more life to the proceedings. One more bomb awaits you at the end: the speed/thrash killer "Ashes On Air" which should be followed as an example for the band's future efforts.

Death Or Dawn Demo, 2007

My Space

WC MASCULINO

Aggressive thrash/crossover mixed with a slight doze of grindcore; this is brutal primitive stuff, but will surely find its fans.

Blasfemia e Terror Full-Length

WE ALL FALL (SPAIN)

This young Spanish act provides clever, progressively-tinged, modern thrash which boasts a very clear guitar sound and various, ever alternating, tempos. The songs are within the 5-8min range which gives the guys a chance to use their imagination more fully. The opening "Captive Of Fear" is a more immediate piece, but enters "Murder, Slavery & Incestous Rape", and the approach is already way more complex, the band shredding in mid-tempo more with a surprising speedy twist at the end. "Dead Man Walking" is a galloping invigorator which smells the old school, before "Fragile" calms you down being a heavy ballad with Opeth-esque overtones. Time for more aggressive thrashing with "System Failure" which disappears on the 9-min opus "Blackened Tide", replaced by clumsy one-dimensional riffage. The speed never returns after this one making the remaining two cuts just rehashed modern thrashers with a pinch of death metal. Despite the obvious promise shown here and there, the band still have to work hard to achieve bigger consistency which sadly lacks in the second half. The singer is the staple death metal shouter ala Peter Dolving (The Haunted), maybe a bit lower-pitched.

Paradise Paradox Full-Length, 2011

WE ARE HELLBRIGADE (POLAND)

Energetic classic thrash that turns to splashing brutal death metal at some point ("Darkness Falls") which in its turn suits better the brutal vocals. If we exclude this short moment the rest is thrash all the way which kind of sounds better when it slows down ("Unbeliever's Pride") and the guitars start crushing heavier.

We Are Hellbrigade Demo, 2009

My Space

WE ARE WRECKLESS (UKRAINE)

Decent classic Bay-Area thrash mixed with 90's post-thrash, performed by just one musician, the name Viacheslav "James" Konstantinov, the English alias very clearly hinting at where the man is aiming. Choppy dark atmospherics ("Forever Blind") interlace with more impetuous gallopers ("Edge of the Knife"), the obligatory ballad ("One Way Down") showing Konstantinov as a capable performer behind the mike, nearly matching the mentioned James with his steady mid-ranged clean timbre. It's a pity that the album lacks energy, the guy really messing it up towards the end with another sloppy overlong as well ballad ("Pride and Glory") and with a poppy radio-friendly non-sense (Losing Me").

We Are Wreckless Full-Length, 2020

Facebook

WE WERE GENTLEMEN (USA)

Groovy modern industrialized post-thrash which brings nothing new to the table, developing in the expected jumpy mid-tempo mode, seldom bringing the sound close to early Pantera ("Illusions").

Living Hell Full-Length, 2009

WEAKEN THE ADVERSARY (USA)

This is modern thrash/post-thrash on the more dynamic side of the spectre. The guys use a lot of melody in the good old Gothenburg way as well as several clever technical insertions ("Caskets"). Things get overtaken by pure thrash later on ("Ashes of the Dawn"), but expect intelligent semi-technical doom ala Confessor on "Self Induced Slavery". The best is yet to come, though, first with the nice death metal winner "Human Condition (Candid)", then with the classic-prone headbanger "Demon Within". Oh, and let's not forget the Iron Maiden cover of "The Trooper" which is made well and faithfully without sacrificing too much from the band's charming modern delivery also boosted by the forceful death metal antics of the singer. The guys were previously known as Deviant where they only managed an EP in 2003.

Burn Me Alive Full-Length, 2005

My Space

WEAPON 13 (USA)

Modern thrash with crossover elements recalling a more thrashy Biohazard at times; you can hear classic thrash riffs here, too ("The Bleeding Never Stops"), and the guys have the right attitude plus the guitar work is quite good; if they could only abandon those detrimental groovy tendencies...

Demo Demo, 2005

Official Site

WEAPONEX (USA)

An interesting EP offering stylish power/thrash with progressive overtones; the guys play with confidence, and the overall approach will remind of Symphony X and even Zero Hour on the more twisted moments. "Gods and Sages" is a genuine virtuoso piece with jazzy/balladic breaks intertwining with hard, hammering riffs. "Danger Is My Middle Name" is a more immediate jumping cut with a crushing rhythm-section, and "Tong Soo" is a twisting, multi-faced instrumental with a great fast thrash/death section as a finishing touch. The singer has a deep clean, soulful tember which ably assists the ambitious musical delivery.

Nuclear Winter EP, 2011

WEAPONIZED (USA)

Moshing tight stuff of the thrash/crossover hybrid type, with not very expressive semi-declamatory vocals; fast ripping rhythms ("Casket Walls") engulf you from the get-go and never let you off, with short hardcore outbreaks ("Grave Escape", "Welcome To The Pit") further aggravating the setting. "El Nuevo Rey" is furious to the point of proto-deathiness, and "Evil Thoughts" offering pure-bred thrash with speedy intense riffs.

Weaponized Full-length, 2021

Official Site

WEAPONIZER (USA)

The debut: this US outfit specializes in evil black/thrash which is more on the aggressive side crossing early Bathory with the less restrained histrionics of Impaled Nazarene all this played on a fairly basic level both music and vocal-wise (those semi-whispered witch-like sounds could hardly pass for singing, but are quite fitting) and several hyper-blasting inclusions. The thrashy side takes the upper hand in the second half culminating in the cover of Sodom's "Sodomy & Lust" although the blasting insertions on it are hardly an advantage.
"Lawless Age" follows the same pristine, rough-around-the-edges direction, maybe a bit more controlled with mid-paced cuts ("Hellbound") more frequently provided. Still, the less bridled side of the guys' repertoire is just a track away ("Vulture"), and this is where the album will stay for more than half the time another exception being the English Dogs' cover of "World War 2" at the end.

Weap0nizer Full-length, 2012
Lawless Age Full-length, 2017

Official Site

WEAPONS (USA)

The compilation shows a band who belong to the melodic power/thrash metal realm expressed through mild pleasant rhythms mostly in mid-pace surrounded by plenty of catchy melodic tunes which grow into pure post-thrash groove at some stage apparently reflecting various stages of the guys' career. A subtle progressive flair accompanies the compositions which are lengthy and thought-out; it's just that without the presence of any more intense performance this music wears thin too soon leaving the good alternative clean vocals the highlight.

Lead Reign Demo, 1986
Dominick's Control Demo, 1987
State of Oblivion Demo, 1988
Mutant Law Demo, 1989
The Art of Impact Demo, 1992
Reflections of a Troubled Time Demo, 1994
Reflections of a Troubled Mind Compilation, 2013

Official Site

WEAPONS TO HUNT (HOLLAND)

This is the new project of former comrades from several Dutch acts all of them within the death metal realm: the veterans Sinister, Supreme Pain, Monastery, Infinited Hate, the latter being the direct precursor to the act here. They have decided to tone down the brutal sounds emitted by their previous bands by inserting a healthy doze of thrash into the new recording. The therapy is still more death metal-oriented with a dirty old school sound and sharp speedy riffs which occasionally come served with a pinch of technicality ("Bullets For The Assassin", the chaotic shredder "Merciless Impact"). Near the end the guys lose their patience and start brutalizing the surroundings with wild aggressive death metal showing reluctance to bid farewell to their roots. Needless to say, the vocalist is the staple guttural death metal throat, another scary addition to this not for the faint-hearted cocktail.

Blessed in Sin Full-Length, 2012

Official Site

WEB (PORTUGAL)

Based on the 2-song promo tape, these guys offer cool classic power/thrash metal which sounds more aggressive and faster on the vigorous "Strong Winds, Strong Waves", and more laid-back and even doomy on "Last War".
The "Awake" single is only one song (guess the title!) providing heavy proto-modern doom-prone thrash with sterile semi-shouty vocals and crushing mid-paced riffs; an atmospheric macabre number, but hardly faithful to the band's older material.
"Deviance" sees the band delving deeper into modern post-thrash waters relying mostly on heavy quasi-doom riffs and slightly faster hardcore-ish sections. "House of Salvation" nicely recalls their early days with a slab of more energetic rhythms, and things only get wilder later with the shredding speedster "(In)Sanity" and the proto-death blaster "Beautiful Obsession". The final "Journey" would be quite a "journey", though, an 11-min opus with galloping rhythms interlaced with sprawling balladic passages and groovy breaks all finished with an imposing orchestral exit and acoustic guitars accompanying the falling rain. Not bad as a whole, but kind of underwhelming showing the guys not fully prepared to "shed their old skin"...
The debut full-length surprisingly contains several energetic retro moments (the closer "Planet of Confusion"), but the heavy groovisms are quick to conquer the space although the classic spirit of mid-pacers like "The Valley of the Sacred Souls" is hard to disguise, and when"Hopeful" arrives in the middle with a portion of harsh fast-paced rhythms things look right back at the 80's for a while. This is a good potent blend which also wins from the crisp production and the very cool clean vocals.
"Everything Ends" tries to recapture the more intense sound from the beginning, and actually succeeds on tracks like "False Prophets" and the intense smasher "Taking the World". Still, the delivery isn't exactly retro and may recall more recent Kreator due to the boosted modern guitar sound. The attack later on continues with the death metal-laced brutalizer "All Turns to Dust", a fairly unexpected addition, but watch out for two gigantic compositions in the middle which slow down but in an intriguing progressive manner and show some inspired musicianship among the heavy, volcanic riffage, especially on the 2-part "Everything Ends".
"Burden of Destiny": the band resurface after a decade of silence, and the seismic thunder of the opening "Rootless Soul" instantly restores their penchant for the doom/thrash compendium from before, the intense hyper-activisms of "More Than You" juxtaposed against the modern chugs of "Chaotic World/Lifeless", the lead guitarist leaving his noteworthy signature underneath the varied shenanigans, the title-track included, a tiring mosher that is handsomely backed-up by the equally virulent "All for One", doom returning for the closing 10-ton behemoth "Opposing Rebellion", the leads again the highlight, the six-stringer the true star of the show for more than half the time.

Evil Tape Demo, 1994
Promo Tape Demo, 1995
World Wild Web Full-length, 2005
Resilient Casket Single, 2008
Awake Single, 2010
Deviance Full-length, 2011
Everything Ends Full-Length, 2015
Burden of Destiny Full-length, 2024

Official Site

WEDAN (NORWAY)

Classic thrash with wild frantic rhythms and very screechy hysterical black/death metal vocals; intriguing entangled riff-patterns (“Stoned Again”) and steel sharp skirmishes (“Demolished Earth”) elevate this obscurity above the mid-levels, also with the help of the sizzling proto-death material “Killer of the Spy” and the sweeping speed/thrasher at the end “Junkfood Attack”.

We Break for Nobody Demo, 1990

Youtube

WEEPING ASSAULT (ROMANIA)

This is old school death/thrash spearheaded by threatening guttural death metal vocals. The delivery clings between choppy thrashing crescendos ("Human Waste") and academic mid-tempo strolls ("Apocalypse"), the diverse aura of the title-track bordering on the progressive, leaving the closing "The End of Life" to pour a few more technical riffs into an otherwise fairly orthodox presentation.

Extinction Full-Length, 2023

Official Site

WEHRMACHT (USA)

A thrash/crossover band who play so fast that at times one could get the feeling that everything would fall apart soon; these guys are responsible for some of the most aggressive and fastest sounds from the 80's. This is funny, but also frequently brutal stuff, with a lot of cheerful spirit involved, and as such delivers the goods quite well. The guys tried their hands on something more serious under the name Macht releasing a nice technically-minded demo in 1990; and a year later two of the band members formed the one-album-wonder Spazztic Blurr, who released one album in 1991 titled "Before...and After", pretty much in the same brutal vein, with touches of grindcore (after all, the effort was released by Earache).
"Fast as a Shark Attack" is a cool joke containing the debut title-track played fast and tight, quite faithful to the original, if we exclude the slightly abrasive guitar sound. Next comes the very nice crossover take on the Accept classic "Fast as a Shark" moving from laid-back thrash/crossover to a more blasting delivery. "United Shoebrothers" is the only new number here being furious maddening thrash/death/crossover, and could have been placed on any of the two full-lengths. The jokes are given in the form of spoken interludes and one whole empty track, the latter aptly called "Blank" (there's nothing there). The band are active now, and reportedly a full-length is in the makings...

Shark AttackFull-length, 1987
BiermachtFull-length, 1989
Fast as a Shark Attack EP, 2010

My Space

WEHRWOLF DIVISION (RUSSIA)

The EP: four songs of calm atmospheric mid-paced classic power/thrash metal with epic elements ala the Swiss Drifter included; "Dangerous Freedom" speeds up a bit recalling early Iced Earth boasting good melodic tunes. The real surprise, however, is the final "Werewolf Division" which thrashes in a more intense fashion adding a fine acoustic break in the middle. The singer is the weakest spot, to these ears at least: his gruff semi-clean delivery ala Cronos is perhaps not the best choice for the more dynamic music.
"Master-Wizard" sees the band alive and well after all these years to finally produce a full-length which betrays the classic spirit of the debut EP aiming strictly at the modern power/thrash metal audience, and as such it may be considered the lesser achievement sounding like quite a few other acts around, Children of Bodom, to name at least one, but well less speed-inclined. The gruff vocals remain, but the music has become much more ordinary with just a couple of more atmospheric epic elements present.

Lycanthropy EP, 1994
Master-Wizard Full-length, 2008

Official Site

WEIRDREAM (ITALY)

Based on the "Apocalypse" demo, these folks deliver pretty decent progressive thrash/death which is quite intriguing and dynamic ("Slaves"), but also can produce slower and less exciting moments ("Underworld") both tendencies summed up on the closing title-track which is a mid-paced shredder with a doomy vibe. The vocals are harsh screechy with a black-ish flair intercepted by guttural death metal semi-shouts. Some of the guys also take part in another progressive thrash/death metal formation: Exence.
“Beyond the Mirror” contains cool retro progressive power/thrash which gallops with the finest horses (“Clouded Horizon”) out there, and generally the tone is quite uplifting and dynamic, the purer thrashy ways of expression (“Reflections on the Future Coming”) working well in team with the more streamlined attempts at epic prog-power (“The Deal”), the title-track also providing several moments for the tender hearts with lyrical semi-balladic tunes. The two genres are mixed really fine on the crunchy turbulent “Doctor Terror”, before “Consciousness” explodes in fireworks of hard-hitting thrashing tractates, the good clean mid-ranged vocalist assisting the stylistic switches with composed authority.

Live Demo, 2001
River of Broken Dream Demo, 2003
Apocalypse Demo, 2008
Silent Mania Full-length, 2015
Beyond the Mirror Full-length, 2023

Facebook

WELDED (GERMANY)

This is a decent retro power/thrash slab, the band possessing a nice sense of melody, also a penchant for a more complex musicianship ("Painful Relentless Decay"), the cool clean mid-ranged vocalist assisting to the best of his abilities, including on the friendly trotty power metal anthem "Manipulation". There's seldom a truly rowdy moment here, the more dynamic sections from the cool complex "You Are the One" passing for a more active kind of entertainment.

Time Is Winding Down... Full-Length, 2023

Youtube

WELL SEASONED CHRIST (GERMANY)

The debut: this young formation play melodic modern power/thrash which is friendly and mild, speeding up on occasion but the focus is on carefully-constructed progressive compositions ("The Well Seasoned Christ"; the excellent pounder "Limbs Must Fall") with fine melodies entwined. The closing "Death, Blood, Misery" jumps on the faster wagon producing a few uplifting speedy moments as a finishing touch, a prime shredder which should have been an example to follow here.
"Sanguine" is a marginally more aggressive fare, the guys roving with more passion and gusto, the flashy lead sections on "Sin for the Lord" also displaying a more proficient side of the band, the excellent diverse complex basher "Minus God" the clear highlight, "Church" introducing a covert doomy flavour which also stays around for the atmospheric semi-balladic closer "Ad Tenebras".

Heretic Blasphemy Full-Length, 2014
Sanguine Full-length, 2022

Official Site

WENCH (USA)

An all-female thrash metal band; such formations are generally not taken seriously, and these shouldn't, either. This is melodic thrash/power metal, and although the girls show their teeth ("04501 Blues") at times, it happens very seldom.

A Tidy Sized Chunk Full-length, 1991

Official Site

WENDIGO (FINLAND)

An atmospheric mix of power and thrash which also has its quirkier more progressive moments ("Up!"), but the prevalent mid-tempo delivery doesn't give too many chances for other original motifs to develop the other more stylish moments being the choppy technical riffs on "Clowns", and the several totally outlandish saxophone tunes that are dispersed throughout.

Mindstorming Demo, 1991

WENDIGO (NORWAY)

Old school speed/thrash with a heavy stomping Celtic Frost-esque vibe present as well ("Cannibal Ritual"). The guys don't bother to speed up a lot, and if we exclude the maddening "Serpent Master" and the Slayer-esque brutalism "Fear (Is Big Business)" and partially the speed metal winner "Wendigo Psychosis", the rest can pass for more vivid doom the closing "Ending" being a cool romantic piano-driven instrumental. The singer is a black-ish croaker and his mean, spiteful antics can be quite scary at times.

Anthropophagist Full-Length, 2015

Official Site

WENGELE (FINLAND)

Very good 80's thrash with a Bay Area-flavour; "Mind" is a mid-paced, softer thrasher sounding close to mid-period Testament; "Pi" is a more dynamic number recalling early Metallica; "Pity" is a combination of the two: the beginning is faster followed by slower, stomping riffage later.

Promo Demo, 2004

Official Site

WERESQUATCH (USA)

Based on the full-length debut, this act serve intense old school Germanic thrash with a slight semi-technical "sting". The guys unleash the odd mid-tempo mediator ("Whiskey Bent And Strip Club Bound"), but for most of the time rely on speedy smashers like "Heathenized" and the closing "Witch Ripper II". The singer is a vicious raven-like screamer who could as well be on some black metal act.
"The Maddening Memoirs" bashes in a more stripped-down fashion at the beginning, the mid-paced frivolities of the more ambitiously-performed "Parasomniac" quickly stifled by brutal near-death experiences like "Death Invites Me". "The Caster of Shadows (Witch III)" is a very surprising turn to epic power/speed/thrash, an all-instrumental saga that offers quite a bit of varied music, the same formula utilized for the vocal-featured roller-coaster "Harvester of Horrors (Witch IV)" and the closing progressive power/thrash shredder that is the title-track.

Weresquatch EP, 2012
Frozen Void Full-length, 2015
The Maddening Memoirs Full-length, 2019

Official Site

WERVOLF (USA)

Based on the "Dark Union for Baphomet" split, this band offers misanthropic fast back/thrash metal not far from early Bathory and Burzum with unpleasant shouty vocals which are very hard to comprehend constantly trying to deafen the messy wall of guitars which hardly changes throughout the two tracks. One guy is behind it all; his name (or alias) is Frost Ruebenstahl, and he takes part in several other underground black metal projects.

Ork Metal EP, 2007
Blut und Schmerz Full-length, 2007
Warriors of Suicide Split, 2007
Mortiis Daemonium/Wervolf Split, 2008
Dark Union for Baphomet Split, 2008

Official Site

WESLEY WYATT (USA)

This guy offers pretty cool modern, all-instrumental, thrash with a technical/progressive pinch. His aggressive shreds are not far even from the manic delivery of Toby Knapp's "Guitar Distortion" at times (check out "The Absence Of Light"), but Wesley has a good sense of melody which comes in the form of quiet balladic breaks on the longer compositions. Still wild thrash is what one will get on short explosive pieces like "Lost" and "Willow Tree", and elsewhere. The technical riffage isn't very explicit except on occasion ("Enclosed Eyes"), and when the lashing riffs acquire a doomier direction ("What We've Become"; the short orchestral haunter "IIIXXIIMMVII") things become unbearably heavy, also thanks to the very thick production. "Funeral March" is not exactly a rendition of the funeral march, but is a kind of a filler being a not very eventful jumpy groove/thrasher. The end is suitably intense, with "Desert of the Pharisee" which is hammering thrash in mid-pace, and the closer "Dissonance" which is dramatic shred with brutal deathly interludes in the middle. The man never exceeds his performance in the lead department leaving the super-sharp riffs to take the whole space at times making this effort one of the few riff-driven instrumental albums of recent times.

The Absence Of Light Full-Length, 2011

WEST OF HELL (CANADA)

The debut: a more updated version of the good old American power/thrash will one come across here, vivid energetic music with echoes of Attacker, early Iced Earth, and Metal Church. The guys shred with conviction seldom hitting the speedy registers relying on crushing mid-tempo riffage and short stylish leads (check out "Singularity"). The band elongate the songs (5-7min), but there's nothing too complex going on, just confident shred with the obligatory escapades into a more intense speed/thrash territory (the vigorous closer "Onslaught"). The singer delivers with his forceful clean/semi-clean timbre which is quite reminiscent of Gene Adam, the first Iced Earth singer.

"Blood of the Infidel" follows the same trajectory with formidable thrashers ("Chrome Eternal") taking turns with more dramatically executed power/thrash hybrids ("Infidels"), the progressive gravity of the latter alleviated by a couple of milder heavy/power metal propositions ("The Machine"). "Dying Tomorrow" is a heavy 9-min semi-ballad which lacks something in the more dynamic department, the epic swagger of "The Dark Turn" bringing Omen and Heavy Load to mind, the odyssey concluded by the relatively welcoming riff-patterns of the power/speedy closer "Mankind Commands".

Spiral Empire Full-Length, 2012
Blood of the Infidel Full-length, 2019

Official Site

WESTERN DEAD (UK)

This is a 3-songer of proto-doom modern thrash with very heavy riffage which marches forward at time switching onto a more classic-sounding delivery: the shredding entertainer "On The Run" with echoes of Anthrax and Slammer. "Explosive Reaction", on the other hand, is just post-thrashy heaviness played in a laid-back frolic fashion with a sudden faster exit. The singer is cool with his dramatic lines reminiscent of both James Hetfield and a lower-pitched David Wayne (R.I.P.).

Western Dead EP, 2012

WESTERN DECAY (AUSTRALIA)

Based on the demo: thrash/death metal with a strong Swedish influence: think Dark Tranquillity and early In Flames, mixed with modern thrash ala The Haunted.

Demo Demo, 2006
Western Decay/Naked Burn/Infinite Thought Process Split, 2007

My Space

WETWORK (CANADA)

One of the better Canadian metal acts of recent years; their debut release is a very obscure item, badly sought out by many metal fans. The band belong to the technical wave which is generally connected with that country. "New Start Human" is very cool technical/progressive thrash with slight shades of death metal which on its best moments reaches moments from Toxik's "Think This" and Coroner's "No More Colour" with several stylish Oriental motifs embedded (check out the enchanting "Radio-D"); the album is full of interesting riffs, time-changes, offbeat moments (not annoyingly many), and various vocal styles (including a female one) among which the hellish death metal ones, which sound like a more hysterical version of Kelly Shaeffer (Atheist), are a kind of an acquired taste, quite shrieky and shrill at times. "Synod" is another masterpiece, not as diverse as the previous one, but a lot more death metal-oriented with heavier, and an even more technical guitar sound bringing to mind Martyr, Atheist and Pestilence.

The debut sees a band not having honed their "weapons" perfectly at this early stage still producing a fairly listenable semi-technical brand of more modern thrash metal with nice semi-clean vocals very close to the ones of Dave Mustaine. The music is atmospheric and mid-tempo, and again brings mid-90's Megadeth to mind more than now and then. "I Caught An Angel By The Wings" is a good attempt at the semi-ballad with a haunting doom-fixated exit with keyboards springing up to form a cool "duel" with the guitars. "Presence Disstilled" is a nice creepy doom thrasher which solid hypnotic riffage will also remind of Fear of God's "Beyond the Veil". "Staining the Shine" is a relaxed progressive rock-ish composition with playful rhythms, kind of off-context, largely compensated by the aggressive heavy riffs on the moody proto-industrial shredder "Temple of Red". The closer "The Executioners Song" is a pleasant surprise being the only open headbanger on the album lashing energetic galloping hooks with a strong technical edge, and wins the prize for the best song. Later the guys reached higher in the musical department, but their first effort has its charm as one of the better works to capture the post-90's Megadeth sound with a modern twist (remember also Lyzanxia's "Lullaby" released the same year).

Temple of Red Full-length, 1998
New Start Human Full-length, 2002
SynodFull-length, 2005

Official Site

WHARF RATS (USA)

These "wharf rats" specialize in wild unbridled thrash/crossover which only saving grace is the time of release. The guys play fast hinting at more intense thrashy ("Fry Day") promises, but their frolic antics still work at least to those who don't look for anything serious in music of this kind. The death metal obscures Psycho Bitch are honoured with the cover of "Debt To Nature", a seismic steam-roller which abruptly changes the nature of the album at the end. The singer shouts in a quarrelsome punk-ish fashion creating additional fun due to his hilariously over-the-top performance.

Demo Demo, 1993

WHAT'S UP? (SWITZERLAND)

This act is the continuation of the excellent very short-lived speed/thrash formation F.B Bastard. The delivery here is power/thrash metal with a more modern-based 90's sound similar to the Flotsam & Jetsam works from around the same time, but more stylish and diverse. The album isn't completely toothless, and some tracks "bite" quite hard offering sharp, dynamic riffs: the mid-paced power/thrasher "In This Life", the jumpy, funky "Explain", the heavy pounding "Dreams Go to Yet". There are also attempts at more varied technical performance ala mid-80's Voivod ("Robotized") which work well, too. "Just a Child" is a good heavy thrash/ballad, and "Supreme Elevation" is a cool look back at the 80's introducing more classic-sounding guitars. "How Much Longer" is a typical happy groovy track in the spirit of 90's Anthrax as well as the closing "Who's Been the Devil" which is the softest number, and the only real drawback on this cool light-hearted album.

What's Up? Full-length, 1993

WHAT HAPPENS NEXT (USA)

Chaotic extreme thrash/crossover, ranging from super-fast grinding outbreaks ala Cryptic Slaughter to more sincere hardcore anthems in the vein of Agnostic Front and S.O.D. This is very simplistic music, constantly speedy, with expectedly short 1,1.5-min tracks.

The Second Year Full-Length, 2001

WHEELCHAIR X4 (UK)

This is a wild amalgam of hardcore, thrash and grindcore. The bashing goes on pretty much through the whole album which consists of 12 "outbreaks", some of them coming with an intriguing sterile shade echoing both Voivod and Strapping Young Lad. The guitars are clearly heard, but the vocals are too shouty to create a very pleasant impression. After all, this is done just for the laughs...

Contraception Full-Length, 2011

WHERE VICTIMS LIE (FINLAND)

Based on their first demo, this Finnish band are another fine addition to the massive thrash metal scene in this country. Excellent classic thrash, quite fast and intense, with nods to Slayer in particular, plus more modern "updates" in the The Haunted-vein ("Chapter 13") and cool technical licks.

Promo Demo, 2003
Promo Demo, 2007

Official Site

WHIPLASH (AUSTRALIA)

This is a more modern take on the thrash/crossover idea which comes served with a solid pinch of doom/stoner as well as groove, ballad and more traditional heavy metal. The singer entertains the most with his diverse clean tone which fits all styles which are not very well mixed together with contrasting songs alternating to a slightly comic effect. Needless to say, the really speedy numbers are really few ("Break" comes to mind, but...) leaving the rest hanging between the slow and the mid-pace.

Whiplash Full-length, 1996

WHIPLASH (INDONESIA)

This young Indonesian outfit indulge in dynamic varied retro thrash which emits a lot of passion and enthusiasm. "Burning My Soul" is a fairly promising opener blending melody and sharpness, but the tenderness comes too much on "Last Rites" which is a mild power/thrasher. Nevermimd, the guys quickly pick up energy with "Jiwa Liar" and the frolic speedster "Politik Gila". "Fuck Yeah (Metal Mania)" moves towards the thrash/crossover arena, but the last two compositions are more elaborate shredders with diverse rhythm-sections showing the band's more proficient side which should be explored with more details in the future.

War of Terror Full-Length, 2016

Official Site

WHIPLASH (NORWAY)

A cool demo of heavy, often energetic, thrash in the vein of early Slayer with softer crossover-laced tracks ("Prisoner") included; "Thunder Metal" is another less intense song (the demo is nine songs long) with shades of power metal.

Phantasmal Force Demo, 1989

WHIPLASH (USA)

This cult band started with raw speed/thrash metal on their full with energy debut, and quickly made a name for themselves as one of the most uncompromising sounding bands (this band was also known as "trio Tony" as all the three original members had the same first name). The follow-up carried on in the same direction by also introducing a more serious approach to song-writing which two years later culminated on the magnificent "Insult To Injury": landmark semi-technical thrash which introduced a newcomer in the trio (now turned into a quartet): Glenn Hansen, a great singer with a deep clean emotional higher-pitched delivery who never recorded again with any band. After a long 6-year break Whiplash returned with "Cult Of One", but the music has moved towards progressive modern power/post-thrash with even alternative elements present; "Sit Stand Kneel Prey" was only a bit better bringing back some of the old faster riffs, but there wasn't much inside to be labeled as thrash. To the joy of the thrash metal world, the original line-up from the first two albums (the Tonys) got together for "Thrashback": a major improvement over the last two efforts, but with a more melodic and less hard-hitting sound than before. Unfortunately, the band will never be able to produce anything new in the same line-up as they lost Tony Bono (R.I.P.) who passed away in 2002.
The guys tried relatively well to bring thrash back with "Thrashback", but got lost after this one, and spent most of the movement's resurrection period inactive. Here they re-emerge more than ten years later, during the genre's second peak although from the Tony's it's only Portaro who's left, but the Scaglione's replacement is more than capable: Joe Cangelosi, one of the drum heroes of recent times, having also taken part in Kreator, Massacre, among other acts. The other musician who had to replace the sadly passed away Tony Bono, Rich Day, is not that known, but has tried his hands on some retro thrash in the good old 80's, having pulled the bass strings for 2 underground bands: Death Corps & Primal Scream.
"Unborn Again" begins in the laid-back speed/thrash style already introduced on "Thrashback" with "Swallow The Slaughter", a memorable number with varied tempos and good Portaro vocals that nicely mix a harsher and a more melodic blend. "Snuff" is already a setback with its modern groovy riffs which considerably ruin the faster moments. "Firewater" is even worse with its pointless doom/power/heavy approach, but the smile on the listener's face will inevitably return with "Float Face Down", a fast dynamic piece, a direct ascent to their very early days. "Fight or Flight" is slower, but the riffs are heavy and this number doesn't lack pace. "Pitbulls in the Playground" is a cool nod to the Metallica debut, jolly roller-coaster speed/thrash with a head-splitting heavy mid-section. "Parade of Two Legs" is the odd instrumental piece, jumpy and modern, the obvious filler here, although the next "Hook In Mouth" could also pass for one, being a mild heavy rocker, the furthest possible song from thrash. The listener's mood is spoilt again, and the Montrose cover of "I've Got The Fire" does very little to lift it up. The last "Feeding Frenzy" is a logical take on headbanging retro thrash, otherwise this effort would have clung too dangerously towards the negative side. The crossover potential of this album can't be disputed, but the thrash metal fans won't be happy all the way since at least half of the material on offer here will stretch their nerves quite a bit. Consequently, it's not an improvement over "Thrashback" which was far from a masterpiece, but if the guys' aim was to bring back their mid-90's fans, then they have surely reached it.

Power and PainFull-length, 1985
Ticket to MayhemFull-length, 1987
Insult to InjuryFull-length, 1990
Cult of OneFull-length, 1996
Sit Stand Kneel PreyFull-length, 1997
ThrashbackFull-length, 1998
Unborn Again Full-Length, 2009

Official Site

WHIPPING THE CLOWN (SPAIN)

The debut: merry unpretentious modern power/thrash which delivers with its optimistic attitude and catchy tunes which never develop into wholesome thrashy hooks, but look towards the ballad/semi-ballad for inspiration and this is where the finest "fruit" come from: the elegiac "Break The Seal", the doom-laden "Nevermore", the excellent lead-driven instrumental "fading" at the end. The singer has a warm mid-ranged clean timbre, but more emotion would have been beneficial on the more lyrical moments which are quite a few.
"Run Away And Hide" is a more convincing offering the guys notching it up in almost every department the headbanging fest supported by invigorating semi-technicallers like "Extreme Metal for Kids". Although the staple for the band mid-paced power/thrashers ("Blue Eyed Wolf", "Crucified") are still around, one will indelibly pay more attention to the more dynamic side where also "Killer Clown" and "Reek of a Past Life" belong. "How to Extinguish This Fire" is a cool heavy ballad diversifying the palette further on this uplifting entertaining effort.

Playground Full-Length, 2015
Run Away And Hide Full-Length, 2019

Youtube

WHIPSTRIKER (BRAZIL)

The album-title (the debut) says it very well: this is merry-go-round speed/proto-thrash ala early Venom and Motorhead, interrupted by a few effective quasi-doomsters with a Saint Vitus vibe, the vocals clinging somewhere between Tom G. Warrior and Cronos. There's also a certain punk-ish flavour in the guitar department as well as several references towards the classic heavy metal heritage (think early Riot, Saxon).
"Troopers of Mayhem" continues in the same optimistic roller-coaster vein with one notable brutal exception: the 2.5-min early Bathory-sque outrage "Genocide Now!"; and partially the Celtic Frost-related closer "Backward Progress" which is another dynamic piece with a good stomping main motif. The rest is business as usual the band having fun pulling out these merry unpretentious rhythms with gusto.
"Merciless Artillery" is more on the speed metal side the shadow of Motorhead soaring high above the proceedings, with more aggressive deathly rhythms ("Rape Of Freedom") sneaking in here and there. "Calm after Destruction" also rages hard with more passion while "Mantas´Black Mass" is a gloomy Celtic Frost-esque cut opposing short brisk speedsters like "Enemies Leather" and "Warspell".

Crude Rock'n Roll Full-length, 2010
Never Leave This War EP, 2012
Troopers of Mayhem Full-Length, 2013
Black Rose Killz EP, 2014
Only Filth Will Prevail Full-length, 2016
Merciless Artillery Full-length, 2017

Official Site

WHIPWORM (BRAZIL)

Based on the full-length, this band play very good semi-complex classic thrash that weaves quite a few high-brow riff-knots on the labyrinthine saga “Ivo Shandor”, the wilder more orthodox “Gatekeeper” stomping its way with a little help from the deathly hallows. “Keymaster” brings back the intricate rifforamas in a more dynamic fashion, the harsh death metal vocals interlacing with sparse cleaner intrusions. The wayward steam-roller galloper “Destructor” is another less ordinary beast, influencing the dramatic shreds on “Gozer”, an intimidating mid-pacer with more modern currents. “Surprise! You're Dead!” at the end is, not surprisingly, a cover of Faith No More from the megaseller “The Real Thing”, turned into an even more ferocious formidable thrasher. Some of the band members earlier played with the death metal masters Cemetery (later Aeons End, later Red to Grey).

Swarm EP, 2020
II EP, 2021
In the Throes EP, 2021
Gozer Full-length, 2023

Official Site

WHISKEY TAX (CANADA)

This is dynamic carefree thrash/crossover which can be pretty untamed on occasion ("Altar Boy"), but the guys seldom thrash with pure thrash metal passion always having one eye on the crossover and the hardcore-ish. The approach is constantly fast and the good sound quality gives a chance to the instruments to be heard clearly the whole time. This is cool party fun which will ensure the listener's entertainment, those who don't look for anything serious or engaging.

Whiskey Tax Full-Length, 2013

Official Site

WHISTERIA COTTAGE (USA)

The beautiful band name shouldn't mislead you; this isn't a gothic or symphonic power metal outfit; this is a 3-track demo which offers fairly good fast-paced thrash/death metal with a Swedish flavour with horrifying screechy snarly black metal vocals mixed with deep death metal growls. This "duel" kind of doesn't work well (at least to these ears), but the music is cool slowing down sometimes acquiring atmospheric gothic tendencies.

Demo Demo, 2008

WHITE FEAR CHAIN (USA)

This band is the continuation of Realm, but apparently the guys have gotten tired playing complex progressive stuff for two albums and have adapted to the less exhausting modern post-thrash formula providing heavy seismic riffs with a stoner/doom vibe completely losing the "thrash" metal idea near the end indulging in pure traditional doom ala Saint Vitus and early Cathedral. In the long run, it will be the doom metal fans who will be happier with this one.

Visceral Life Full-length, 1996

WHITE HELL (JAPAN)

These guys come up with mid-paced power/thrash in the Venom spirit with raw, undeveloped vocals and simplistic guitars, which often are completely stifled by the much better bass work.

Lucifer Single, 1985

Vibrations of Doom

WHITE MANTIS (GERMANY)

The demo: a nice brisk demo of varied retro thrash which balances between the more carefree, crossover-prone ("My Favourite Chainsaw") style and the more squashing rhythmic thrashisms ("Singularity"). "The Seer" is a more friendly power/thrasher adding more diversity to this otherwise pedestrian effort. The band members are/were also busy with the technical deathsters Abztract Fortune, the death metal formation Animosity, and the black metal cohort Odem Arcarum.
The full-length is a wild blitzkrieg affair the guys moshing like demented at the beginning with a trio of ripping tracks, calming down for the more epically-performed "There`s No Law on the Post-Apocalyptic Highway", the progressive thrasher "Demonic Levity" the undisputable highlight on this pretty intense roller-coaster which also has another, marginally more laid-back but equally as effective speed metal side ("Catcher in the Grey", the more officiant power/speed metal closer "Tyrants").

Fukkin' Demo Demo, 2014
Sacrifice Your Future Full-length, 2019

Official Site

WHITE TRASH (AUSTRALIA)

This band featured two members of Mortal Sin. The style isn't miles away from that other band being energetic Bay-Areasque thrash, maybe more aggressive and faster ("The Watcher", "You") at times. On the other hand these guys offer a more diverse sound which sometimes comes in the form of semi-ballads ("Turning Away") and heavy/doom short instrumentals ("Acid"). "Danse Macabre" is a very cool technical track with sharp meaty riffs. The singer has a high-pitched, clean voice, at times recalling John Connelly (Nuclear Assault), and he does a particularly good job handling the more melodic, balladic sections.

Demo Demo, 1990

My Space

WHITE THRASH (UK)

These young Brits offer modern power/thrash with an alternative, progressive edge, not very intense but melodic and catchy. The music isn't very dynamic, mostly mid-paced, and the tracks are mostly instrumentals. The guitar work is varied, but the sound quality isn't very good leaving the other instruments in the background. The tracks put on their My Space page are variations on prospective numbers for their eventual full-length with only "Violent Metal" featuring vocals which are hard to be described since the sound production boosts them up too much.

Let the Revolution Begin Best of/Compilation, 2009

Official Site

WHITE TROOP (UKRAINE)

Based on the self-titled demo, these guys provide fast blitzkrieg old school thrash which isn't a constant speedy downpour, but offers respite with more quirky guitar work ("Darkness") and the tasty atmospheric heavy ballad "Crazy World" which is only partially ruined by the not very attached hoarse, semi-clean vocals.

White Troop Demo, 1991
To Be Carefull Demo, 1992

WHITETHRASH (USA)

Based on "Poser Exposer", this band play pleasant old school thrash/crossover which is sustained in an optimistic, not very serious mode the guys both moshing with passion ("Prove Your Allegiance") and stomping with gusto (the title-track) throughout, also adding a nice shade of melody ("Terrified Screams 2") to the melee, the latter largely consisting of short ripping cuts where the purer hardcore echoes ("Hormah") aren't that remotely present. The vocalist is a cool clean semi-reciter whose attached participation can't possibly go unnoticed/unmentioned.
"Slamm BBQ" is another nice offering, the dominant tempo now being up, the frolic jumpers "Eviction Notice" and "Fuck you die" creating light-hearted headbanging atmosphere, the semi-technical expletives on the short nervy "Insisting on a Fisting" pairing well with the speed/thrashing optimism of "King of the Cousins". More stylish riffage on "Nuclear Winter", another brief unorthodoxer, before the title-track unleashes a portion of brisk crossover rhythms.

Whitethrash Full-length, 2018
Poser Exposer Full-Length, 2019
Slamm BBQ Full-length, 2021

Official Site

WHO WAS I (USA)

Playful unpretentious power/post-thrash which is way too melodic to warm the hardened thrash metal hearts, but the riffs weigh regardless of the fact that for at least half the time they belong to the stoner/doom/balladic fields adroitly led by the cool clean, attached vocals.

What I've Become Full-Length, 2016

Official Site

WHOREHOUSE (POLAND)

Here comes an underground gem from Poland; the obscene name shouldn't pull you back; this is not some dull hardcore. The thrash metal scene in Poland has not been very active since the new millennium started, but if there are more acts like this one, things might quickly turn for the better. This is quite cool, mostly up-tempo 80's speed/thrash metal, which brings to mind promising new acts like the Germans Red to Grey, or Heathen (their debut) from the old ones.

The full-length is finally a fact, and one would be pleased to see the band preserving the good old thrash from their demos although the speed is partly gone replaced by heavy mid to up-pacers which crush admirably with a fine technical edge with the Bay-Area an obvious influence. After the pounding opener "Violent Storm" the tempo goes up gradually with each subsequent song, and the fourth track "True Living" already acquires nice headbanging tendencies further continued by the cool early Testament reminder "Step By Step". "Drink Till Xodas" is even fast and edgier, but the remaining three numbers are disappointing slowing down with repetitive not very energetic riffs.

"Corporation" arrives after a lengthy break and sees the guys thrashing with force adding a few energetic gallops ("The Same Old War") to the fore, trying to keep the speed on relatively high confines with vigorous cuts like "Toxic Dance" and "W.W.W.A.W.W.B.". "Invaders" is another notable speedster with more dramatic accumulations as the only more lyrical composition is the closing "Anguis In Herba", a meditative spacey progressive deviation.

Bow to Lord Demo, 1998
Hate Machine Inc. Demo, 2002
True Living Demo, 2003
Execution of Humanity Full-length, 2009
Corporation Full-length, 2017

Official Site

WHORIZON (GERMANY)

The EP: a contrasting mix of heavy/doom and thrash; the guys mix both styles on every track coming with really intense thrashing moments: "A New Whorizon", "Metal Journey Pt1d", but the highlight is by all means the 7-min opus at the end "Descend" which thrashes for more than 7-min without losing the tempo except on the nice doomy mid-break.
The demo: the approach is more aggressive with doom metal left for the end (the excellent high-octane "Tyranny", and the elegiac semi-acoustic "My Dream Of Equity"), and a bit of death metal can be heard ("Hu(manity)miliation") as well, of both the fast and the slower type.

An up and Coming Whore Demo, 2008
A New Whorizon EP, 2009

Official Site

WHY SHE KILLS (HOLLAND)

This band was founded by the people responsible for two of the finest Dutch thrash metal acts: Sacrosanct and Genetic Wisdom. More than 10 years have passed, and the guys have either lost interest in technical metal, or have decided to go with the flow, because with this new band they offer just decent thrash/death of the modern variety, not miles away from the efforts of Arch Enemy and the French Lyzanxia's more recent works. There are more aggressive moments, and the guitar lines are melodic, but this is nothing new if we exclude the participation of the two female vocals which add an interesting touch to the proceedings with their vocal "duels" without diminishing the hardness of the riffs. The technical flair of the other two bands is nowhere to be heard, but one never knows what might happen in the future with musicians of such a calibre involved...

Of Hope and Suffocation EP, 2006

Official Site

WHY? (ITALY)

Based on the debut demo, this band offer energetic classic thrash with a more expressive progressive edge, like on the choppy "Ordinary Pawn", or the creepy semi-balladic "Winter Of Eternity". Virtuous melodies can be caught on "Why?" which also gives answers to all the questions you may have. The sound quality is fairly pristine, and the singer is an indifferent semi-reciter with a punk-ish tember.
The "Natura Morta Con Panneggio A Sinistra..." demo is whole ten tracks, and is a truly original avantgarde offering comprising some impressive visionary thrashing from the very beginning with with the short warmer-up "I Was-I Die". Later the four cuts from the first demo are served almost unaltered, but it's the new material which more fully captures the imagination: the virtuous "Sete", a hard-hitting thrasher with a few classical variations; the operatic extravaganza "Two Words To..." which is pensive semi-balladic thrash at its most charming; the diverse thrashorama "By The Window" which is a fascinating mixture of semi-balladisms again and impetuous sweeping bash. "Nonsense" at the end is way more than "nonsense": this is clever dissonant thrash ala Voivod's "Killing Technology"; before the closing "-23990-" enchants with the final portion of brilliant melodic leads. This is a great recording for the thinking metal fan which should be unburied and savoured.
The "The Crowd Was Screaming" will make every crowd "screaming" their lungs out with its totally bizarre concoction of progressive/avantgarde influences coming from several spectres more or less related to thrash. As a matter of fact, thrash is barely present on half the tracks the rest revisiting Voivod's "Nothingface" with an even bigger, more spaced-out attitude. The patience of the hard-boiled thrash metal fan is tested to the limit with the insertion of punk, post-punk, and even bubblegum.
The "L'uomo Appeso" demo is way more coherent and listenable the guys bringing back the thrash, or at least the quasi-thrash, on the hallucinogenic shredder "Delenda Carthago". Things get even more aggressive for a while with "Scherno" which features a cool discordant headbanging passage. "La Giostra" is a spacey operatic opus, no metal here; but heads will start banging once again on the Amebix-worship "Nello Specchio" and the short 1-min psychotic thrasher "Incatenato". The final "Was" was... sorry, is bassy virtuosities accompanied by the exiting slab of dissonant guitars recalling the Japanese Doom in all their twisted glory. A really remarkable band whose brave experimental spirit was successfully matched later by another Italian act, Garden Wall.

Why? Demo, 1990
Natura Morta Con Panneggio A Sinistra... Acquaforte Del Divenire Demo, 1991
The Crowd Was Screaming Demo, 1992
L'uomo Appeso Demo, 1995

WICCA (GERMANY)

This is a find: an album which combines in a very good way the speedy tradition of the German scene (think Angel Dust's "Into the Dark Past") with the sharp, hard-hitting style of the Bay Area (think Vio-lence's "Eternal Nightmare" and Forbidden's "Forbidden Evil"). The music is quite fast most of the time, reaching even a Slayer-esque intensity ("I.O.U."). "Splended Deed", on the other hand, introduces slower heavier riffage, still combined with sudden speedy outbursts. This is an encyclopaedia of classic 80's thrash which should be in every self-respected thrash metal fan's collection.

The guys spent the 90's under a different name: Curare, and managed to pull cool competent modern power/thrash releasing two full-lengths and two EP's. Here they are back with their old name, and with their old sound, the good old school speed/thrash, and waste no time spraining the fans' necks with furious sounds, the opener "Sadsong" lashing wildly recalling both Exumer's "The Last Supper" from "Rising from the Sea" and the second part of Mercyful Fate's "Satan's Fall" from "Melissa" with its escalating speedy drama. The album seldom reaches this intensity on the later songs and settles down for more controlled Bay-Area thrash this time relying not only on high-speed numbers to pull it through, but also on intriguing semi-balladic arrangements (the excellent galloper "Disneyland") and heavy dark pounding riffs ("Bloodrush", "Mega City"). More complex structures can be encountered on the diverse "Generations Talk" which mixes raging thrash with great melodies, mostly in the lead department. Early Testament-esque technicality comes on the very good closer "Pull Down The Wall" which finishes this self-assured comeback effort with aplomb, and will hopefully arouse the interest in the band this time to make them stay around longer.

Splended DeedFull-length, 1989
Bloodrush Full-Length, 2010

Official Site

WICKED ANGEL (USA)

Classy speed/thrash metal recalling Agent Steel's debut and Attacker's "Second Coming", but this is heavier, clinging towards later period Helstar quite a few times, with excellent technical guitar work involved as well. The only downpoint is perhaps the singer who uses this levelled, slightly indifferent voice making him sound like an undeveloped version of James Rivera.

Chaotic Intellect Demo, 1987

WICKED DECEPTION (USA)

Based on "A New Kind of Horror", this band play "a new kind" of thrash which is heavy and seismic with frequent nods to doom and the allusions to Dutch acts like Asphyx and Beyond Belief are inevitable. The shorter material ("Warpath", "Paralysis") carries a more aggressive charge, but the doom-laden riffage is just too heavy to be removed from the picture also helped by the brutal semi-shouty death metal vocals.

...It Only Gets Worse EP, 2011
Incite the Riot Full-length, 2012
A New Kind of Horror Full-length, 2015

Official Site

WICKED DISCIPLE (GERMANY)

Classic power/thrash with progressive overtones; the overall approach recalls more recent Iced Earth, in other words, don't expect any fast-paced escapades although "Helltime Left Behind" tries something more energetic amongst the settled mid-tempo "idyll" which reaches the culmination on the 13.5-min opus "Phobos Deimos and Mars" which covers a fairly wide ground including several balladic moments where the mid-ranged clean vocalist shows his versatile talents.

Salvation Or Decline Full-Length, 2017

WICKED FAITH (USA)

Based on the debut demo, this band play rough unpolished power metal which is ether expressed through cumbersome clumsy mid-pacers ("Storm") or through shorter more energetic extrapolations ("Biography of the Southern Souls"), the doom march "Knucklehead" the most decent tune here, the brief punky anthem "Draco (The Keeper)" best suiting the mid-ranged indifferent punky vocalist.
The "Psychomentality" demo is a much better offering, if we exclude the singer who is the same punker from the first effort... and if we exclude again his brutal deathly semi-grunts that he unleashed on occasion. Music-wise this is more aggressive thrashier stuff which even reaches some progressive heights with the contrived pounding title-track, a couple of intriguing riff-knots retaining the listener's attention. "Visiting Necropolis" is a slightly less eventful proposition but the complex drama is still prominent, also with an intense speedy section and a few stylish lead sections. "Impaler" rages with moderation, too, the riff-patterns becoming a tad more aggressive and dramatic. "Winter Flowers" is a somewhat ponderous piece, the band trying to pacify the setting by settling for a patiently-woven mid-tempo layout, but the twisted meandering passage mid-way is surely a saviour, the guys emitting exuberant tech-thrash moments to nearly die for.

Biography Demo, 1988
Psychomentality Demo, 1990

Official Site

WICKED KICK (CANADA)

Modern groovy power/post-thrash which would hardly be a "wicked kick" for the hard-boiled fans; heads down to the expertly made ballads, though, one of which, "Eyes of a Child", is really worth hearing; the other one "Sands Of Time" is longer and dragging with shades of doom. Reportedly the guys are back into action, under another name: The Spoken, and have released a 6-track promo in 2005, with a cover of Black Sabbath's "War Pigs" included.

Mind Twister Full-length, 1994

WICKED MEADOWS (USA)

This US trio pull out intense vicious retro thrash that begins with a bang with the brutal thrash/death madness “Call the Devil”, before the delivery clings towards the more epic melodic side with the short “Gates”, and towards the semi-technical realms with the more stylish shredder ‘Demon Party”. The second half is strictly for the heavy thumping riff lovers, the approach coming alive with the brief melodic tractate “Death to the Living”, and with the crunchy bellicose closer “Fallen Angel”. The vocal duel present is quite disparate, a guttural death metal throat versus a cleaner more attached performer, making a bit more than a mess when in action.

Revelation-Chapter 1: Fallen Angel Full-length, 2023

Official Site

WICKED MEMORY (MEXICO)

Based on the full-length, this act provide modern thrash which is on the noisy, metalcore-ish side of the spectre although more sensible exercises on heavy atmospheric thrash ("Devil or Demon") can still be found including lyrical semi-balladic escapades ("Voices"). The hysterical overshouty vocals don't contribute much to the fun as the music isn't a complete waste with a few more energetic numbers ("Dia De Muertos", "Uruk-Hai") pouring some some fire into "the furnace".

EP EP, 2013
Welcome to the Game Full-length, 2017

Official Site

WICKED MYSTIC (HOLLAND)

A talented band who play technical power/thrash (quite progressive at times) sounding like a more technical version of early Flotsam & Jetsam (the debut). The sound clings between the classic and the modern school, and the songs are heavy, mostly mid-paced with nice, high vocals reminding of Eric "A.K." Knutson (from the Flotsams again). "The Paramount Question" is a great debut which starts in a very imposing, thrashy manner with the riff-fest "Stand Alone". "Shadow Dancer" is a brilliant progressive thrasher, slower and atmospheric, with a breath-taking flamenco guitar ending. "Depth Of Mind" will grab you from the very beginning with heavy, technical, and also intense riffs which stop somewhere in the middle for another fine quiet passage; the flamenco guitars are here again, but are only slightly hinted at. The title-track is a ballad still graced by heavy riffs, and though quite good, it is the reason for the album to lose its edge for a while. "Diversity" is a big relief after the short, but unnerving string of softer tracks, thrashing in a very intense and technical way, accompanied by a magnificent vocal performance and superb leads; arguably the best song the band have ever composed, truly a masterpiece of technical thrash. "Mind-Bomb" is an explosion of more aggressive, straight-forward thrash. "Doubt" is another take on the balladic form, but is a great one, and would hardly raise a doubt (pun intended) in the band's thrashy abilities, which at that point have been more than proven. The bonus track comes in the form of the The Who cover of "Pinball Wizard" which is surprisingly placed before the last song: "Welcome To Life": a fine mid-tempo progressive thrasher with great vocals again, and crushing riffs.
"Lithium" begins in a more controlled way with a decidedly more modern sound with the groovy "Toxemia" which features not very pleasant industrialized vocals. "Hollow Phrase" is a better, mid-paced thrasher of the more melodic type, followed by another, modern sounding track: "Knight Errant", after which the listener has no choice but to adapt to the new style because this album would apparently be an entertainment on another scale. "M.I.A. Man" is a pleasant surprise, dark brooding thrasher in the Nevermore mould, but this is the "oasis" here since very soon after the music moves back to the much less impressive modern, and more melodic patterns, hitting the bottom with the tender romantic ballad "The Reverie" which is miles away from the two great ballads from the debut, simply because there's no shade of riffage to be found, just a nice, peaceful acoustic dreamy guitar motif. "Mournful Rhymes" livens up again, but the real wake-up comes with the energetic thrashing piece "Warhorse", followed by the softer, but enjoyable "Inborn Jester". "Last Honesty" is a ballad, but this time it is way better with smashing riffs added in the second half and the finest vocal performance on the album. As a whole this effort is much less satisfying than the excellent debut, but separate moments from it still deliver the goods leaving the final impression clinging more towards the positive side... I guess...
The demo will strike first with the brutal semi-shouty death metal vocals; otherwise, the music is on the retro thrash side, attempting something more relaxed and goofy on the thrash/crossover piece "Emotional Scars", "Only the Silence Survived" raging harder with interesting melodic embellishments. "Blind Aggression" is a more of a stomping heavy-er with abrupt speedy accumulations, at this early stage no signs of a more intricate, progressive play detected.

Only the Silence Survived Demo, 1991
Mend Or End EP, 1994
The Paramount Question Full-length, 2000
Lithium Full-length, 2002

Unofficial Site

WICKED RIVER RISING (USA)

90's post-thrash which straddles between The Black Album and heavier, doom/bluesy aesthetics ("Forever Gone") the latter shade also coming with an acceptable balladic vibe, the cool soulful, at times rough and shouty as well, vocalist facilitating those more lyrical escapades. More aggressive headbanging moments are few in-between although the surging gallops of "Pitch Black Souls" would make more than just a few heads turn alongside the more fast-paced histrionics on "Invoke the Flood".

Hell & High Water Full-length, 2018

Unofficial Site

WICKED SIN (USA)

Ariel Lee from the talented progressive thrashers Savage Choir handles the bass here, but the music on display is way inferior being messy power/thrash with virtuoso lead sections which scream their way higher than any other instrument, and the listener can't help but think on quite a few times that this is the guitar player who's the only performer here. The sound quality is really awful with a big background buzz "assisting" from behind the curtains; still, the vocalist tries his best to leave a more positive impression with his attached high-pitched tone, but his efforts are unfortunately also drowned in the resulting mess.

Demo Demo, 1990

WICKED WAYS (USA)

A decent take on the classic thrash metal idea of the heavy Acid Reign-type with a few faster surprises along the way: "Determination", the crossover delight "From The Outside", but to these ears the highlight would be the doom/semi-balladic closer "Love & Mourning", a moody atmospheric piece. The singer is not bad delivering with his deep clean emotional tone.

Pain to Power Demo, 1992

WICKEDS END (USA)

The debut: modern power/post-thrash with very unsuitable guttural death metal vocals; otherwise the music delivers with cool semi-technical licks ("Breath Of The Prophet"), and rare escapades towards more industrialized, hardcore-ish approach ("Mortifier", "The Destroyer"). "Lord Of Hosts" is an avantgarde progressive oddity, a fairly long disorienting track which still passes for the highlight with its twisted Doom-ish (Japan) quirks.
"The Grand Decay" begins with a seismic Celtic Frost-esque proto-doomster, but later the band speed up although nothing too brutal can be encountered if we exclude the aggressive lashing title-track and partially the more optimistic semi-speedster "Heresy". Regardless, the monolithic dark sound contains enough entertaining moments to keep the listener hooked including "Sickle Hand" at the end which is a cool atmospheric acoustic instrumental followed by three live tracks as a bonus.
"Flood" is a more energetic recording with ripping roller-coasters ("Snuffed in the Womb", "From Hell You're Sent") peppering the landscape, leaving little room for punishing stompers lie "Value & Truth" to shine. Steady but not very eventful mid-pacers occupy the middle, the idyll broken by the death metal-ish impetuousness of "Scales", the doomy "Stoner" wrapping it on in an officiant funereal-like manner.

Reformation Full-Length, 2015
Unreleased and Discarded EP, 2016
The Grand Decay Full-length, 2016
Flood Full-Length, 2019

Official Site

WIDOW SUNDAY (USA)

Heavy seismic post-thrash of the more angry type, but instead of reaching the Pantera intensity, the band turns to metalcore for inspiration and kind of loses in the process. Still, the music is not completely without merits, like the pounding steam-roller "Symbiont", the industrialized crusher "Blood Money", and the dynamics seldom goes down the melodic relieves coming mostly in the form of Swedish-styled melo-death hooks.

In These Rusted Veins Full-Length, 2010

WIDOWER (USA)

Based on the full-length, these folks specialize in a pretty cool blend of thrash, speed and quite a bit of black (the uncontrolled ball of fury "Hell Sent") and death (the blasting madness "Mandatory Immolation") metal. Classic thrash leads the show, though, and one can't remain indifferent to the impetuousness of "Tree of Ignorance" or the blitzkrieg Slayer-esque immediacy of "Hell Sent". The singer croaks like a horny raven betraying the black metal origins of the band members some of whom also participate in the death/black metal cohorts Khringe and Whore of Bethlehem.

Goat Throne EP 2013
The Execration EP 2013
The Unholy Oath EP 2016
Cataclysmic Sorcery Full-length 2019

Youtube

WIEGE DES SCHICKSALS (GERMANY)

Based on "For Des Volkes Freiheit", this band play merry thrash/crossover with echoes of the Tom Angelripper side-projects and a pinch of mid-period Tankard, both in the music and text department. This is not intense music except on a few isolated occasions ("Ein Giftmucll Transport"), but is full of catchy memorable riff-patterns which won't make you headbang per se, but your jumping and dancing around is guaranteed if you can tolerate the slightly inebriate vocals ala Tom Angelripper again.

Die Wende Naht Full-Length, 2009
For Des Volkes Freiheit Full-Length, 2012

WILD FIRE (BRAZIL)

Capable, albeit roughly-sounding, thrash of the old school in the Bay-Area tradition with high-pitched clean vocals recalling Mark Antoni from the US progressive thrashers Realm quite a bit, as well as John Cyriis in the higher registers. The music is fast and intense with crushing sharp riffs, and it's a pity that the demo is only two tracks.

Thrash Til Death Single, 1993

My Space

WILD KARNIVOR (FRANCE)

Based on "Aeternum Vale", this band plays modern power/thrash with brutal death metal vocals and adherences to industrial. The music is suitably groovy, but scary brutal death metal cuts ("Le Livre") also "roam" around. "Cor Unum" is an energetic headbanger, but the rest has a sterile, mechanical feel reminiscent of a more playful, less robotic Meshuggah. "Devotion" is a nice closer, though, an engaging composition with plenty of atmosphere and jumpy, stomping sections hitting hard with steel thrashy riffs as well at times. The singer is a passable deathly semi-shouter who goes well with the music. Most of the band members are also involved in the death/groove hybriders Blood Troopers.
The debut is a much more aggressive effort mixing thrash and death on a semi-technical base the abrasive guitar chords giving the album a slight industrial colouring. Still, this can't stand on the way on merry technical pieces like "Vu du Ciel" which is an encompassing progressive cut with a great balladic lead-driven interlude. The 2nd half is more laid-back concentrating on atmosphere more reducing the speedy passages for the sake of ballads ("A.D.N.") and grooves ("Mutilation", and of course the gigantic 12-min closer "Groovy Death" which is a monotonous doom/thrash track with very good leads which take quite a bit of space to a very positive effect.)

Embryon Full-length, 2006
Aeternum Vale Full-length, 2008

Official Site

WILD PUSSY (UK)

A 4-track EP of melodic speed/thrash with shades of the German movement: check out the nice melodic leads on "Evil Speaks", something which Helloween used to do a lot back in those days. The other more vigorous song is "Ready to Strike", whereas the other two are slower, "The Vigil" being heavy galloping thrash with the lead guitar again scoring high.

Mechanarchy EP, 1989

Fan Site

WILD SIDE (BELGIUM)

Thrash/crossover with a more melodic, punk attitude; the songs are long which is hardly necessary since the music is very simplistic without any technical merits. An achievement in itself is the 9-min ballad "Scars Of The Past" which sounds like something Led Zeppelin could have done. It would have been better if the guys had nailed more intense thrashers like "No Shit": no shit!; the rest is softer even clinging towards the 70's rock scene at times.

Social Drinkers Demo, 1993

WILD THING (POLAND)

This band indulge in bluesy post-thrash clinging between the doom experimentations of early Black Sabbath (the admirable "Karadhrash") and the more dynamic antics of later-period Turbo ("Prorok"); very mild stuff with a genuine feelgood atmosphere. Later the band changed their name to Bonarges and started playing more serious, more aggressive stuff with more adherences to thrash.

Demo Demo, 1995

WILD ZOMBIE BLAST GUIDE (GERMANY)

Thse "wild" zombies" provide energetic modern thrashcore with the shouty vocals, the simple song-structures, and the careless attitude. Some lead sections are really tasteful and lift this effort above the mediocre level for this style, and if we add the casual more brutal death metal leaning ("Fallen One") thrown in from time to time then we have a not bad album which even winks at the progressive field with the jumpy and clever "Hypocrite".

Back From The Dead Full-Length, 2016

WILDFIRE (USA)

This is the project of just one artist, the alias... well, Wildfire, who embarks on a not very focused classic black/thrash mixture, the welcoming fast-pace on the Venom-esque jumper "WildFire" backed up by the dark brooding violator "Night Ripper" and the short hardcorer "Rock Lobster". The singer is an obvious Cronos (Venom again) fan, and his hoarse, also coarse, tirades somehow fit the stylistic switches, among which one will by all means detect the aggressive thrash/proto-death madder "Torment for Religion".

Torment for Religion Full-length, 2024

Official Site

WILDHUNT (AUSTRIA)

Based on the full-length, this is some very interesting technical/progressive speed/thrash along the lines of Paradox, Manticora and the Poles Hellfire. The approach here is probably more on the epic side on the longer material (the opening "Age Of Torment"), but this doesn't diminish the sharpness of the riffs, and the headbangers will by all means have their fun on intricate moshers like "Terror Right Below" and "Death Spares None". Some tracks are admirable achievements of complex progressive metal ("Lifeless Birth") which even echo masterpieces like Sieges Even's "Life Cycle" and Target's "Master Project Genesis". "Erlkonig" relies more on melodic speed metal patterns, but is an enchanting number all the way; as is the rigorous shredder "The Wild Hunt". "History Deletes Itself" is another sweeping speed/thrasher, before the final "Crystal Deth (U.M.D.A.)" provides 9-min of intricate progressive thrashisms the elaborate passages scattered among oases of hard impetuous thrashing. This is a true feat, probably the finest metal album to come out of Austria in the new millennium, and a major pretender for the top ten of 2016.

Scenting the Prey EP, 2012
Descending Full-length, 2016

Official Site

WILL OF THE ANCIENTS (CANADA)

Based on "To Our Glorious Dead", these lads provide modern melodic, progressive thrash with a strong epic colouring and shouty death metal vocals which are intercepted at times by more imposing cleaner ones. Expect some hard thrashing on almost every song as well as tasteful technical licks ("Where Men Fear To Build"). "Divonioan Ascention" is a really cool technical death metal-ish throw-in, and "The Stars Like Dust" is an 8-min array of melodic hooks the cleaner vocals playing a more active role there. "Trench Raider" shortens the time and increases the stylish arrangements which here reach blasting extremes. All the way to the gigantic 18-min closing title-track which is just too much to be fully savoured. The band members also play with the brutal death metal act Blastomycosis, and the black metallers Detsorgsekalf.

Will of the Ancients Full-length, 2006
To Our Glorious Dead Full-length, 2013

Official Site

WILL TO LIVE (USA)

Based on "Old Habits Die Hard": a more energetic take on the good old 90's groove full of instant hardcore-ish breaks and some playful riffing reminiscent of Madball and early Pro-Pain. The band play on with inspiration filling the space with hard-hitting guitars which don't lose the edge even during the groovy sections also thanks to the fairly short songs (1-2min). The singer is appropriately shouty and angry his quarrelsome rendings tearing the air in a forceful authoritative manner coming as a lower-pitched version of Gary Meskil (Pro-Pain again). "Old habits die hard", yes; and old styles, too... keep them alive, boys!
"Weather The Storm" is another heavy stomper quite similar to early Pro-Pain the songs having the same catchy character staying in the mind. "Learning To Live" wakes up the dormant spirits with more speedy arrangements, and "Scars In Common" adds "more fuel into the fire" with another portion of slamming hard-hitting riffs, and generally in the second half the band step on the pedal more strongly with faster paces with a hardcore tinge involved which comes for the sake of the songs' length.

Weather The Storm Full-Length, 2007
Old Habits Die Hard Full-Length, 2013

WILDHUNT (AUSTRIA)

A good entry into the almost non-existent Austrian thrash metal scene which in this case welcomes an act playing fairly good dynamic retro speed/thrash the situation partially ruined by the inexpressive declamatory vocals. The band play on with a lot of energy and a pinch of technicality as displayed on the closing "History Deletes Itself" which is a highly entertaining speed/thrashing fest in the vein of early Angel Dust and Hellfire. This is a really promising beginning, and the band should find the way to the official release stage with ease.

Scenting the Prey EP, 2012

Official Site

WILLIAM WALLACE (USA)

Epic modern thrash which crosses the Gothenburg school with more officiant walkabouts the 8.5-min opening chapter "Nautical Departure" gracefully introducing all the nuances that the listener will come across. More energy comes served (the death-laced "Untimely Arrival") comes served later the band retaining the epic length of the songs all around, the memorable sing-along choruses a definite plus where gruff deathly and clean attached vocals are combined amidst the seriously headbanging riffage on "Ashes of the Tyrant" and "Octobeast".

How Gods Are Made Full-Length, 2018

Facebook

WINCHESTER (ARGENTINA)

This is a dark brooding approach to the genre with heavy doom-laden riffs which are at times crossed with virtuous melodies ("Oscuros Encantos") mostly coming from the lead department. The vocalist matches the depressing musical scenery with guttural semi-declamatory growls.

Funebre Tortura Full-Length, 2017

Facebook

WINDHAM HELL (USA)

This band is the brainchild of the guitar virtuoso Leland Windham. All his works are mostly instrumental with casual death metal grunts added, with strong emphasis on the guitar work, both in the lead and riff department. The style is a conglomerate of thrash, death metal and neo-classical shredding which hits the mark most of the time. The approach is too aggressive at times, and these are the moments when the guy will strongly remind you of Toby Knapp (his debut, in particular). The debut boasts quite a few delights for the more technical thrash metal fans: the intense steam-rolling technical "Exsiccation"; this is a 10-ton hammer with brilliant leads. "Wrapped in Plastique" is a wild chaotic piece which, however, bashes with controlled technicality with great aggressive riffs adding the obligatory quiet section in the middle. "God Swallow" takes a more laid-back mid-paced approach, but the riffage remains sharp and aggressive. "Paste Human" is a fine creepy, sinister (this is the best word to describe the overall atmosphere on the album) technical piece, with a marvelous "cosmic", semi-orchestral main theme. "Faces Of Carnage" is menacing gloomy doom/thrash which closes the album. Apart from the aforementioned songs, there are also a couple of short lead-driven instrumentals.

"Window of Souls" is another masterpiece of neo-classical thrash metal which wastes no time to introduce the sinister atmosphere with "Inversion Soil", which also admirably speeds up, something which one couldn't quite hear on the previous work; make sure you don't miss the magnificent "acoustic vs. lead" section on this one. "Clear Blue Plastique" is another heavy slab of doom/thrash with hammering riffs. "Excarnation" is 2.5-min of aggressive death/thrash shredding, and the next one "Crepusculum" is probably one of best examples of neo-classical shredding thrash, with some of the finest "duels" between the lead guitar and the constant sharp riffage, with a strong classical edge. "Corporal Compendia" thrashes more aggressively, with a proto-death shade again, softening in the second part a bit, due to the lead guitar domination, but the exiting riffs will crush you big time. "Sacromonte (Popcatepetl)" is another immaculate display of musicianship, a progressive thrash shred with slow haunting passages. "Spiritual Bleeding (Faces II)" is stomping doom/thrash, followed by the complex progressive thrash insanity "The Rain", which offers an unforgettable concoction of twisting riffs and moods plus brutal proto-death bashing. "Darkness Deluge" is the closing 8-min progressive thrash composition, mid-paced, with a constant riff assault, which only stops for another breath-taking quiet section in the middle, after which the cutting riffs carry on, speeding up a bit.

"Reflective Depths Imbibe" follows the same patterns offering a wild complex whirlwind of standout lead guitar work and some of the heaviest and sharpest riffs around. "Nomis Syas Eid" is the traditional menacing mid-paced track followed by the wilder frenetic "Gathered Suicide" which is aggressive up-tempo shred. "Aeolachrymation (Faces III)" is hypnotic and a bit monotonous, but "Cold Granitic Bliss" is a revelation: a neo-classical instrumental at its best, also graced by a very heavy rhythm section; the guy reaches heights here which a few heroes from the Shrapnel catalogue have managed. "Nocturnally Consumed" follows a similar path, but here Windham concentrates more on creepy atmosphere and ultra-heavy smashing riffs which overshadow the leads at times. "Glacier Walk In Me" is a more elaborate composition with the leads taking the upper hand again, and the closing "Salterello Presto" shreds and thrashes with full force, finishing the album with a whirlwind of first-class guitar performance. On this album the short lead-driven and orchestral instrumentals are more widely used, but are quite cool.
The demo is a surprisingly messy affair having in mind the high quality of the subsequent works; this is noisy semi-amateurish thrash/proto-death the man just jamming around, with only his lead skills acquitting themselves with more style. The several quiet lyrical sections also make sense from a musician's point-of-view, but the rest is one big impenetrable wall of noise... only for completists and die-hard Windham fans.

Do Not Fear… for Hell Is Here Demo, 1988
South Facing Epitaph Full-length, 1994
Window of Souls Full-length, 1996
Windham Hell EP, 1998
Reflective Depths Imbibe Full-length, 1999

My Space

WINDS OF PESTILENCE (USA)

Dark retro thrash/death metal which is mostly fast with weird spacey technical leanings recalling the more operatic arrangements of Nocturnus which also stay around for the slower material ("Wolf Groan"; the misleading creepy opener "Christ Bane"). There's a certain sense of melody as well, both in the guitar department and the slight keyboard background which boosts the technical performance also creating a stark contrast with the subdued low-tuned semi-whispered vocals.

Demo Demo, 2008

WINGED ASSASSIN (USA)

An early and fairly obscure entry into the early speed/thrash catalogue; the music isn't bad, actually, and will recall the Agent Steel debut, above all, with its vitriolic speedy riffs, as well as Exciter's "Violence & Force". The singer is a semi-declamatory throat who still exudes authority among the fierce guitar barrage the latter hampered by the very fuzzy production. Two more clever excursions into the speed/thrash metal spectre are offered near the end before the closing "Pig Slaughter" "slaughters" everyone with its full-on bashing assault. It's quite a curiosity, and definitely has its raw charm, and not only for the completists.

Demo Demo, 1985

WINGED WARRIOR (BELGIUM)

Raw primal thrash based on the early Celtic Frost "atrocities"; the music comes served with a hefty doze of speed metal which makes it a more dynamic proposition (check out "Virgin Rape") at times. Still, the morose mid-paced march is the dominant one, and the throaty deathy singer is the perfect fit for it with his low-tuned semi-declamatory antics.

The Coffin Unveiled Demo, 1985

WINGLESS (POLAND)

Modern thrash/post-thrash with dual vocal "duel": one harsh and shouty, the other more emotional and cleaner. The delivery isn't very fast-paced, but is more along the lines of a stomping mid-tempo with both the ballad and the doom standing by ready to interfere at every opportunity.

The Blaze Within Full-Length, 2016

WINGS OF DEATH (PUERTO RICO)

A really good one-demo-wonder with female vocals; the music is suitably intense and ripping, the proficiently executed semi-technicaller that is the title-track raising the bar right from the get-go, "Human Killers" moshing with the same level of passion and intricacy, the band confidently changing tempos frequently, introducing some less controlled death metal on the short pummeling "Infernal Soul". "Screams of Terror" is a supreme hectic shredder, another death-laced piece with fast entangled riffage which will recall both Nocturnus and Vacant Grave. The girl acquits herself with a spiteful semi-shouty death metal timbre, not making too many efforts to actually sing.

Fear of Darkness Demo, 1995

Youtube

WINGS OF SEVERANCE (USA)

This is modern thrash/death which follows the Swedish canons too closely to be a truly striking listen. Melody and speed come mixed in equal dozes the final result having a more interesting progressive flair ("Round the Roses", the diverse closing shredder "A Killer's Mark") at times, but this is largely a pedestrian fare the other less orthodox gimmick being the "brutal shouty/lyrical clean" vocal alternation.

Welcome The Afterlife Full-Length, 2017

WINNY PUHH (ESTONIA)

"TAAmba Odagu Praadimi Kunna: melodic jolly thrash/crossover, mostly in mid-pace, mixed with a big doze of heavy groove; things get more interesting when this groove grows into high-octane doom ala Cathedral ("Kolm Porsast", but don't pay attention to the rappy vocals). In the 2nd half the music loses inertia metamorphosing into alternative heavy rock ala Rage Against the Machine. There are ballads, jazzy/funky moments, and what not...
"Broznik" is an even more diverse offering now starting as a pure techno/trance affair with the dance floor hit "Wonderbra", and later on the guitars don't take a very big space the resulting mish-mash featuring proto-hardcore ala Biohazard, industrial, doom, funk, and of course, plenty of electronics. Don't bother...

TAAmba Odagu Praadimi Kunna Full-Length, 2006
Broznik Full-Length, 2010

WINTER OF TORMENT (UK)

Based on the "Immoral World" EP, these guys offer three songs of heavy mid-paced classic thrash metal which livens up on the last number "The Sacred Words" to cool headbanging proportions, but the first two are a bit dragging chugga-chugga experiences with not much variety. Late-80's Metallica seems like an obvious influence, and the final result is not far from their compatriots Slammer as well if we exclude the rough low-tuned vocals which still hold a melodic note. Some of the guys also played in the death metal formation Ectopia.

Immoral World EP, 1992
Black Sun EP, 1994

WINTERBORN (NEW ZEALAND)

Based on the full-length, these lads offer steam-rolling mid-paced thrash/death which works well as a squasher the monotony broken by the energetic "Rolling Thunder", and later on by the death metal-prone "Eternal Decay". "Into the Veil" is the highlight, though, with its more stylish technical arrangements. The vocals are guttural, but comprehensive death metal semi-shouts.

Into the Veil EP, 2014
Purgatory Full-length, 2016

Official Site

WINTERHEARTH (CANADA)

The full-length debut contains evil misanthropic black/thrash which can be quite brutal even on the longer, more epic compositions ("Witchcraft"). "Burnt At The Stake" is a really nice spacey progressive technicaller, and "They Own the Night" is the band's tribute to the Gothenburg scene. The vocals are the prototypical raven-like screeches with a more guttural death metal blend.
"Resettlement" is an even wilder offering now death metal settling in comfortably, especially in the beginning, but thrash comes back with "Coroner's Confession" to stay and blends very nicely with death metal on "Bloodthirst Of The Wicked" to produce the highlight on the album. "Gathering Of The Sheep" is a sudden switch to more melodic rhythms influencing a couple of numbers till the arrival of the closing 9-min saga "Vast Tundra" which remains an appetizing amalgam of fast raging riffs and virtuous sweeping atmospherics.
"Riverbed Empire" is a much more ambitious affair, starting with the 10.5-min odyssey "Marshlands", a cool nod at the epic/pagan tactics of Bathory's "Blood, Fire, Death". Thrash returns for "North Star, Be My Guide" but this is still officiant heavy stuff that also courts doom ("Sunset over Winter Corpses") along the way. "First Frost Harvest" is an effective noisy abrasive dirger, and "Beyond the Frosted Graves" is closer to the bombastic black metal confines as exercised by early Emperor.

Beyond the Frosted Graves Demo, 2013
Speak No Evil EP, 2013
Curse the Summer Full-Length, 2015
Resettlement Full-Length, 2016
Riverbed Empire Full-length, 2020

Official Site

WINTERISE (IRAN)

Intense retro thrash/death which is based around fast concrete cuts ("Black Shadows in My Mind", "Genocide"), but expect more moderate stompers ("Graveyeard") as well, the melodic sensitivity of "Mesopotamia" somewhat contrasting with the harsh shouty death metal vocals, the latter's hegemony broken by the sparse emergence of cleaner vocals on the downbeat atmospheric closer "Embrace Me".

Army of Undead Full-length, 2020

Official Site

WINTERMOON (POLAND)

Three tracks of doomy, mid-paced retro thrash with expressive, attached clean vocals and heavy, a bit abrasive, riffs. The officiant tone is "broken" on the last piece "Prayer Of Acknowledgement Of Serpent's Rulership (Light That Comes Out Of Black)" which speeds up a bit recalling early Celtic Frost's more dynamic material.

Face of War EP, 2011

Official Site

WINTERWAR (NORWAY)

Based on the debut: some nice melodic guitar work spearheads this modern melo-death/thrash fare which circles around relatively calm mid-tempo walkabouts, the harsh guttural death metal vocalist assisted by an angelic female soprano here and there. The quiet lead-driven instrumental "Blackened Lake" is surely a highlight, but both the more dynamic vehement "Trapped in the Cold Woods" and the choppy steady shredder "Axe Ablaze" at the end should make the fans jump around in appreciation. This band is the brainchild of just one musician, the name Jonathan B. Refsnes.
"A Warlocks Funeral" is a darker more brooding fare, the guys opening with the funereal doomster "The Dark Path", and later bet on beautiful melodic soundscapes as evident from laid-back anthems like "Frozen Peaks" and "Waves of Fire", with thrash showing up bravely in the second half with the nice hyper-active surprise "Evil Goat Queen" and the steady epic stroll "Survived the Winter", the closing title-track mirroring the opening one with its overt somber doom flair.

Wizard of the North Full-length, 2022
A Warlocks Funeral Full-length, 2023

Official Site

WIPLAS (THAILAND)

Based on "Wikvt Laea Srathaha", this Thai outfit serve modern power/post-thrash accentuated by abrasive groovy rhythms and quarrelsome shouty vocals; a few more energetic occurrences ("Cn Tnaohp Tey") emit the requisite amount of energy whereas "Khoma" is strictly on the heavy pounding side, the band seldom striving for the fast-paced dimensions, the galloping "Psac Sersth Kc" reviving the spirits for a short bit, the other wild presence being the closer "Cudch", a not very restrained hyper-active journey.

Cud Reim Khwam Tay Full-Length, 1994
Wikvt Laea Srathaha Full-Length, 1995

WISE SQUIT (POLAND)

Based on the "In the Dark Zone" demo, this act specialize in intense vigorous, well-constructed, thrash with very good bass support. The guys thrash with passion changing the pace adding the odd more technical hook here and there (the meandering puzzler "Ulica Mego Miasta") sounding convincing all the way through despite the obstructing not very clear sound quality and the slightly rough, not very audible, semi-death metal vocals.

Demo Demo, 1990
In the Dark Zone Demo, 1991

WISHCRAFTT (BRAZIL)

This formation started as Witchcraftt before adjusting their name a bit. The music at display is a larger-than-life mixture of thrash, power, doom, ballad, groove, crossover and alternative which is more on the romantic side of the style the guys never bothering to spice the process with the odd more aggressive break. Consequently, one may lose the plot quite often trying to define the band's style which has distant echoes from the later works of the German weirdos Pyogenesis and the Americans Wrathchild America. The singer has a convincing clean mid-ranged alternative voice which is not very adventurous, but suits the wide musical amalgam just fine.

Wishcraftt Full-Length, 2008

Official Site

WITCH HUNT (COLOMBIA)

Quite cool old school speed/thrash which boasts cool melodic leads, and besides that soaring "eagle fly free" tempos which are evident everywhere, from the sweeping early Helloween-esque opener "The Inquisitor" to the ripping tribute to Angel Dust's first that is the closing "Justicia Y Venganza". The vocalist is a bit of a sloucher at times with his not very rehearsed mid-tinged semi-clean baritone, especially when he pulls it towards the high-pitched registers. The album offers instant fast-paced hymns ("Hijos Del Fuego", "Margaret") alongside heavier, more atmospheric propositions ("Demon Hunter"), the fierce crescendos on "Witch Hunt" nicely recalling early Destruction. "Forces of the Night" is a calmer power/speedster in the vein on Iron Angel's "Winds of War", and the title-track goes for a more complex approach among bouts of intense vitriolic rhythms and a couple of quiet all-instrumental etudes ("The Beginning and the End").

Rock n' Roll Possession Full-length, 2020

Youtube

WITCH MASTER GENERAL (CANADA)

Based on the debut demo, this is entertaining heavy power/thrash metal which crushes onwards with ultra-seismic rhythms those inevitably acquiring certain doomy and epic tones not far from the Nasty Savage debut and Jag Panzer. The end is more than welcome: "On The Warpath" which is a faster cut with very good melodic leads breaking the settled monotony with style also giving an opportunity to the indifferent clean mid-ranger singer to try a few more dramatic higher notes. The production is quite muddy hampering the guys' efforts except on the closing instrumental acoustic piece of serenity "Winds Over Salem". Some of the musicians had another project at around the same time: Infrared, where the style was more aggressive, still within the thrash metal confines.
The "Discontent" demo is less inspired the band sounding more power metal-like with not much intensity offered the mid-pace settling comfortably in without producing anything too interesting. The good soulful clean singer is the highlight, apparently a new throat stepped in to replace the weak vocalist on the first demo.

Winds over Salem Demo, 1988
Discontent Demo, 1989

WITCH TRAIL (BELGIUM)

Based on the full-length, these folks deliver corrosive crusty thrashcore which at times introduces both a shade of black and death metal the mish-mash topped by a rending shouty deathly throat. The music by all means makes sense on the more melodic cuts ("The Light Spells Doom"), and even slows down on the cool dramatic "Nithera". "Night" is almost pure doom, and the closing "Altered State" will definitely "alter" your "state" with a delightful portion of dissonant, discordant guitars trying to capture the early magic of Voivod on a more aggressive and modern background, and remains the stylish highlight on this fine intriguing effort.

The Witch's Trail EP, 2013
Call from the Grave EP, 2015
Nithera Full-length, 2015

Official Site

WITCHAVEN (USA)

The band's first demo is evil black/thrash ala early Bathory and Venom: the second one is definitely the better one featuring fast, aggressive thrash similar to early Kreator and Slayer, but played considerably faster. There's enough potential displayed here to be further materialized into an official release.

"Terrorstorm" is that official release although it arrives after a lengthy 3-year break during which time the guys found time to release two compilations (!) and take part in one split. Fans of retro thrash won't be disappointed especially those who like it with a slight pinch of old school black metal. Again Slayer and early Kreator remain the main driving forces behind the influences (except for the great tribute to Destruction at the end made with the speedy thrashfest "Unholy Copulation" which strongly recalls "Mad Butcher" and "Total Desaster" put together) so expect fast merciless music with sharp biting riffs and short melodic leads, seldom stretching into bleak atmospheric black metal landscapes ("Empty Chasm") where also the vicious husky vocals belong. The band members are also involved in another classic thrash metal formation: Infantry.
"Blood Sacrifice" is another decent offering and the band thrash with no remorse adding black metal to their thrashy "menu" which hits the top on the epic stomping "Monsanto Death Machine" although the faster-paced material isn't bad at all: "Aquisition Mortality", "Puppets On A String"; it's just that the band apparently pay more attention to their more laid-back side here which occupies at least half the space and provides the more memorable moments, check out the rousing doomy chops on the closing "The Golden Rings Of Blood", among other niceties.

The Vehemence of AttackDemo, 2006
Black Thrash Assault Demo, 2007
Terrorstorm Full-length, 2010
Blood Sacrifice Full-Length, 2014

My Space

WITCHBURN (POLAND)

Based on "The Roots of Darkness and Evil", this duo specialize in brisk intense retro black/thrash which blasts through the speakers with the utmost intensity resembling early Bathory on the shorter material ("The Plague"). "Under the Ashen Sky" is a surprisingly lyrical melodic number, but works fine alongside the heavier doomy closer "Myszeis" which wraps on this album in a fairly restrained, albeit quite attractive, fashion; a total contrast to the aggressive surroundings.

Following the Witch Full-length, 2012
The Roots of Darkness and Evil Full-length, 2017

Official Site

WITCHBURNER (GERMANY)

One of the better German thrash metal bands of recent years; the style is well executed speed/thrash metal along the lines of Destruction, Toxic Shock and early Deathrow, with husky witch-like vocals coming as a cross between early Mille and Ingo, the early Necrodeath singer. Every album is a must for fans ot those bands and for fans of quality old school thrash metal in general. Some of the musicians have another old school thrash metal project: Dangerous Force.
"Demons" is not a betrayal to the guys' fans, and thrashes confidently the whole time. "Break The Skulls" starts the album in an energetic tempo which is well translated on "Satanic Majesty" and the varied, but still pretty speedy, "Seeds Of Evil". Deviations from the hard course are not excluded: "Dynasty Of Fear", a heavy squashing "tank"; the dynamic mid-pacers "Beheaded By The Axe" & "Savage Intruder". Run for cover on the closing "Raise The Blade", a blistering speed/thrasher ala Exumer and early Deathrow.
"Bloodthirsty Eyes": the "witchburners" are back to serve their expected portion of vicious old school German thrash and their fans will have no reasons to worry: their idols would hardly ever sell out. The fiery riffs will attack you incessantly from all sides all the way to the end with seldom a break from the lashing provided: "Master and Slave" is a calmer power/thrasher, but be prepared to be smitten on the following string of blitzkriegers which culminate on the formidable Angel Dust-esque speedster "Apocalyptic Visions". The new vocalist is a bit harsher and lower-tuned, kind of less suitable, sounding too quarrelsome and death metal-like for the band's thrash assault.

Witchburner Full-length, 1996
Blasphemic AssaultFull-length, 1998
Incarnation of EvilFull-length, 2001
German Thrashing WarEP, 2002
Arrival of the Last Storm/Dead CityEP, 2003
Final DetonationFull-length, 2005
Blood Of WitchesFull-length, 2007
Demons Full-length, 2010
Bloodthirsty Eyes Full-Length, 2013

Official Site

WITCHCORPSE (COLOMBIA)

These Colombians pull out cool old Germanic speed/thrash "courting" early Destruction and Necronomicon, above all, producing nice lashing moments along the way, despite the screamy guitar tone. Both melody and slower sections are introduced (check out "Total Holocaust" for both) to make things more appealing including the pure speed metal track "Camino De Libertad". "Speed Attack!!!" is indeed a speed attack, a raging instrumental, an obvious nod to Destruction's "Thrash Attack" from the "Infernal Overkill" album; well played with the noisy guitars ruining the situation a bit on the lead section. The vocalist has a suitably gruff, semi-whispered, timbre distantly reminding of Schmier and Ken Kennedy (Criminal Justice).

Total Holocaust EP, 2011

Official Site

WITCHCRAFT (CROATIA)

This band is a side project of the singer and guitarist of the best Croatian thrash metal act of the 80's Evil Blood: Dennis "Gabric" Harris (this is his English name which he acquired after the band's relocation to England). The music on this album has little to do with Evil Blood's frenetic Destruction-influenced thrash, but is a very nice take on progressively-tinged power/speed/thrash metal similar to Liege Lord and Helstar. Some of the band members later got involved with the heavy metallers Dean Harder, Vatrene Ulice, and Black Dog.
The 2024 recording is the demo with a scrambled track list, "Burn Witch" moshing with all the passion the guys can muster, the very melodic high-pitched singer the best possible choice for the hyper-active musical circumstances. "Seventh Sabbath" is a lively speed metal winner, and "Pray to Die" is another sweeping fast-pacer, recalling the exploits of the the guys' US counterparts Liege Lord and the Germans Scanner. "Trust in Evil" is a more threatening speed/thrasher, and "Sinful Nun" darkens the horizon with tenebrous volcanic riffs, the only composition here which slows down, if we exclude the several balladic segments on "To Hell and Back". The production qualities haven't jumped a notch, intentionally or not, but this is simply too good a music to be sidelined for this unmitigated defect alone.

Eternal Sea Full-length, 1988
Eternal Sea Full-length, 2024

Official Site

WITCHCRAFT (DENMARK)

This is heavy doomy thrash/death metal (more death than thrash) which develops in a solid mid-tempo (excluding the blasting cut "The Mask of Rage"), and slight technical deviations ("Slaughter (Where I Was Born)". "Hope for thy Truth" is a cool epic piece, and generally the tone is not very harsh infused with fine melodies which contrast with the brutal low-tuned vocals.

Sworn to Despise Full-length, 1996

WITCHERY (SWEDEN)

Witchery were formed by members of the death metal band Seance who, after a few years of absence, have decided to return to the music scene in a slightly different form. The band's style has very little to do with death metal: it is nice classic speed/thrash with modern production and somewhat black-ish vocals which fit well in the overall picture. The sound has been consistent throughout the albums, but "Don't Fear The Reaper" partially abandons the standard thrashing, and introduces black metal passages, atmospheric parts, and even death metallic blast-beats. Might be startling for the band's fans at first, but this is another professional work which would probably take more time to be fully appreciated. The "Witchburner" EP is an all-cover effort featuring "Fast As a Shark" (Accept), "I Wanna Be Somebody" (W.A.S.P.), "Riding on the Wind" (Judas Priest), and "Neon Knights" (Black Sabbath).
The guys leave all their other obligations aside for the recording of "Witchkrieg" which sees a whole pleiad of guest musicians adding their stylish touch to the proceedings: Kerry King, Andy LaRocque, Hank Sherman (Mercyful Fate), Gary Holt (Exodus), Jim Durkin (Dark Angel), etc. It also introduces the new "throat" Legion who is known from the black metal act Marduk and the black/death/thrash metal hybrid Devian. So shall we expect a further elaboration on the diversity offered on "Don t Fear the Reaper"? Well, at least in the beginning the fixation here is on hard-hitting retro thrash with not too many bars held although things again slacken later. The title-track is a prime lasher, fast and furious, and the next "Wearer Of Wolf's Skin" goes up the scale adding the odd proto-death "decoration". "The God Who Fell From Earth" is already the slower deviation into the fields of doom influencing "Conqueror's Return" which is a tad edgier, but still pretty non-dynamic, the latter coming aplenty on "The Reaver", a fast relentless headbanger. The bad news is that the remaining three numbers stand no chance against it being a bit dragging much less energetic and repetitive. If the diversity on the preceding album was in the form of impulsive aggressive passages, here it's mostly of the not very exciting mid-paced, semi-doomy type which hardly does the guys justice.
"In His Infernal Majesty's Service": James Bond has turned to the dark, black/thrashy side judging from the album title. The supergroup has now added the drummer Christofer Barkensjo (Carnal Forge, Face Down, Serpent Obscene, etc.) to their ranks, but the man doesn't strain himself too much since the delivery is again not that spectacular the guys thrashing with a lot of heaviness sacrificing the speedy passages from the past the officiant, mid-paced delivery still working well on the more stylish material("Nosferatu"). On the other hand, the shorter cuts ("The Burning of Salem", the brutal proto-death "Gilded Fang") are pure outbursts of rage playing against the more laid-back, power metal-based songs ("Empty Tombs", the atmospheric saga "Escape From Dunwich Valley"). "Oath Breaker" is a highly dynamic closer making this opus sound more intense despite the considerable time spent on more pensive sounds which are hardly the guys' most beloved ones.
"I Am Legion" is the next in line larger-than-life saga, the band trying their hands on everything here from epic doomy dirgers ("True North") to bouncier, livelier thrashers ("Of Blackened Wing"), to pure early Bathory worship ("Amun-Ra"), not to mention the brutal deathly escapades ("Seraphic Terror"). "The Alchemist" seems to deliver the best, a diverse raging piece which soars above the pretty mediocre material offered here.
"Nightside" is another stylistic diversifier, the band throwing themselves from all-out raucous thrashing (the opening "Witching Hour") to playful dirgy hymns ("Don't Burn the Witch"), to epic officiant strollers ("Storm of the Unborn"). Thrash tries to dominate, and thanks to a couple of short exploders ("Churchburner", "A Forest of Burning Coffins") it manages to take the upper hand eventually on this abrasive crusty opus.

Restless & DeadFull-length, 1998
WitchburnerEP, 1999
Dead, Hot And ReadyFull-length, 1999
Symphony for the DevilFull-length, 2001
Don t Fear the ReaperFull-length, 2006
Witchkrieg Full-length, 2010
In His Infernal Majesty's Service Full-Length, 2016
I Am Legion Full-Length, 2017
Nightside Ful-Length, 2022

My Space

WITCHES (FRANCE)

The debut: an outstanding progressive thrash metal band with a female singer (you would find it hard to believe) who is, by the way, a sister of a member of Agressor. The basic style is aggressive and predominantly fast calling to mind Necrodeath, Hellwitch, or early Massacra, but there are quite a few balladic, atmospheric passages embedded into the hyper-active structure. The tempos and moods change quite often: check out the very diverse, but highly entertaining "Code Name: Experiments". The album opens with the brutal fast track "Horror Museum" which creates the impression that this album would very soon turn into a full-fledged death metal affair. "Crystal" follows suit keeping the speed, but adds great technical guitars and things really become interesting. "Mirror of Memories" is a colossal song which in its 10-min contains everything that progressive metal stands for. "High History" is the only break from the intensity of this album offering slow, even balladic passages in the beginning. "The Eye" makes up with the most aggressive riffage bordering on death metal. This is a really entertaining combination of thoughtful, progressively-tinged thrash and aggression.

"7" (the band like playing with numbers, but what they stand for... only they know; anyone?) brings the band back in the game after a lengthy, 13-year pause. The guys haven't forgotten to play, and although the guitar work is a tad more melodic, all the right ingredients have been handsomely introduced on the excellent opener "Difficile de Croire" which thrashes with all the old vigour familiar from the fabulous debut. The title-track is a short ripping thrash/crossover delight with both steel and melodic riffs taking turns in a frolic, roller-coaster like effect. "SMF" is a nice surreal shredder with more serious progressive build-ups, a not very predictable number with a wide array of time and tempo changes bordering on the overtly technical cancelled by the alluring melodic finale. "Who Was?" may be considered a relative waste of space being a complete acoustic, ambient piece lasting for 5.5-min. "All Is in Proportion" quickly compensates for these several minutes of pure serenity with wild raging guitars the band still finding the time to insert a few stylish melodic tunes. "When Everyone Is Asleep..." is a standout progressive thrasher with psychedelic touches ala Voivod the album going deeper into the rabbit hole with funky passages involved on "Dead Whereas Innocent", and poignant balladic motifs bizarrely blended with some hard thrashing, the eccentricity reaching its culmination on the closing "Remember", a weird doomy composition with eclectic melodic configurations recalling the early exploits of their compatriots Misanthrope, on top of some outlandish rhythmic patterns with echoes of Confessor. This is a fairly original recording that doesn't sound very close to its predecessor, but sees the guys (and a girl) entering a more thought-out, more complex realm where there will be by all means a place reserved for them.
The first demo shows a band already able to pull out good, aggressive thrash resembling Holy Moses quite a bit including, of course, in the vocal department where the girl just rends hysterically at this stage although her antics are comprehensive and kind of more soothing than those of Sabine Classen. The approach is energetic with "Thrashing Witches" deserving its title with sharp vigorous riffs. "Silly Symphony" is a bit silly, though, mixing too much within a not very big structure including awkward blasts which take a bigger part on the following "Baby's Rebellion": a short explosive deathster with a nice melodic mid-break. Later on the music becomes more controlled, but remains in the brutal death/thrash camp, the final "Moment of Distraction for Deep Sleepers" being an outrageous grinding cut lasting for about 2-min.

The "Mort Ne" demo is a less stylish affair starting with the engaging progressiver "Difficile de Croire" which is also one of the best songs on the sophomore, but later on the sound degenerates to much more simplistic cuts which spread for a few minutes before the guys hit the stride again at the end with "Cette", another very cool technical jumper with a nice surreal edge present. Albeit uneven, this effort shows one of the most talented French acts still in good shape before the ambitious endeavour which the sophomore album was.

"The Hunt": what a spectacular new showing for these irregular Frenchmen (and a woman). Meet the best thrash metal album of the year 2015 bringing to your door the essence of the genre within just over 20-min. Yes, it's that short making you cry for not containing at least two more numbers to wrap it up at least till the half hour mark... This is pretty much "Reign in Blood" of the new millennium, a tight compact masterpiece which more sophisticated, technical edge may even be the better proposition than the Slayer magnum opus to some. From the line-up responsible for the previous two albums it's only the diva Sibylle Colin-Tocquaine who's left, the vocalist and a guitar player who has "conjured" three other musicians to assist her in the creation of this vigorous roller-coaster which tone is set by the blitzkrieg opener "No Matter If the Wind...", stripped-down headbanger it its unbridled best. "Jump with Fright" goes up the aggression scale touching death metal also featuring an intriguing technical mid-break recalling the band's earlier exploits. "So Cold" begins in a more lyrical, restrained fashion, but the guys (and a girl) start shredding with reckless abandon soon after still preserving the curious technical flair which is also boosted by short blast-beats later on. "Riding and Hunting" is the ultimate speed/thrasher, a non-stop whirlwind of riffs which will shatter your senses beyond repair within just 3.5-min. "Up'n'Down" is more on the brutal-ish thrash/death metal side, but "Serial" returns to a speed/thrashy territory closing this great shorter with aplomb also adding a few uplifting melodies at the end.

Colin-Tocquaine is in top form and she remains one of the "holy three" of female brutal death metal-ish singing, alongside Sabine Classen (Holy Moses) and Angela Cossow (Arch Enemy). However, this short effort here beats the last few works of those two bands by miles, a glorious representation of our favourite thrash at its most shining best. Again, it could have been longer also having in mind the band's very irregular presence on the scene, but one could always expect Classic Thrash Mastery Part Two to be released not far from now...
"The Fates": Colin-Tocquaine is back in business with another ripping headacher that is quite close in spirit to the preceding showdown. So expect short fiery cuts to leave indelible marks all over your body, maybe even bigger than before as the "witch" has incorporated black and death metal into her already pretty intense skeleton, with "We Are" traditionally suggesting at more technical things to be present, but speed and dynamics are the order of the day through and through, the band nailing a bullet after bullet ("Damned Skin Is Mine", "Inside") with the utmost precision and intensity, the surprise being the elegiac doomster "Black from Sorrow" which erupts into fireworks of bombastic hyper-black towards the end. "Feared and Adored" brings the winds of death with it, enhancing the aggressive setting which is another testimony to the unbridled adventurous spirit of France's most metallic diva.

Agressive Soap Demo, 1989
3.4.1. Full-length, 1994
Mort Ne Demo, 1997
7 Full-Length, 2007
The Hunt Full-Length, 2015
The Fates Full-Length, 2020

Official Site

WITCHES HAMMER (CANADA)

Based on the "Canadian Speed Metal" best of compilation, the band plays simplistic, roughly produced speed/thrash with a street/hardcore-ish attitude. The songs are all of the same type: up-tempo, only rarely going for full speed ahead; "Legions of the Undead" is an exception to the rule (one might really start to wonder what this music has to do with Canadian speed metal...). Listening to this compilation, it's not hard to see why this band never got signed.
"Damnation Is My Salvation": wow, if this isn't an unheralded comeback, I don't know what is... straight from the deep Canadian underground rise one of its most prominent representatives from the glorious 80's... don't expect any changes style-wise, though, as the guys mosh on with little restraint, the violent proto-deathster "Across Azeroth" setting the tone for this hyper-active opus which goes a level up the aggression scale with the short ripping "Solar Winds". The marginally more complex early Destruction-esque title-track move things around in a less predictable fashion, but there's no mercy whatsoever on furious downpours like "Within the Halls" and "Witches Hammer", the guys reveling in their simplistic unpretentious but effective art.
"Devourer of the Dead" exudes a similar flair of aggression, the band moshing onward with very little ado, with short bursting assaults ("Thawed from Ice", "Rabid Captor") peppering the landscape, the brutal proto-death explosion "Fatal Attacker" ravaging the senses, also with a more intricate veneer, instigating a more aggressive streak in the second half, the chaotic violent closer "Shadows of Time" another fuller-fledged tribute to the good old death.
Witches HammerDemo, 1985
Damn Fuckin' RightsDemo, 1986
MortalasEP, 1987
Canadian Speed MetalBest of/Compilation, 2003
Death of No ReprieveEP, 2004
Complete Discography (1985-1988)Best of/Compilation, 2005
Stretching Into Infinity Best of/Compilation, 2005
Damnation Is My Salvation Full-length, 2020
Devourer of the Dead Full-length, 2021

My Space

WITCHES HEX (AUSTRALIA)

Diverse, not very predictable retro thrash which shows a lot of ambition with some long complicated numbers ("Maker Of Dreams"), but at the same time the relaxers (the galloping delight "Defiance Of The Gods"; the entertaining blend of doom and speed metal on the title-track) are all over the place. The vocalist is a dramatic shouty semi-cleaner who sounds pissed at times for no apparent reason.

Of What's to Come Demo, 1992

WITCHES MARK (USA)

The EP: a fairly good attempt at resurrecting the glorious 80's US power/speed metal spirit by giving it the desirable thrashy colouring. "Salem's Fire" is the definitive "horse rider" with sharp cutting guitars, good clean mid-ranged vocals, and a few piercing leads. "Cauldron-Born" is a heavy seismic power/thrasher with an epic flavour which picks inertia little by little to reach a nice melodic exit. "Ethereal" elaborates on the epic power metal elements which get quite aggressive on the hard-hitting closer "A Grim Apparition", another volcanic number with the staple more peaceful ending, this time acquiring a cool doomy shape. The guys are hardly aiming at re-inventing the wheel, but their dedicated approach to the old school will please fans of Jag Panzer, early Omen, Attacker, etc.
"Witching Metal Ritual" is another no-brainer for the classic metal lovers starting with the speed metal delight "Bringers of Heavy Metal Death" which more appropriate title would have been "Bringers of Classic Speed/Thrash". The speed/thrash assault carries on with the next blitzkrieger "Salem's Fire", already heard on the EP, and the heavier epic "Swarm". In the middle the album acquires a more officiant, almost doomy ("We Die"), tone which grows into the formidable steam-roller "Cauldron Born". The title-track speeds up again before the final "Where None Can Follow" crushes you with the exiting portion of volcanic power/speed/thrash riffs served with a tinge of Manilla Road-esque epic. Along with Attacker and Vicious Rumours in 2013, this band is another major resurrector of tunes buried, but not forgotten.

A Grim Apparition EP, 2009
Witching Metal Ritual Full-Length, 2013

Official Site

WITCHES OF MOODUS (USA)

Based on "Anthropophagy", this outfit specialize in varied classic metal of which thrash occupies some space, sharing the stage with power metal and crossover. Epic sprawls ("Last Bride of Salem") take turns with brief corrosive frolickers ("Mausoleum"), the rough semi-clean/semi-clean shouty singer ravaging the environment with his effective quarrelsome tirades. "The Morbid, The Bury'er" is a wilder thrashier tractate, but apart from the bashing "Moodus" and the vitriolic galloper "Nightmare In Nuremberg" there isn't much aggression elicited from this entry which also serves the progressive amalgam "Tale of Jimmy Bludsoe" towards the end.

Anthropophagy Full-length, 1997
Transvection Full-length, 2001

Youtube

WITCHGRINDER (AUSTRALIA)

Based on "Haunted", these Aussies try to inject a hefty doze of industrial into the modern thrash formula and actually manage to turn this into a playful catchy "opera" lined up by hard-hitting guitars and even several less ordinary technical decisions ("Our Nightmare"). Purer non-contaminated thrashers ("The Butcher") are also here, but their linear aesthetics can't stand on the way of intense industrial miasmas like "Bloodlust" and the bombastic, larger-than-life closer "Eyes To Stone" where exquisite melodic leads put the final touch on this diverse engaging listen.
“Nothing Stays Buried” carries on the same path, the playful aesthetics of “Dead by Dawn” sitting more or less comfortably next to heavy stomping strolls (“Queen of Sin”) and more virtuoso-prone sagas (“Upon Cursed Grounds”). The choppy groovy “Left for the Rats” is another more or less lively injection, whereas “Nothing but Fire” is a surefire headbanging fest, closing this effort with fiery aplomb.

Through the Eyes of the Dead EP, 2010
The Demon Calling Full-length, 2013
Haunted Full-length, 2015
Nothing Stays Buried Full-length, 2024

Official Site

WITCHHAMMER (BRAZIL)

Another cool thrash metal band from Brazil; they like to spice things up with more pop-ish numbers ("Mad Inspiration" from "Mirror My Mirror", or "Call-X" from "Blood On The Rocks") which create a slightly unfocused impression and the feeling that the band wanted to be something more than just a thrash metal act. I don't think they should have any other aspirations as the thrash they play is quite enjoyable, and it doesn't need any additional pushes from other genres. "Mirror, My Mirror" is the band's best work, thrashing no worse than the Bay-Area heroes (the title-track, the great riff-fest "Underground Ways"). "From a Suicide Man to God" is a slower, heavier track with a cool balladic ending, a tendency further perfected on the tender, aforementioned "Mad Inspiration". The heavy stomping riffage remains for "A Party For The Sunrise", this time accompanied by genuine semi-technical guitars, and a faster section, an awesome track, the highlight of the album. After that the more direct, intense thrashing comes back with a nice melodic, crossover twist on "Hair" where you can turn off your players since the last "The Lost Song" (it was rightfully lost if you ask me; who the hell found it?! Shoot him!) is a bland unnecessary joke blues, an ending which this good release simply doesn't deserve.

"Blood On The Rocks" is a worthy, but not a better, follow-up. It has a similar, good intense opener (the title-track), but the next "God's Growing Older" betrays the intensity, being slower, and not as cool, with a bad modern section. "The Leather Boy-The Orchestra" is even worse, more modern, and much longer (more than 9-min); some of you might lose interest in hearing what's offered later if not right now, at least on the very next short rock-ish variation "Call-X". The guys, however, still hold thrashy surprises for those who are still around and here come the much more convincing "Looking For War" and "Bitter Night (Far From Home)" which hold the fortress for a while, but the coming of the power/doomy "Path to the Cemetery" slow things down once again. The closer "Terrorist Prize" comes and saves being a fine little aggressive thrasher with a strong bass performance (which was kind of missing on the other tracks).

"Ode to Death" is another attempt made by a veteran to come back to the scene. So did these guys succeed in resurrecting the old spirit? Well, to some extent although this new offering is quite uneven stretching from pure hardcore/crossover takes to much slower, almost epic-tinged, songs. Still, the displays of bad taste aren't many at all, if any, as at least half of the numbers (the album is 13 songs) are pretty cool up-tempo thrashers of the simplistic direct variety. The vocals are a downside being rough drunken-sounding adding the odd more brutal low-tuned death growl, certainly not the most appropriate choice for this kind of music.

The First And The Last Full-length, 1988
Mirror, My Mirror Full-length, 1990
Blood On The Rocks Full-length, 1992
Ode To Death Full-length, 2006

Official Site

WITCHHAMMER (NORWAY)

So apart from the technical thrashers Equinox there was another quality thrash metal band from Norway back in the old days. This band's style is not as technical, at least not as overt as the one of Equinox; their music moves along the lines of early Helloween and Iron Angel with calmer heavy metal sections inserted; a definite influence on the power/speed metal wave which started a few years later. "1487" is a great debut; the excellent speed/thrash opener "Transylvania" will stun you with great smashing riffs carrying also a genuine melodic shade. "Kill All In Sight" is a marvellous combination of heavy, smashing and fast guitars. The heaviness takes the upper hand on "The Burning Court" which slows down considerably. But when "The Whore Of Babylon" continues in the same, even more melodic, calmer vein, one might start getting worried that the awesome start was just a disguise. "Enola Gay" arrives to lay the spirits to rest with a faster, more aggressive sound, and nice, albeit a bit cheesy, chorus. Two more tracks in the softer mould follow, a situation saved by the more aggressive power/thrasher "By This Axe I Rule", and the closing speed/thrashing assault "Curiosity About Death" where even the happy sing-along chorus sounds great.

"The Lost Tapes" was recorded as an immediate follow-up to the debut, but it got lost on the way to the labels and saw the light of day ten years later (hence the title); the music is pretty much in the same vein with a bit more concentration on thrash metal. Quite a few of you might find it the more satisfying listen, and rightfully so. "Human Rights" starts with more aggressive, Bay-Area guitars and a nice technical edge- a really good thrasher, the highlight of the album. "Confrontation" is slower, but quite technical as well, recalling Metallica's "...And Justice For All" with the pounding guitar sound and the great bass bottom. "No Name" speeds up, reminding of the debut, but in a heavier, more technical way, followed by the cool up-tempo "Deliver Us From Evil" (which is not a Deadly Blessing cover), again recalling late 80's Metallica. "Beware The Child" is the longest track, occupying the middle, similar to the previous one. The rest are shorter, more immediate, but equally as heavy pieces, finished with the excellent "Touch of an Angel", with a nice chorus. The singer Per Stele Pettersen is truly a find with his mid-leveled, clean voice with the unique ability to sound both sinister and aggressive, and melodic and emotional. His participation in the dark/gothic act Con Anima will hopefully not be an obstacle for the band to record something new soon.

"Chapter 3: In Serenity And Awe": the band continue to release albums on very long intervals every time changing something in the approach now sounding well more epic and power metal-inclined. Thrash is barely touched on the more aggressive material ("Headman") the rest being longer and considerably slower with inevitable adherences to doom ("Hate"; the excellent nod to Candlemass "Redeemer of Souls"). The epic cut "The Whore of Babylon" from their debut is given in a live form at the end, to strengthen the band's statement that they are moving in a different direction away from their speed/thrash roots. One won't know what to make of this album, really: it's good music all along, but kind of doesn't suit them, the band having had so much thrash passion in the past now sounding like a more modern version of Heavy Load and early Jag Panzer.
The 1995 demo is the band's surrender to the numetal groovy vogues; this is clumsy uninspired stuff which ironically becomes more vivid on "The Silence", the pounding drama on "The Face of War" a total waste of time, even coming close to rap at times, the good clean vocals seriously misused on this rehashed banal entry.

1487 Full-length, 1990
Demo Demo, 1995
The Lost Tapes Full-length, 2000
Chapter 3: In Serenity And Awe Full-length, 2011

Official Site

WITCHHAMMER (USA)

This is wild bashing thrash/proto-death with an interesting vocal duel occurring throughout, one side being vicious deathly, the other high-strung clean. The music makes sense on the more controlled shredder "Unholy Death" and on the slow-burning pounder "Unknown Title", the latter also graced by screamy but effective leads. "Life Turns to Dust" is a curious chaotic semi-technicaller, the highlight on this charmingly dishevelled recording which also boasts decent production qualities.

Demo Demo, 1990

Official Site

WITCHHUNTER (MEXICO)

Based on the "Inmortal Dreams" demo, these Mexicans play wild intense thrash/death metal the good musicianship marred by the awful sound quality. Still, the guys try hard and their approach may have been an influence on their compatriots Mortuary who appeared soon after. The tempo is fast but never to the point of senseless brutality "the cream of the cake" being the very good cover of Sepultura's "Troops Of Doom" at the end. The singer is clearly heard his rending guttural tone one of the first successful attempts at death metal singing.

Witchhunter Demo, 1989
Inmortal Dreams Demo, 1990
Procreation of Souls Demo, 1992

WITCHIN (USA)

Based on the "From the Underground" demo: heavy pounding power/thrash metal sounding closer to the 80's US scene than to its German counterparts relying on crushing, but pretty derivative, riffs and galloping rhythms, but the music is repetitive and uninspired also introducing unnecessary heavy/power metal hymns ("Fucked up World") to no avail. The singer additionally ruins the picture with his gruff unrehearsed tone which never changes, even on the more atmospheric balladic passages.
The "The Lost Tapes" demo contains semi-amateurish classic power/thrash which is too clumsy to make an impact, especially during such anti-thrash times like the 90's. The vocalist is a non-rehearsed semi-cleaner, pitching it higher on the dramatic pounder "Eternal High", the only track that make may make one raise his/her eyebrows for a bit… oh, and the short 2-min hectic all-instrumental tractate "Track 16".

The Hour Approaches Demo, 1988
From the Underground Demo, 1990
The Lost Tapes Demo, 1993

Official Site

WITCHING HOUR (GERMANY)

The debut: for fans of classic Germanic speed/thrash this album would be a no-brainer. Fast sharp riffs will start nailing you from the first note of the opener "Rise of the Desecrated" topped by the hellish black metal vocals; look no further than early Angel Dust, the Portuguese Alastor, and the Swedes Cranium. The speed/thrash metal madness never stops, even gets more extreme on "Vlad the Impaler" for a while where a few raging blast-beats can be heard; "Blood In The Alleys" is not far behind in terms of aggression being ultra-speed metal with cool melodic decorations. The only place where the guys betray their uncompromising attitude is on the closing "Cold Grave" which features a short epic moment recalling the mid-works of Bathory (R.I.P.).
"Past Midnight...": the melodic playful instrumental title-track which opens the album may mislead you that the guys have softened down, but once "Under Evil Spells" hits you, you will instantly recognize the unbridled speedy antics of the band which this time are oriented more towards purer speed metal with the overall approach quite close to the Finns Solitaire. The melodic hooks have been increased contrasting with the gruff deathly vocals. Consequently, the musical delivery has been simplified compared to the more compact sound of the debut, and now all the tracks merge into one roller-coaster speedy opera which may pass unnoticed through your ears at first listen since there are neither highlights, nor any deviations whatsoever.
"...and Silent Grief Shadows the Passing Moon": wow, that title is quite the mouthful, and the music remains on the more engaging side with the larger-than-life title-track which is a sprawling doom epic, actually setting the tome for most of the material which will disappoint the band old fans as there's very seldom bite and edge to be come across, the melodic speed metal-ish shenanigans on "Sorrow Blinds His Ghastly Eyes" more of a dynamic fill-in than an intentional rowdy spasm. In fact, thrash is almost non-existent here if we exclude the more belligerent motifs from the closing black/thrash/speed amalgam "As I Walk Among Sepulchral Ruins".

Rise Of The Desecrated Full-length, 2009
Past Midnight... Full-length, 2011
...and Silent Grief Shadows the Passing Moon Full-length, 2018

Official Site

WITCHMASTER (POLAND)

Based on "Masochistic Devil Worship", this is a band who manage to put into one album quite a few styles; the base is classic black/thrash metal- think early Bathory, Kreator, Sodom, but with both musicianship and production qualities considerably better. On the other side some songs carry this light crossover, and even punk attitude which works quite well combined with the rest. Throw a slight pinch of old school Floridian death metal into this already non-standard mixture, and you'll get music which would be appealing to a wider circle of metal fans.
"Troccizna" carries on in the same spirit, thrashing far and wide, adding maybe too many blast-beats to delight the thrash metal fan, but all-out thrashers like the more controlled mid-paced smasher "Two Point Suicide" (minus the very brutal ending) and the furious opener "Trucizna" should keep them happy.
The "Smierc" EP moves towards the death metal side still preserving the black/thrash idea, but the approach is again aggressive with quite a few blasting moments topped by brutal guttural death metal vocals.
"Antichristus Ex Utero" is more relaxed and consequently more appealing the blast-beats now not that annoyingly many replaced by cool diverse melodic tunes making short rippers like "Attack and Release" and "She Said Red" a pleasure to listen to. Still, this remains a pretty intense listen with plenty of aggression applied all over spiced by attached comprehensive semi-death metal vocals.
"Kazn" is a crusty aggressive fare, the guys blasting with verve for at least half the time ("Alle Gegen Alle", "Poison Chalice") with black metal taking over almost completely by the end, the epic thrashy "Circle of Bayonets" the oasis amidst this wild brutal downpour which is definitely not for the squeamish.

Violence & Blasphemy Full-length, 2000
Masochistic Devil Worship Full-length, 2002
Witchmaster Full-length, 2004
Troccizna Full-Length, 2009
Smierc EP, 2012
Antichristus Ex Utero Full-Length, 2014
Kazn Full-Length, 2022

My Space

WITCHSLAUGHTER (GERMANY)

A long 11-song demo, or rather a rehearsal, presenting ultimately brutal, grinding thrash/black metal; a raw, amateurish affair developing in very short 1-2min tracks, generally very fast, topped by very unintelligible growling, pig-like vocals, compared to which even early Andy Kaina (Messiah) would sound like Bruce Dickinson. It's amazing that the same musicians are also involved in the much softer heavy metal act Scalare...

Priests of Profanation Demo, 1999

WITCHTOWER (GERMANY)

Based on the debut, Witchtower play Gothenburg-styled death metal mixed with thrash; the music recalls a thrashy version of Dark Tranquillity. The seventh song is a cover version of Deathwitch's "Beast of Holocaust".
"Faster than Death" contains much more classically-charged thrashy numbers, and although the Gothenburg influences are still here, this effort is much more on the thrash metal side with really cool headbangers ("Generation Genocide", "Faster than Death") spiced with deviations from the formula: the short acoustic instrumental "In Conspiracy", and the jolly thrash/crossover track at the end "Pentagram Legions".
"Magnitude Triple 6" is another slab of modern energetic thrash/death metal, fast melodic stuff with again more emphasis on thrash with only the closing tracks "Dead at Last" and "Across The Battlefields" being less controlled providing the odd blast-beat section.
"From Darkness till Death" arrives after a lengthy break to see the band alive and well, and also to provide the next in line portion of modern thrash/death metal which this time comes too brutal at times (the opening "From Darkness till Death") with too many blast-beats tearing the silence, the hyper-active approach closer to death metal regardless of the great melodies "floating" around, both in the lead and the riff department.

Anthems Of Decay Full-length, 2000
Under Fallen Wings Full-length, 2001
Faster than Death Full-length, 2005
Magnitude Triple 6 Full-length, 2009
From Darkness till Death Full-Length, 2016

Official Site

WITCHTRAP (COLOMBIA)

Based on "No Anesthesia", the music follows the patterns of old school German thrash metal quite closely: Kreator, and especially Destruction's mini-debut "Sentence Of Death". The songs are fast-paced except for "Forgotten Cemetary": a nice peaceful instrumental which sounds almost surreal among the raging thrash featured on the other tracks. "Disturbing The Dead" with its riffs will remind you of Destruction's "Bestial Invasion". Another good reference point would be the Whiplash debut: such a simplistic, but ultimately effective style will definitely win any thrash metal fan over. The band members are also active with the classic heavy metal formation Nightmare.
The Colombian thrashers are back with "a vengeance" with "Vengeance Is My Name" which is another energetic slab of old school German speed/thrash played with inspiration and gusto. The songs develop in a fast pace with edgy, but also melodic riffs which take more extreme proportions ("Put To Death") from time to time reaching out for the "Pleasure to Kill"-esque brutality. "Queen Of Hell" could be considered the offbeat song with its soft power metal rhythm, while the rest doesn't leave the friendly headbanging character sustained so well with uplifting speed/thrash hymns like "I'll Take Your Head" and "Damned To The Core". The singer has an assured husky semi-clean voice which straddles the path between early Schmier and Freddy (Necronomicon).
"Trap the Witch" is the next in line slab of evil "witching"/thrashing metal, and this time the band sound more optimistic and merrier. Regardless, the speedy attack seldom stops along the way excluding the imposing power metal anthem "Power of the Maul" ala Heavy Load and Jag Panzer which stands proud among the pouring fast-paced riffage from explosions like "The Subtle Touch of Fire" and "Don't Lift the Curse". "Hard Thrashing Mania" is another more radio-friendly relaxer, but all hell breaks loose on the closing title-track, fast witchin' thrashing metal at its best.
"Evil Strikes Again" is some serious moshing stuff, the guys producing their finest hour thrashing with both passion and melody as evident from "Midnight Rites" and the title-track, the galloping vigour of "Return to Hell" leaving no one indifferent, with headbanging winners ("The Devil's on the Loose", "Madness and Poison") following in quick succession, making the fanbase happy including with the more carefree rock'n speed tunes on "Death to False Metal", the high-octane speed/thrashing carnival wrapped on a bit unexpectedly by the doom/bluesy instrumental "Rhyme of the Insane".
"Hungry as the Beast" doesn't deviate from the righteous path, the band speed/thrashing with verve and inspiration, the frolic title-track followed by the venomous mosher "Ruthless Aggression" and the bursting shredder "Heirs to the Power of Evil". "Invocation" slows down with more welcoming power metal riffs, but expect no mercy from the hyper-active "Lightning Attack", a well-deserving its title cut with wild rapidfire rhythms.

Witching Metal EP, 2000
Sorceress Bitch Full-length, 2002
No Anesthesia Full-length, 2006
Nightmares of the Dead EP, 2007
Vengeance Is My Name Full-length, 2012
Trap the Witch Full-Length, 2015
Evil Strikes Again Full-length, 2020
Hungry as the Beast Full-length, 2024

Official Site

WITCHURN (USA)

Based on the full-length, this one-man show, the alias Llaves, provide evil witching old school black/thrash that is obviously modeled after early Bathory, above all. At times the delivery is pure misanthropic black ("The Many Eyes of Bael"), at others is an absorbing speed/thrashing saga ("Kingdom of Flies"), at others comes with a more academic epic colouring ("Desecrations on a Crucifix"). Lllaves croaks like a raven behind the mike, his apocalyptic rendings topping this over-the-top music journey.

WitchUrn EP, 2019
The Debt Full-length, 2020

Official Site

WITH FAITH OF FLAMES (USA)

Modern thrash/death metal with the obligatory melodic hooks, furious breaks, brutal vocals, and everything in-between: don't look further than early In Flames (allusion to that band also made by the band's name), or Dark Tranquillity. The guitar work is quite good ("Heir To The Viking Throne") at times. The band feel more comfortable staying closer to death metal, and these are the moments when the music takes off ("The Vagrant Dead"), but again only for a while.

Beneath The Heel Of Oppression Full-length, 2005
A Conquest Triumphant Full-length, 2008

WITH MALICE (CANADA)

Modern death/thrash (based on the full-length) with scary, growling death metal vocals which top heavy volcanic riffs and a few sudden short technical "explosions" (the stylish burster "Hall of Extinction") which could have been more. There's groove, there are several short blast-beating passages, there are a couple of doom-laden sections... a little bit for everyone.

E.P. EP, 2012
Hail Kraken Full-length, 2015

Official Site

WITHATE (ITALY)

This young act crosses classic and modern thrash in a decent manner, and the main annoyance in this mixture comes from the angry hardcore vocals which don't serve the cool energetic riffs too well. The other annoyance perhaps would come from the moments where a cool retro thrashy section gets interrupted by a sudden groovy one, and this happens on quite a few times. Well, this is a modern/classic thrash metal mix so this could be expected, but in this case the amalgam doesn't seem to work all the time...

Withate Demo, 2006
Gettin' To The Deadline Demo, 2007
Billion Dollar Mouth Full-length, 2008

My Space

WITHERIA (FINLAND)

Based on "Painful Escape", this is well played retro thrash with a slick modern production which boosts all the instruments except the bass. The guys shred fast seldom inserting the odd blast-beat ("Raining Steel"), and more modern Swedish hooks can be heard ("The Solitarium"), but the bow to the old school is predominant: there's no mercy on thrashing killers like "Escaped in Blood", "Sphere of Death" and "Tortured Spawn". The closer "Altered Mind" is a nice thrash opus, technically-charged, something which should have been tried earlier on as well, and the leads on this one are quite stylish, making it an enjoyable headbanging thrashing joy-ride all the way.
"Vanishing Order" is pretty much in the same vein, classic thrash with a crisp modern production, played quite fast for most of the time with death metal sneaking here and there to a more aggressive effect. The more technical ornamentations from the debut are gone, the guys lashing high'n low, leaving all the lyrical digressions for the encompassing diverse closer "Timeless" which goes away with all the "laurels" for musicianship featuring frequent doom and balladic passages.
"Devastating Return" is surely a "devastating return" after three years, and the band continue down the trodden path with their staple modern/classic thrash which this time inserts more brutal sections (the death metal leanings on "Passenger of Thought") alongside the smart melodic implements (check the same song again). The other cuts also have their attractive features although at least half of them are on the less impressive, slower side. Comes "Some Wounds Will Not Heal", and all the horses will be saddled for "a glory ride" which will become more technical and more restrained on the excellent "Thrown Down the Well", and more speed metal-based on "Toxic and Aggressive Growth". A sizeable pullback awaits you at the end: "Back on Earth" which is 9.5-min of officiant atmospheric doom with plenty of melodic "decorations". Now that's what I call a surprise (or rather, a shock)...
"Infinite Recollection" bears a few surprises along the way surprises as the band betray their traditionally energetic brand of the classic/modern thrash hybrid with several twists. "Interstellar Lessons Received in a Dream" is the more complex and more laid-back proposition relying more on melody, and "Infinite Velocity" deserves its title being a very speedy shredder with nice melodic embellishments. Mentioning melody, more romantic respites follow suit like the serene instrumental "Isolation" and the excellent semi-balladic progressiver "Ultimate Extinction of the Form". The closing 12-min behemoth "Cracks in the Fabric of Illusions" isn't the most dynamic offering in the world, either, making this opus a more introspective, much less intense recording.

Infernal MazeFull-length, 2006
Painful EscapeFull-length, 2009
Vanishing Order Full-length, 2011
Devastating Return Full-Length, 2014
Infinite Recollection Full-length, 2017

Official Site

WITHERING (PORTUGAL)

Based on the 1998 promo tape, this outfit specialize in heavy potent classic thrash which volcanic nature is at times broken by spasmodic death//thrashy explosions ("Evil Thoughts") with echoes of Sepultura, above all. The mid-paced thundering of pieces like "Remains Of The Past" will shatter a lot of skulls, and generally the mixture is well achieved also helped by the very clear sound quality and the excellent mid-ranged semi-clean vocals. Later the guys changed their name to Pitch Black and kind of ruined their style by incorporating some modern elements.

Dreams of Anguish Demo, 1996
Rehearsal Tape Demo, 1996
Another Reality Demo, 1996
Promo Tape Demo, 1998

WITHERING SURFACE (DENMARK)

This Danish melo-death outfit have frequently been on the verge of tumbling into the good old thrash, but here they have abandoned their deathly tactics for the sake of the latter, and the final result isn't bad at all, the band recalling more recent Kreator including in the screechy vocal department. The title-track is an assured shredding opener but later on more mid-paced drama is generated by heavy stompers like "Alone" and "Room 417". The band's old love death returns for the imposing epicer "In a City Without Soul", a cool nod at Amon Amarth, and other deviations arrive later like the touching lyrical ballad "I'll Soon Be Gone" where very nice female vocals spring up. The closing "The Apprentice" is a more academic doom-fixated proposition further diversifying the palette. Some of the musicians also play with the thrash/death legends Invocator, and the death metal cohort Thorium.

Meet Your Maker Full-length, 2020

Official Site

WITHIN CHAOS (USA)

Modern thrash with a nod to the 90's with a more choppy guitar style which, combined with the more melodic lines, doesn't sound too bad. The tempo is mostly mid-paced, and generally this isn't too far from early Pro-Pain, or less aggressive Pantera with the prototypical angry vocals and cool attempts at a more serious semi-technical play ("Virulent").

Virulent Full-Length, 2007

WITHIN THE HOUR (COLOMBIA)

Pretty cool modern progressive thrash which nicely combines melody and aggression the blend coming under a myriad of stylish lead guitar licks and very good emotional clean vocals. The guys tear it loose at times ("Bound") with more direct, easier to swallow, riffage, but more enchanting would be the more elaborate aspect of their style where the nice early Fates-Warning-esque "Left To Die" belongs. On the other songs the band shred with more intensity closing the effort with more lyricism with the peaceful ballad "Lucha Con El Tiempo". This is a fairly good beginning for these youngsters who should be able to reach the full-length stage with ease.

Within The Hour EP, 2013

WITHIN THE MIND (HUNGARY)

This is classic thrash/crossover which has its dynamic speedy side ("No Recall", the hardcore-ish "Night And Day") which covers a wider area, including with the tribute to Metallica's first "Eyes of a God", the not very expressive semi-declamatory vocals better suiting the less intense, mid-tempo material ("Violent Game").

Say My Name EP, 2020

Official Site

WITHOUT END (USA)

Based on "Disease Is Man": two members of the thrash/crossover heroes Headlock have decided to play energetic thrash/crossover, at least at the beginning, but rest assured that they haven't forgotten to include more forceful thrashers to break your necks: "Lords Of Defiance", "Disease is Man". "From Afar" is a nice twist: a more technical slower track, and "Evil Ways" is typical Biohazard-esque hardcore. These two songs stifle the edge from the beginning and influence the subsequent material which is mid-paced and jumpy until the coming of the furious speed/thrash killer "To The Depths" which gets completely cancelled by the noisy industrial on "Liars" and the 90's post-thrashy "Ultra Lie" (yes, two lies in a row are too much for anyone to handle, especially if the one is "ultra"). The "Outro" (there's nothing "ultra" here, fortunately, just an "outro") pleasantly surprises thrashing its soul out: full-fledged retro thrash in a very good up-tempo, and hopefully this is the direction taken by the band on future works.

Disease Is Man Full-length, 2004
Doctrine of Hate Full-length, 2008

My Space

WITHOUT FATE (CANADA)

A new power/thrash metal outfit from Canada who rely on heavy pounding riffs to make an impression, the intense approach assisted by orchestral keyboard implements. In the vocal department we have a cool duel between a female and a male singer, both clean and emotional, the male one dominating the scene. "Lies" is a shattering seismic piece, and the title-track follows the same path only notching it up technically also speeding up with lead-driven galloping passages. "Rise of Rebellion" is dark power/thrash in the best tradition of Morgana Lefay with nice vocal exploits from the man; watch out for the fast-paced section in the second half, pure hard-hitting old school thrash. "In Via Veritatem" is 19-min (!) of diverse progressive metal dreamy operatic sections alternating with more aggressive ones the band losing it in the second half where lyrical balladisms take over. Faith is restored on the closer "We Are Blind" the guys (and a girl) providing their staple intense arsenal with the volcanic hammering riffage and the great memorable chorus. This is a really good effort which would appeal for a wide group of fans with its encompassing, both melodic and aggressive, sound.

Without Fate Full-Length, 2016

Official Site

WITHOUT GUIDANCE (GREECE)

This young outfit cross the complex tapestries of later-period Death with elaborate twisted thrashing which serves them well, like on the opening "The Relic", a constantly shifting shredder. It contrasts with the more laid-back, less eventful delivery on the following "Faceless Gods Legacy", but the more vigorous semi-gallops of "Incarceration Of Thought" will lift the mood big time, especially when they turn into swirling speedy crescendos in the 2nd half. "Bloodshed Reflections" thrashes with more thought once again the band inserting intricate riffy decisions at every opportunity recalling Death again with added Nocturnus-like atmospherics the latter making the approach both creepy and compelling. The vocalist is the downside with his staple muffled death metal rasp, but his efforts may remain unnoticed due to the first-rate musical execution.

Faceless Gods Legacy EP, 2016

WITHOUT WARNING (USA)

This was a brief shelter for the Anvil Bitch singer Gary Capriotti. The music presented here is way better than the one of the other band being excellent, high-class technical thrash with heavy twisting riffs, mostly in mid-pace. The opening "Test of Time" greatly exemplifies the style with its stylish technical decisions and the virtuoso lead sections. "Beyond the Door" is a fast-paced shredder with infectious gallops and rolling rhythms with Capriotti doing a really fine job behind the mike with his versatile, dramatic performance. "The Dawn of A New Day" begins in a quiet balladic manner, but the band don't waste too much time meditating on that one and start raging hard with perplexing riff-patterns alternating with wild headbanging rhythms, this expertly woven vortex of moods and time shifts creating a dizzying effect. The closer "Twisted Metal Coffin" thrashes hard from the get-go with superb leads overtaking the rhythm-section before the latter returns with more technical "decorations" in the middle for the assembly of hectic, dramatic accumulations and a brilliant melodic exit later. This is a no-brainer, plain and simple, and should be better known as the underground analogue to meisterwerks like Toxik's "Think This", Realm's "Suiciety", and Target's "Master Project Genesis".

The Dawn of a New Day EP, 1989

WITNESS (TURKEY)

Based on "The Hell List", this band play pretty competent retro thrash which keeps to the established canons without too many deviations, the confident opener Battle Confusion" covering the expected tempos, leaving the more overtly headbanging crescendos for "Fight in the Minds". The pounding epicer "Catastrophic Abolation" pacifies the environment, also influencing a string of tracks which lose the thrash idea somewhere, but there's still more energy to be unleashed later, the short curt "I Believe" violating the setting not very ceremoniously, the steady decent mean semi-clean vocals supporting the mood swings without sticking too much.

Thrash Comes Back Full-length, 2009
The Hell List Full-length, 2022

Official Site

WITNESS OF REALITY (GERMANY)

This German trio play decent classic power/thrash metal with Bay-Area overtones and very good bass presence which co-exists well with the cutting riffage. The guys change the pace from mid to up the whole time creating a lot of dynamics in the process without forgetting about several nice melodic hooks as well as a haunting balladic break on the closing "Tomorrow's Grey" which is a cool piece with progressive shades. The singer doesn't perform on the same level, though, his rough dispassionate semi-clean voice trying to capture the dark charm of Carl McCoy's (Fields of the Nephilim) croon to no big success.

The Silent Majority EP, 1999

WOE OF TYRANTS (USA)

Swedish death metal meets thrash; not revolutionary, but energetic and well done; "Kingdom of Might" is arguably the better achievement with a more stark, but cool contrast between the more aggressive death metal sections and the melodic hooks which go over the top on the best tracks ("Break the Fangs of the Wicked", "Sounding Jerusalem": a great track with enchanting Oriental passages). There's certain technicality involved, again more in the Swedish spirit (think Darkane): "Pearls Before Swine", the raging black/death metal symphony ala Bal-Sagoth and more recent Dimmu Borgir "Kingdom of Might (The Eclipse)"; and, please, pay attention to the nice acoustic exit ala In Flames. "Sons of Thunder" is the odd doom/stoner instrumental contrasting with the remaining energetic modern death/thrashers.

Behold the Lion Full-length, 2007
Kingdom of Might Full-length, 2009

My Space

WOES (JAPAN)

Two songs of sincere open-minded thrash/crossover, merry and unpretentious, with echoes of The Accused and Prong. The singer is a drunken semi-melodier, even managing to express certain emotion at times.

Time-Bomb EP 1987

WOJNA (UK)

A British act with a Slavonic name (meaning "war" in Polish, Bulgarian, Russian, etc.) consisting of 3 people who play minimalistic underground black/thrash metal blending the dark depressive atmosphere of Barathrum and Khold with the faster more extreme approach of mid-period Darkthrone. The sound is fittingly dirty with simplistic direct riffs and gruff death metal vocals.

The Crucifixion of the good reverend Demo, 2007
Promo EP, 2008
Left hand path Demo, 2008
The Long Awaited Silence Full-length, 2008
Wojna / Whorethorn Split, 2009

My Space

WOJTYLA (POLAND)

This is a pretty wild mix of thrash, black metal and grindcore which is reflected in very short, maximum 1/1.5-min long tracks, the lyrics sung by a girl whose unholy hysterical shrieks may make some faint. This is ultra-fast extreme stuff still finding room for a few more melodic tunes on the closing more death metal-laced "Jak Amen W Pacierzu".

Wojtyla Full-length, 2006

My Space

WOLF LORD (USA)

Post-thrashy stoner/sludge; a brutal relentless affair with some of the most seismic riffs featured. Just when one starts getting bored with some pensive slow passage the band start thrashing with force boldly jumping over the post-thrash restrictions into full-blooded mosh ("The Horde"). The passion for slow-mo shred is the dominant one, though, and the doom lovers would definitely be happier despite the sudden energetic outbursts present. The singer is a deep semi-death metal growler who doesn't play a very prominent role.

Krixes EP, 2012

Official Site

WOLF SPIDER (POLAND)

A fine representative of the Polish thrash metal scene; the debut features straight catchy speed/thrash metal "courting" the Metallica debut, among others (check out the speedy delight "Nocny Strach"). "Memento Mori" is the highlight on this one betraying the main style with more complex arrangements and more clever guitar work. Another speed metal "monster" follows suit: "Upadek Imperium", but "M.C." is even better with its fine combination of fast-paced rhythms, galloping riffs, and slower semi-technical parts. "Ksiea Wojny" is in the same vein relying more on speed closing this album with confidence.

"Kingdom of Paranoia" elaborates on the technical sparkles witnessed on the debut which is clearly shown on the opening "Manifestants" with the nice technical breaks, amidst the speedy riffage which doesn't sound too distant from the tracks on the debut. "Pain" very well blends the fast with the technical play setting the tone for the rest. The height in this aspect is perhaps reached on the short brisk technical thrasher "Foxes" which boasts great lead guitar work (but from this point of view "Sickened Nation" goes away with all the "laurels") along with the speedy technical riffs; although the meandering and quite sharp Coroner-esque "Desert" is not too far behind. "Nasty-Ment" is a very good instrumental followed by the only filler "Survive" which is not as imaginative and much less dynamic; a situation greatly improved by the excellent technical speed/thrash metal killer "Weakness" at the end which has no "weaknesses", but is one of the best songs on the album.

"Drifting in the Sullen Sea" breaks the pattern from its predecessor with choppier rhythms, sudden switches from technical to a more direct play which is just perfect like on the opening "Blind Faith", for example, but on longer numbers, like "Liberated Woman" the guys insert straight soft riffs which don't exactly belong to the thrash metal genre, and things get confusing a bit. A lot of speed has been sacrificed and without the blitzkrieg riffage from the previous works, some tracks sound dull and toothless: "My Home", the title-track, where the casual faster riffs sound funny and misplaced. "King Of The Animals" and "Black 'n' White Part II" are one of the few reminders of the stylish approach from "Kingdom of Paranoia", but eclectic non-thrash numbers, like "Enterprising Man" make this effort the inferior one. Even the stylish interesting cover of Queen's "Mustapha" at the end cann't improve things much; with less experimentation involved the guys have proved themselves more worthy.
"Hue of Evil" is a total take on the straight delivery from the debut, and the opening "Sex Shop" thrashes with full force as well as any other number later on. The technicality is very seldom felt: the short speedy jumpy technical thrasher "Puppet" is the only reminder of the style from the last album, and certainly the closing progressively-laced "Verge Of Sanity" which is a very satisfying energetic take on a more thought-out song-writing with fine sharp riffs and a predominantly fast-tempo.
"It's Your Time": the "wolf spiders" have reformed and this EP is an indication of their willingness to establish themselves back on the front echelon of Polish metal. The guys mix their more direct classic nature with a few modern leanings as their more technical infatuations from their mid-discography are very seldom felt. Still, the direct lashers ("It's Your Time") aren't bad at all and will keep the headbangers happy whereas the more modern ones will make them cringe a bit with not many relations to the band's past. The vocals are on a high level as usual being clean, semi-high and emotional.
"V" is more than a welcome addition to the guys' discography although there'll be a certain amount of curiosity as to what direction they'll swing this time... The answer is "the golden middle" as both sides, the more direct and the more technical, have been given a fair share to produce an entertaining work of primal classic thrash. After the straight-ahead headbanging opener "It's Your Time", already heard on the preceding EP, comes the twisting weirder "Who Am I?", a brilliant offbeat jumper with tasty lead guitar work. "Sense of Life" is another original oddity with more relaxed, power metal riffage and a hard thrashing exit. "What If" is a relatively orthodox ballad with a couple of less ordinary quirks in the second half, and the other EP reminder "Phoenix" arrives with more ordinary, modern-ish rhythms. "Enough with the fillers", some would say, and here comes "Instability" to bring a more stable, also more technical approach which stays around for a string of cuts, but it's the short bursting shredder "Sleepless" which goes away with all "the laurels" also matching the longer numbers in terms of technicality. "White Samba" at the end is a rocking samba-sque piece, an eccentric cut with no relations to thrash. This album should serve as a warm-up for the band's future more progressive/technical exploits... For the moment it's passable and diverse, moderately pleasing, without any claims at being their magnum opus.
“VI”: when it comes to album-titles, the band have clearly shown that they have no imagination, but on the music front this sixth instalment in their discography delivers as much as the preceding opus. In other words, brace yourselves for entertaining retro tech-thrash which also has its less convincing moments, the guys also flirting with both power and speed metal along the way. From the complex histrionics of the opening “HEJT-RO”, to the fast-paced immediacy of “VII XV”, to the laid-back semi-balladisms of “HIPERTERMIA”, the band are expert at what they deliver, their true colours best expressed through the contrived bouncer “SzalenczyPed” and the excellent early days’ reminder “ZywyCel”, scintillating prog-thrash at its most entertaining. The audience will also come across the frolic hard’n heavy filler “LSD” and the mellow balladic stroll “Niemoc”, but will totally rejoice on the short pulverizing “Koniec?...” and the standout entangled closer, a riff-fest of the highest order with a nice meditative atmospheric epitaph.

Wilczy Pajak Full-length, 1989
Kingdom of Paranoia Full-length, 1990
Drifting in the Sullen Sea Full-length, 1991
Hue of Evil Full-length, 1991
It's Your Time EP, 2013
V Full-Length, 2015
VI Full-Length, 2023

Official Site

WOLF'S HUNGER (SERBIA)

Based on "Retaliation In Blood", this band plays a fairly cool mix of thrash and black metal with a pagan atmosphere. This is not Sabbat-influenced stuff, it goes more along the lines of Bathory's mid and early period on the slower parts ("Likantrop"), but the guys often thrash with the best out there ("Merciful Angel") with a Slayer-vibe (see the song-title), or with nods to the German scene ("Still Burns"), or excellent mixtures of the two ("Lock You Up, Gun You Down"). More aggressive proto-death sections could be heard ("U Ognju...") as well as pure blasting black metal pieces ("Zejtinlik") ala Dimmu Borgir, only better; seriously! The closing title-track is atmospheric doomy black/thrash in the Barathrum vein.

Thunders of Perun are Back Full-length, 2004
Retaliation In Blood Full-length, 2007

Official Site

WOLFEN (GERMANY)

Based on "Don't Trust The White", this band plays a very heavy brand of modern power/thrash metal. On the thrash metal side, we have Sepultura ("Chaos AD", in particular) and modern day Overkill; on the power metal side we have later-period Iced Earth (also similarities in the vocal department). The riffs are crushing and powerful, and the music stays within the mid-range confines, and although the songs aren't very easy to distinguish from one another after the very first listen, this heavy wall of sound should be able win you over in the end.

"The Truth Behind" offers similar entertainment toning down the heaviness, bringing forward more melodic vocals from time to time which some might find a positive asset. On the other hand, the music is surprisingly classic-sounding at times: "Zeroes & Heroes", which is a nice up-tempo thrasher; the energetic speed metal killer "Rain"; the crunchy power/thrash piece ala Morgana Lefay that is "Signs". The other material bears no surprises, opting for the sound familiar from "Don't Trust the White" with nods to the 90's power/speed metal scene and a pinch of epic ("Wolfpack", "The Deception").
"Chapter IV" is actually "chapter 6" from the band's career, and as such won't disappoint the band fans pulling out decent retro power/thrash which develops in a predictable mid-pace until "Nefilim" which is a faster-paced track with sharp lashing riffs. Moments of the kind, however, aren't that many if we exclude the speed/thrash hitter "Unbroken", and the really cool more thought-out "Whitechapel" which recalls the Swedish school again (Pathos, Morgana Lefay, Fifth Reason) with its crunchy guitars and more elaborate arrangements. This is an expected, and for that matter worthy, effort from the guys who don't stray from the path into any undesirable experiments. The lead guitar work is quite good (check out the closing "Demons") and the singer delivers pretty cool performance behind the mike with his passionate attached timbre.
"Evilution" starts quite promisingly with the ripping opener "Sea of Sorrows", but again, the band fail to match this composition's intensity the staple heavy mid-tempo delivery settling in after that still producing good results, albeit hardly exceptional. "Chosen One" is a rousing galloper in the second half with the cool speedster "Pure-Culture" following suit, but the finale is still on the heavy epic side the closer "All That Remains Is Nothing" being a decent power/doom metal cut. The singer remains the main asset his dramatic pitches commanding the proceedings with panache making one listen with care.
"Rise of the Lycans" continues the familiar Wolfen saga in the staple manner with more epic power metal-fixated material ("Genetic Sleepers", the opening "Rebirth of the Regulators") occupying the front seat this time, with impetuous speedy gallopers ("Forgotten Dreams", "Timekeeper"). The latter aren't that amply provided, though, as the album enters more serious progressive fields at some stage with the excellent "Science & Religion" which remains the highlight, with the imposing balladic/semi-balladic closer "New World Order" ensuring the calmer epitaph.

No Sleep `Til BlindfoldFull-length, 1997
Apocalyptic WaltzFull-length, 1999
Don't Trust The WhiteFull-length, 2001
Humanity...Sold Out!Full-length, 2004
The Truth BehindFull-length, 2006
Chapter IV Full-length, 2012
Evilution Full-Length, 2014
Rise of the Lycans Full-length, 2018

Official Site

WOLFPACK (UK)

One of the first British thrash metal bands, Wolfpack play thrash reminiscent of early Slayer with slower pounding tracks in the vein of early Anvil (the dark, sinister "Devil's Child") roaming around, too. Shades of the Metallica debut can also be caught: the very good heavy "Death by Default", which borrows the main riff from "Seek and Destroy". "Full Scale Attack" richly deserves its title being a real full-blooded fast speed/thrash attack, the best song here with a very close second being another all-out thrashing assault, the raging "Maniac". "Hell on Earth" takes a break from the aggressive delivery, and is a longer, slower, more thought-out power/thrasher. "Traitor's Gate" carries on in the same vein, but livens up near the middle with more dynamic headbanging riffage. "Vigilante" is a cool more light-hearted speed metal number recalling early Living Death with a few stomping moments present in the middle.

Total Head RemovalFull-length, 1987

Vibrations of Doom

WOLFPACK UNLEASHED (AUSTRIA)

The Austrian thrash metal scene is virtually non-existent with occasional sparkles here and there (I guess quite a few out there remember the one album wonder Ravenous). Based on "Anthems Of Resistance", this band pulls out good modern thrash metal sounding like a less aggressive version of modern day Kreator and Dew-Scented. Another close soundalike would be the Polish band Horrorscope, but these guys aren't afraid to insert Swedish-styled riffs and semi-gothic passages ("Next Victim"), accompanied by harsher death metal vocals which bring the sound close to Sentenced ("Amok") and Cemetary at times. "Killing Fields" is a great thrasher with nice melodic guitars which pretty much illustrates the whole album: well-played energetic music, but it would take more to make this band stand out of the (wolf)pack of hundreds of similar acts.

The Art of ResistanceFull-length, 2006
Anthems Of ResistanceFull-length, 2007

Official Site

WOLFDUSK (ARGENTINA)

The full-length offers intense black/thrash, mostly fast-paced with a muddy guitar sound and brutal not very intelligible death metal vocals. "Jesusfuckyou" is a curious mix of slow doomy and hyper-blasting riffs, recalling early Burzum. Those hyper-blasts are quite well covered in the first half making the songs come as one big fist in the face, but towards the end the guys calm down considerably offering three compositions of exemplary high-octane doom from beginning to end.

Doom Eternal EP, 2008
Down of Christianity Full-length, 2009

Official Site

WOLFRAM (CZECH)

Based on "Liars In A Second Skin", this band play power/thrash with a somewhat dark atmosphere, slightly going towards Eidolon or Enola Gay at times. The first half is stronger with more forceful thrashy sound; from "The Hero" on the album loses steam and turns into just an average heavy/power metal release. Especially laughable is the last track with the pretentious title "Bluesmetaljam" which, depending on the mood, could be considered the highlight on this otherwise not such a bad album.

SoasuFull-length, 1995
MisanthropeFull-length, 1998
Liars In A Second SkinFull-length, 2000
No RedemptionFull-length, 2003

Official Site

WOLFSBLOOD (SWEDEN)

This is crusty abrasive thrashcore with a couple of more sentimental melodic moments (the stonery "Le Treziene", the lyrical semi-balladic "Last Train"), but the dominant mood is one of speed and dynamics although nothing goes over the border of the good taste, the cool semi-clean/semi-shouty vocals adding to the uplifting atmosphere which nicely touches psychedelic doom on the closing "Unalive".

Vomit & Lice Full-Length, 2018

Official Site

WOLFSTORM (SWEDEN)

Based on the full-length, this band, which is technically one musician, the alias V.Wolfstorm, plays retro speed/thrash which is truly on then light-hearted side on the optimistic roller-coaster "Black Speed Sentence", but it's all about epic build-ups on the more academic "Master of the Storms". The two sides alternate throughout, the semi-technical shape-shifter the undisputable highlight, the respite titled "Destroy the World", a peaceful mid-tempo march followed by the somewhat melancholic closer Strike of the Cobra". The man accompanied his musical feats with a subdued deathly croon, a not very obtrusive lurking presence.

Run, Kill, Destroy EP, 2020
Rise from the Flames Full-length, 2024

Official Site

WOLNERA (SLOVAKIA)

This Slovakian trio serve old school thrash which gets introduced with the choppy semi-technical "All Quiet" initially, before the album turns to both more atmospheric ("The 8th Circle") and more elaborate (the power/thrash conglomerate "Killing for Pleasure") territories, "Hypocrisis" raising the Bay-Area flag for a thrilling up-tempo ride, the singer supporting the cause with an attached confrontational semi-shouty/semi-clean timbre.

Product of Fear Full-length, 2023

Official Site

WOLVERINE (HOLLAND)

A good 4-song demo of intense classic speed/thrash very close to the American power/thrash metal scene; fast brisk guitars get mixed with heavy pounding ones ("Nightforce" is a great example of that), but the emphasis is clearly on speed, and one can't help but have a good time on smashing speed killers like "One Down, Two to Go" and "Certain Fury".

Wolverine EP, 1991

WOLVES & JACKALS (USA)

A trio of "werewolves and jackals" playing sludgy modern thrash/death metal with noisy fuzzy guitars and sparse black metal hyper-blasts ala Dimmu Borgir. A wild incoherent mixture as a whole, everything being mixed with not much care with the styles intercepting each other awkwardly, thrash metal saving the situation providing the most listenable moments ("Prayer for Death", "Wide Eyed Slumber").

The Haunting EP, 2010

My Space

WOLVES OF ODIN (USA)

Based on the full-length, this band play black-tinged old school speed/thrash which rushes onward with little remorse also inserting a couple of imposing Celtic Frost-esque stomps ("Triumph of Satan"). Still, the backbone of the album are the short sweeping speedsters like "Ivory Tower" and "Alcohol" which will strongly remind of S.D.I.'s mythical debut, with the spirit of Venom ("Blood on My Balls") also conjured at some stage. More brutal black/thrash comes forward with "The Sign of Mung" before "Death Hammer" complicates the environment by bringing all the nuances together for a rousing diverse epitaph which also comprises the doomy funereal dirge "March of the Horde".

Wolves of Odin EP, 2016
Laid to Waste Full-length, 2018

Official Site

WOMB TO TOMB (AUSTRALIA)

Based on the full-length: this is the new project of the drum guru Matt Rizzo (also Blood Duster, King Parrot, Abramelin, etc.); the style on display is raucous crusty modern/classic thrash which generates intensity from a couple of less restrained numbers ("Death Abroad", the semi-technical shredder "Punch up on Wells Street"), the jumpy quasi-groovy flair of "All I See Is Death" not a bad deviation, especially when right after the lads throw in the frolic thrash/crossover jump-around "Die Pig Skum" and the aggressive proto-death madness "Methodone". The vocals are overshouty hardcore/deathly ones, creating mostly noise in a near-overwhelming, omnipresent fashion.

Womb to Tomb EP, 2020
Death Abroad Full-length, 2021

Official Site

WOMBLER (USA)

This band play stomping heavy modern thrash which is graced by an officiant epic sound the latter at times intercepted by more standard Swedish leanings. Don't look for speed and energy here: the guys are well content with their thundering steam-roller approach which is very fitting to the expressive shouty death metallish vocals.

Behind The Lights EP, 2012

WONDERLAND (BRAZIL)

Based on the "Non Compos Mentis" demo, this act offer interesting semi-epic/semi-technical power/thrash with echoes of their compatriots Acid Storm which boasts some really engaging moments: the more complex dramatic opener "Melodramatic Poem", the more aggressive piece "Forgotten Time", the galloping delight "The Scream". The sound quality is really bad making the guitars either too screamy, or too thin-sounding except on the glorious lead sections on "Secret to Hide" which beat everything before them in terms of mastery and totally overshadow the Cure cover at the end of "Killing an Arab". The singer is another downpoint with his unrehearsed shouty semi-death metal-ish timbre which completely lacks emotion and melody. This effort had some original ideas which, alas, never managed to materialize into something more substantial.
The debut demo is only two songs one of which, the title-track, was already heard on the next one, the other one being "Theatre of Terror", a heavy dark semi-galloper ruined by the very bad deathly vocals which are the most distantly possible choice for this kind of music.

Secret to Hide Single, 1991
Non Compos Mentis Demo, 1992
Fidi Demo, 1994

Official Site

WORDS OF BLOOD (HUNGARY)

This new formation play classic power/speed/thrash which comes with very sharp guitars and plentiful fast-paced moments in a way not far from early Iced Earth and Forbidden. The intense speed/thrashing is relieved by a couple of more melodic sections ("Szeptember 11"), and generally power metal isn't given a lot of chances ("Meddig" comes to mind, but only the 1st half) showing its head on a few tracks from the second half. Stomping volcanic thrash comes introduced on "Vezekelj", an approach which remains till the end and comes nicely decorated with melodic hooks on the closer "Hazugseg Kertje".

Ingyen Isten Full-Length, 2013

Official Site

WORHEAD (USA)

This is dynamic albeit very sloppily produced retro speed/thrash which disperses both corrosive mid-tempo dramas (“Evil Must Die”) and intense moshing spin-arounds (“Armageddon”), the lyrical escapades on the power metal-flavoured “Bands of Death” disfavouring the steady declamatory, not excessively emotional, singer.

Regions of Fire Demo, 1987

WORKHORSE (USA)

This outfit pulls out intense modern thrash/death metal with brutal deathly vocals. The guys aren't strangers to more intriguing, also melodic moments (the progressive-sounding shredder "New Age"), but generally the guitars lash with passion producing cool headbangers along the way: "For Which We Stand", the explosive 2-min madness "Quiet", etc. "The Eye" is a cool more technically-inclined composition matched later by the heavy closer "Emperor" which storms its way onwards with battle-like, hammering riffage. The singer rends his throat in a brutal mid-ranged fashion, not sparing himself too much, but suits the musical delivery just fine.

Fire Before All Full-length, 2012

Official Site

WORLD DECAY (BELGIUM)

The EP: this Belgian trio pull out decent old school thrash which can be both overtly enthusiastic and energetic ("Queen of Ice") and steadily mid-tempo ("Serpent's Bite"), the bombastic headbanger "No Mercy" at the end stirring the blood majorly, the harsh black/deathly vocalist exacerbating the environment with his raspy tirades.
The full-length follows a similar pattern, the semi-technical mid-pacer "Wendigo" leading the sprightly pack which also comprises the straight-ahead speedster "Raiders of the Holy Land" and the early-80's German movement worship "Slow and Painful", the more diverse but still fairly pummeling "Descending into Madness" inaugurating a virulent fiesta on the second half, the latter circling around perennial headbanging roller-coasters like "Burning Sun" and the stomping more melodic "World Decay".

Blackened Soil EP, 2022
Unholy Sacrifice Full-length, 2024

Official Site

WORLD FUNERAL (USA)

Hectic jumpy, somewhat technical, thrash metal which sounds intriguing on quite a few times, but the drums are put too much upfront creating a lot of noise sometimes. Otherwise the music really packs a punch with meaty, sharp riffs and frequently changing tempos, but never too fast or aggressive with several really worthy exercises in technical thrash ("Man's Greatest Fear", "One Foot in the Grave"). "Stop the Pain" is a cool melodic thrash/crossover track. The singer could be quite an attraction if you can tolerate high vocals with a gruff shade along the lines of David Wayne (R.I.P.), but higher-pitched, and even Torsten Bergmann (Living Death) on the more hysterical notes.

Suffer Life Demo, 1991

WORLD HATE CENTER (GERMANY)

There are only two people behind the music here, but they manage to come up with a frenetic chaotic mixture of hardcore, thrash, and death metal. The tracks are short seldom going beyond the 3-min limit. There are cool moments where fast but also melodic guitars could be heard ("Burn Forever"), but the rest is nothing more than the modern metal that has been practiced by many other acts nowadays also including clean deep vocals which could have stood well on a Type-O-Negative album, but not here.

Reloaded Full-length, 2005

WORLD WAR 4 (CANADA)

The debut demo: a more serious take on retro thrash/crossover with longer, more thought-out songs and various paces never thrashing out brutally although the energy is pretty big and the guys know their craft relying on rough steam-roller riffs with welcome faster-paced passages recalling Leeway and the Swiss Lunacy.
The "Bush Bash" demo is another cool effort with a very clear sound the guys serving various paces keeping a good balance between slow and fast tracks the authoritative semi-declamatory vocals dominating the proceedings. Near the end the band start pulling out some really serious stuff "Daemone" coming close to the dissonant exoticisms of late-80's Voivod. "HoboGoblin" is a dramatic mid-tempo stomper, and the final "Hugo (Dentist Of Death)" is primal shredding old school thrash setting the scene for the coming of an eventual full-length for which appearance the guys are more than ready.

Ruff As Fuck Demo, 2012
Bush Bash Demo, 2013

Official Site

WORLD WAR 5 (DENMARK)

Brisk vehement old school thrash is the name of the game here, the guys rushing onward with little remorse, with flashy lead guitar work ("Retrograde") and more modern drama ("Expose") served all around, the impetuous crescendos on "Terrors" recalling Paradox at their best, not to mention the short explosive "Haunt" and "Bitterness" that will shatter your sense beyond repair, the closing "Increased" adding a desirable doze of Biomechanical-esque complexity, the shouty semi-clean vocals hesitating between Phil Anselmo-sque belligerence and the more composed, less expressive antics of Phil Flores (Evildead).

World War 5 Full-Length, 2020

Facebook

WORLDFALL (USA)

There's only one person in charge here, the name Carlos Cordoba, who specializes in modern power/thrash with interesting more complex decisions ("False Salvation"), the overall delivery not too far from more recent Annihilator. Cordoba relies on heavy, nearly doomy at times, riffs to pull it through ("Razor's Edge"), but expect friendlier, poppier notes as well ("Celebrity") those appropriately backed up by the man who also unleashes a couple of hellish deathly shouts.

False Salvation Full-length, 2017

Official Site

WORLDSEED (SWITZERLAND)

This new band serve a very archaic blend of black and thrash metal which goes back to the early days of Bathory, but offered in an intriguing semi-technical death metal sauce ("Become The Wolf") at times. There's also a lot of epicness ("Era") ala Burzum, and overall it's the black metal lovers who will find more sense here, with operatic Dimmu Borgir-esque beauties like "Piece of Lie" and "The Hunting Ground" lying in wait at every corner. The vocalist is the prototypical raven-like screecher who fits the atmospheric music like a glove.

We Hate Full-Length, 2015

WORMHOLE (SPAIN)

This is modern post-thrash which generally friendly demeanour ("Basura Global") gets enriched with both somewhat clumsy tributes to the good old doom ("Mi Nombre es Caos") and sprawling semi-balladic sagas ("Agujero de Gusano"), the rough semi-shouty hardcore vocals given a xhnace to display a true vocal bravado on the lyrical balladic respite "Mecanismo Podrido".

Origen Full-length, 2023

Official Site

WORMQUIZITOR (BELARUS)

This Belarussian trio provide a retro thrash/death/black combination which is both atmospheric and aggressive, the passionate hyper-blasts on "Decided Destiny" standing tall next to the consistent thrashy experience "Delirium Tremens" and the psychedelic quasi-progressiver "By Children's Eyes". The short numbers ("In Suffering", "Bonecrusher") are pure death metal madness, suiting the husky cavernous death metal vocals. Some of the musicians also take part in the black/death hybriders Wasteland of Reality.

Sicknes Define: Society Full-length, 2022

Official Site

WORNING (HUNGARY)

Retro thrash/death metal with slight both technical and modern tendencies (the awful groovy "Noise"); the guys alternate fast with slow sections, and the technical riffage brings more style to the fore ("Videm Vasernap") in a way not far even from Morbid Angel themselves. The singer is a suitable semi-angry semi-shouter, intelligible and forceful.

Where is ...? EP, 2007

Official Site

WORSENS (EGYPT)

This is modern progressive power/thrash which nicely combines speed and melody on the encompassing saga "Mayiet", but larger-than-life opuses like "Labayke Al-Nada" and the melodic progressive extravaganza "The Story of..." are simply overdone whereas the more moderate side (the doom mooder "Shayeb Kotshaina") seems to deliver the better without too many flashy histrionics. The main vocals are passable semi-clean male ones, but there are other inclusions on this multi-layered, but not very coherently assembled album.

Taht El-Talab Full-length, 2017

Official Site

WORSIS (BRAZIL)

Modern semi-technical thrash which is built on quite a few exemplary shredders ("Pais Sem Leis", "Echoes of Pain") which prevail over the more laid-back progressivers ("Slaves of Corruption", "Still Resisting") the middle ground between the two sides occupied by more stripped-down headbangers ("Under Mud", "Born to Bleed"). The singer is a shouty semi-hardcorer who takes quite a bit of space, more or less appropriately.

Blinded By The System Full-Length, 2017

WORST CASE SCENARIO (USA)

Prepare to join "the Order of the Morning Star" which will delight you with some clever semi-technical thrash/death with choppy twiddling rhythms plus several proto-groovy, deathcorey breaks which better suit the subdued semi-hardcore/semi-death metal vocals. The speedy elements aren't many at all, and this may be a detriment to some since the crunchy technical riffs may wear thin after some time the variety not being great despite the proficient execution.

The Order of the Morning Star Full-Length, 2006

My Space

WORT (ITALY)

The full-length: a fairly capable mixture of classic and modern thrash, occasionally quite technical, with a couple of more intricate insertions ("Mind's Ash") those bordering on mid-90's Voivodisms excluding the harsh deathly vocals. "The Essence" pulls the tables towards more clinical Deathrow-esque waters, and when "Black Sunrise" enters with this quirky expressive bass things acquire a much less ordinary character. Cuts like the pounding "Parallel Translations" and the more atmospheric instrumental "Saharawi" try to preserve the linearity, but precise shredders like "The Modern Medecine Had Freezed You" and the creepy diverse title-track make sure the delivery remains on a less familiar, more appetizing ground.

Hatemachine Demo, 1995
Projections Full-length, 1997

Official Site

WORTOX (SWEDEN)

This band play very simplistic barrage-like old school thrash/proto-death which amateurish status is further enhanced by the very unrehearsed raspy croaking raven-like vocals. "Voyage of Violence" makes some sense with its better constructed fast-paced noise, and "Cry for Napalm" is an early attempt at bashing violent death metal. Later the guys formed the retro death metal outfit Altar, and started playing much more meaningful music.

The Unknown Demo, 1989

Youtube

WORWYK (USA)

Based on the band's second creative period (2001-2013), this very prolific act provide classic power/thrash with a hefty technical/progressive blend ("Incinerator") at times, at others it's more on the heroic power metal side ("Malignant"), at others it's straight-forward with an overt thrashy edge ("In Solitude"). The guitarist Thomas Vitacco is the main driving force behind all the band's endeavours and is the only permanent member the vocalists changing throughout. This is a good act for fans of the old school American canons, for those who grew up with Liege Lord, Attacker, Helstar, and early Laaz Rockit.

Vspertine Shadows Full-length, 1991
The Cauldron of the Bizarre Full-length, 1992
The Order of Chaos Full-length, 1994
All Pain Is Possible Full-length, 1995
Incinerator Full-length, 2001
The Hanging Man Full-length, 2004
In Solitude Full-length, 2006
Malignant Full-length, 2009
Shadows Black Full-length, 2013

Official Site

WOSLOM (BRAZIL)

The debut: the classic thrash metal resurrection occupies a big space from the Brazilian population's life, and here comes another act to participate in the campaign. These newcomers try to steer away from the Germanic patterns to which the majority of their compatriots stick, and operate in the more technical side of the Bay-Area with a frequent adherence to pure headbanging thrash: "Power & Misery" is a very good example of that, a non-stop thrashing roller-coaster moshing far'n wide for more than 8.5-min nicely capturing the sincere enthusiasm and the naive professionalism of the Metallica debut. On the other hand, "The Deep Null" is a nice technical addition to the album, a mid-paced smasher sounding like a leftover from "Souls of Black". "Mortal Effect" is a headbanging delight, short direct speed/thrash at its finest followed by the more diverse "Despise Your Pain" which again recalls early Metallica even trying to reach the magic of the Kirk Hammett solos to a fairly positive effect. "Downfall" is a hectic jumper with crossover overtones, much shorter than the next "Checkmate" which is a 9-min steam-roller of the semi-technical type ala Testament again. This is a really promising debut which manages to bring back sweet memories from the West Coast by combining energy, technicality, and melody quite well the latter greatly reflected in the excellent lead guitar work.
"Evolustruction" is more restrained with power metal incorporated here and there into the intelligent thrash rhythms which can also be more direct ("Pray to Kill", "River of Souls") as both sides show again an obvious fascination with the Testament career as the singer now sounds very close to the attached semi-clean tirades of Chuck Billy. The longer material may be a pullback, though, reflecting the aforementioned Americans' lesser period, circa "The Ritual" ("River of Souls", "New Faith"). "Breathless (Justice's Fall)" is a nice more elaborate headbanger encompassing both aspects of the band style thrashing in an assured melodic way which gets cancelled by the wall of fury which is the closing "Breakdown" the latter followed by an elongated version of the opening title-track. This album doesn't strike a cord as strongly as the debut due to the relative reduction of the hard-hitting shreds, but is a suitable addition to the voluminous pool of classic thrash offerings from South America.

"A Near Life Experience" sees the band returning to the more impressive tendencies from the debut and "Underworld of Aggression" is a rousing headbanging opener before the title-track brings a lot of twists and turns during its 8.5-min showing the guys' more intricate side. Later on the band keep thrashing with sophistication with "Brokenbones" and "Lapses of Sin" which precede a short string of more moderate, less speedy pieces, the epitaph served in the face of two short blitzkrieg thrashers both aptly titled ("Total Speed Thrash" & "Thrasher's Return").

Time to Rise Full-Length, 2010
Evolustruction Full-Length, 2013
A Near Life Experience Full-Length, 2016

Official Site

WOSTOK (POLAND)

A Polish outfit who specialize in sharp lashing retro thrash with a not very overt crusty flair which makes the guitars a bit noisy at times. The pace shifts from song to song, but the guys have their eyes on the intensity and one will inevitably be jumping around on moshers like "To Nie Jest Film", and the title-track near the end. The vocalist is a harsh hardcore-ish shouter who tries to sing with more passion on occasion.

Wostok Full-Length, 2015

Official Site

WOTAM (MEXICO)

Based on "Angel de la Muerte", these Mexicans deliver rough abrasive power/thrash with very characteristic mean semi-shouty vocals. The band alternate slow brooding with fast blitzkrieg tracks both sides being nothing too exceptional, the musicianship just above amateurish rising only occasionally, like on the cool atmospheric pounder "A Pelear".
"Pandemonium" sticks to the same patterns, and although some cuts (the opening "El Demonio Wotam") are positively lively, the production is too noisy and hissing to make any number stand out. "Anarkia" is the other place where one can detect moments of thrashing intensity, but elsewhere it's one buzzy abrasive dirge which has very few redeeming merits.
“Sangre y Metal” contains the same familiar blend, the more energetic clout of numbers like the semi-galloping “Yo Pecador” and the opening raging title-track easily supplemented by the supreme melodic leads of “Maldito Amor” and the abrasive proto-grooves of “Anarkia”. The sound quality remains on the semi-pristine levels, hampering the musicians’ efforts at times.

A.M.E.N. Full-length, 2006
Por tu Sangre Full-length, 2011
Raza Herida Full-length, 2011
Codigo Demonio EP, 2014
Angel de la Muerte Full-length, 2016
Pandemonium Full-length, 2021
Sangre y Metal Full-length, 2023

Facebook

WOTAN (GERMANY)

Cool technical thrash/death metal with a surprisingly classic sound, akin to Massacra, Morbid Saint and Revenant; this is quite fast and frequently brutal stuff with good technical guitars. The vocals are strictly in the death metal camp again recalling Revenant. "Tranquillity" starts in a brutally uncompromising way with the crushing super-fast "Assassinator". The speed and aggression continue unabated throughout the whole album ranging from even faster ("Burnt to Death") to impressive technical ("Chained Man") numbers.
"Children of Technology" steps down in terms of aggression and speed, but the guitars are more technical and choppy, and some slower tracks are also included, like the excellent and quite faithful cover of The Sisters Of Mercy's "Temple Of Love". On the other hand, we have truly impressive combinations of speed and technicality: the masterpiece "Magnum Song", the highlight of the album. "Squash Your Jerry", which finishes the album, is a brutal piece of grinding thrash/death; maybe the joke song here?
The band's beginnings are pretty humble as evident from the demo which features rough messy bash with overt speed metal elements reminiscent of Destructor and Hallow Eve, but this is rawer and more amateurish. The vocals are plain shouts with a strong drunken blend often deafening the instruments. It's only on the closing "Medusa" where the band suggest at better things to come which materialized whole ten years later.

Wotan Demo, 1986
Tranquility Full-length, 1996
Children of Technology Full-length, 1999

WOTAN (ITALY)

Based on the "Inner Monstrosity" demo, these not very known Italians play dark semi-technical thrash/death metal along the lines of mid-period Messiah and early Death (the demo-title could be a nod to the Americans: remember "Living Monstrosity" from "Spiritual Healing"). The guys have quite a few tricks up their sleeve, and it's a pity that the sound quality is not good at all stifling the technical attempts which are scattered all over to an imposing dramatic effect. The tempo is fast for most of the time, and the vocals are rough death metal barks, not very intelligible. Reportedly on earlier demos the guys had played some epic form of speed metal.

Welcome to the Asgard Kingdom Demo, 1988
When The God Destroys Demo, 1989
Slaves of Hate Demo, 1991
Spectral Existence Demo, 1992
Inner Monstrosity Demo, 1993

WOUNDED KNEE (LUXEMBOURG)

These "psychopaths" from a very small European country have concocted three numbers of modern "psychopathic" post-thrash which is rude industrial noise for most of the time unleashing quite a bit of fury on "Wake Up" which is a raging deathly cut ala the Fear Factory debut. The singer shouts very noisily his histrionics barely recognizable among the musical chaos they're supposed to supervise. It has a raw unpolished charm, not far from the one of the early outrages of the Australians The Berzerker even, but its duration is just too short for anything more substantial to materialize.

Psycho Path EP, 1993

WOUNDS (FINLAND)

Based on "Chaos Theory", this band plays aggressive, occasionally quite fast thrash/death metal of the classic variety with two death metal-styled vocals (the traditional "low growls versus high-pitched snarls" duel). The tracks are generally short, but there are almost no shades of hard or grindcore here although one could catch furious blast-beats ("Alien Abduction") at times. The style recalls the efforts of the Americans Ghoul and Frightmare.

"Morbid Holocaust" is a constantly fast relentless attack with short 1.5-2min tracks blasting its way out with ultimate fury at times. Still the two styles are well mixed with a couple of pure thrashy delights ("Holocaust Reich", "Retreat or Die!", "Panzer Attack") thrown in. "Destroy the Sun" is a cool attempt at spicing the raging wall of sound with slower pounding rhythms and more melodic guitar work.

Chaos TheoryFull-length, 2002
Storming DeathEP, 2006
Morbid HolocaustFull-length, 2007

Official Site

WRAITH (USA)

Based on the full-length, this band play retro speed/proto-thrash along the lines of Vectom and Iron Angel. The vicious blacky vocals create more menacing atmosphere, but the moshing party is nearly identical to the one stirred by the mentioned German stalwarts with a more expressed punk/hardcore vibe on the shorter material ("Fire", "I Am Death").
"Fueled by Fear" can pass for the band's most aggressive slab, the suitably pummeling title-track opening Pandora's Box of energetic thrashing delights, with "Horses and Hounds" and "Code Red" adding more fire to the furnace, the brief thrash/crossover joy "Ice Cold Bitch" raising the level of optimism, leaving the hard thrashing for "Merchant of Death" and the sizzling speedy roller-coaster "Heathen's Touch", the closing "Vulture" ending this effort in a stripped-down thrashcore fashion.

Wraith EP, 2017
Heed the Warning Full-length, 2018
Absolute Power Full-length, 2019
Undo the Chains Full-length, 2021
Fueled by Fear Full-length, 2024

Official Site

WRAITHKILLER (USA)

A quite cool EP and a band about which not much is known; this is ripping old school speed/thrash which breezes by with sweeping brisk fast-pacers (the title-track, "Armageddon Massacre") in the best tradition of the early German practitioners (Destruction, Necronomicon, early Deathrow), the husky mean spiteful vocals a fairly relevant addition to the hyper-active melee. There's no respite offered anywhere here, 20-min of relentless old school attack, "Lightning War" at the end indeed trying to break the speed of sound with lightning-fast riffs.

Eternal Midnight EP, 2021

Facebook

WRAITHS (CANADA)

Melo-death/thrash of the modern variety, energetic proficiently-executed stuff which also comes with a sniff of progressive (the atmospheric title-track). The shorter material ("Wraiths") is clearly on the headbanging semi-technical side of the spectre, the more intricate shenanigans on "Bloodmoon Rise" a possible highlight, the hysterical overshouty vocals not exactly a spoiler, but hardly a very original appendage.

The Evergreen to Ash Full-length, 2019

Youtube

WRATH (PORTUGAL)

Aggressive black/thrash metal ala Absu with a few nice melodic touches (the balladic lead-driven instrumental "Ruins", and the breath-taking piece of romantic tenderness "In Wrath and Woe" with the leads again playing a major role); the rest is predominantly fast extreme stuff adhering to hyper-blasts and a singer whose apocalyptic raspy vocals are just the perfect match to the relentless music. The guys have another band: Serpent Lore, where they play pure satanic black metal.

Regression Demo, 2001

WRATH (USA)

A forgotten band from the heydays of thrash metal; "Fit of Anger" offers excellent stylish semi-technical power/thrash metal with a Bay Area flavour, with Gary Gulwitzer's vocals being a clearly acquired taste, with a very high-pitched, piercing blend that may enchant some. The music is quite speedy and energetic rubbing shoulders with speed metal (think Attacker's "Second Coming", above all) quite a bit, at least on the first couple of tracks. "Bones" is a kind of an intermission being a heavy slow number after which the thrashier side of the band's repertoire shows up ("Fanatics", "Sudden Death") as well as the more technical one ("Machine"). "Vigilante Killer" is another interesting track featuring nice dual Iron Maiden-like leads.

This album was followed by an even better one, "Nothing to Fear", boasting great technical riffs, a lot more aggressive attitude and impressive, progressively-structured songs. "R.I.P." opens it again in a more speedy pattern ala Agent Steel's "Unstoppable Force", but the complex guitar sound settles on the rest of the songs, and things really start getting interesting. The tempo slows down, but the guitars bring about really cool technical moments. Speed and technicality come together on the excellent aggressive riff-monsters "Fear Itself" and "Sudden Death" after which the music becomes faster-paced and sharper culminating on the excellent closer "Victims in the Void".
"Insane Society" is not a complete failure, but the music is slower and more choppy relying on more hard-hitting, simplistic riffs which do not work that well. The smoothness and effortlessness of the previous effort are gone, and the guitars have a more mechanized sound which brings to mind 90's Megadeth on the more inspired moments ("Test of Faith", the title-track). Even the few times when the music speeds up, it sounds kind of strained and uneven ("Swarm"), or "calls for help" slower breaks ("Low of Liers"). "War of Nerves" is a great instrumental piece which carries part of the technical brilliance of "Nothing to Fear", but the rest seldom leaves the average standard music formula.
The 2008 EP introduces a new singer who is miles away from the high-pitched sirens of the older ones, and his angry hardcore tone would hardly make you fall in love with him. The music is even worse being dull groovy post-thrash with horrifying nu-metal leanings. I have serious doubts taking this work as a part of the band's discography, and it should be erased as such. Hopefully this will not extend into a full-length... Nuclear Assault, Assassin, Cancer, etc. will have a new companion in the "21st Century Flops" section.

"Stark Raving Mad" sees the band stark raving mad for some good old school thrash, and the good news is that the awful modern metal leanings from the preceding demo are gone for good... hopefully. So the band serve vintage classic thrashisms which are milder with a shade of crossover on the opener "Face To Face" which gives room to the primal speed/thrasher "Licking Wounds". Things become more intense on the direct ripping "Into Machine", but "Within" calms the ball down with a portion of stomping mid-paced riffage. The rifforama goes on unabated with "Conquered, Divided" which is again in the mid-tempo confines with intelligent semi-technical decisions. Then the aggression goes up the scale again for a string of compositions before the closer "Heads Hung In Shame" provides some epic power metal extravagance to the proceedings. The intricate sophistication of "Nothing To Fear" can't be felt anywhere, but the more generic, not very exciting, plot of "Insane Society" isn't that frequently encountered, either. This effort comes close to the more stripped-down debut, but it's obvious that the band are willing to expand their palette after the reunion, and one can only be glad that one of his/her favourite underground heroes have returned with style without necessarily messing it up.
"Rage": to these ears Gary Golwitzer isn't behind the mike unless he's altered his delivery beyond recognition, opting for an unexpressive leveled semi-clean, mid-ranged timbre; the vocals sound quite similar to the ones from the preceding effort... but sadly the music doesn't. The band have settled for a modern/classic power/thrash amalgam which sounds unpleasantly modern for at least half the time, with not very eventful groovers ("What You Crave", the really boring semi-ballad "My Rage") disturbing the more convincing rides of retro shredders like "Draw Blood" and "Tension on High". The ending is seriously underwhelming with a string of lame alternative post-thrashers piled on top of each other, the balladic idyll "Mother's Hell" a very unconvincing epitaph if we don't count the Motorhead cover of ... but of course "Ace of Spades", faithfully executed, close to being the highlight on this fairly disappointing recording which is only a tad better than the disastrous self-titled EP.

Fit of Anger Full-length, 1986
Nothing to Fear Full-length, 1988
Insane Society Full-length, 1990
Wrath EP, 2008
Stark Raving Mad Full-Length, 2014
Rage Full-Length, 2018

Official Site

WRATH A.D. (USA)

A live demo without anything released before, is an interesting decision, but these guys pull out three live songs of brooding heavy doomy thrash which isn't bad, even offering a couple of more vivid dynamic moments on "Worst Enemy", and especially on "Fields of Pain" which acquits itself towards the end with a furious Slayer-esque passage. This is moody stuff with Infernal Majesty a close soundalike as well with gruff, but forceful, vocals.

The full-length would be a pleasant surprise the band showing themselves as fairly capable musicians pulling out expert progressive/technical thrash/death not far from Sadus and the Chileans Torturer. "Worst Enemy" is a prime example of cleverly executed progressive thrash, a hectic, not very predictable, composition which ends in a great doom-oriented manner. There are a few sleepers scattered throughout, like the monotonous doom-prone "Misery", but no such misery on the raging deathster "Fucking System" and the atmospheric technicaller "Screams Of Hunger". The title-track is a compelling melodic "symphony" ranking with the best from the Death repertoire from around the same time, and "Y.T.T." is a short violent headbanger paving the way for the closing "Wasted Soul", a melodic progressive cut with dramatic accumulations. This is a really good effort seeing an act stirring the ashes of the sleeping classic genres at a very appropriate time... it's a pity they disappeared so untimely.

Live! Demo, 1996
Pro-Prophecy Full-length, 1997

WRATH ATTACK (USA)

Two songs of retro thrash with a dirty fuzzy sound mixing slower with faster moments ending up sounding not far from the early Meliah Rage efforts although the singer has nothing to do with that act being a bad drunken death metal shouter.

Bringing Out The THRASH Demo, 2008

Official Site

WRATH OF BELIAL (DENMARK)

This act were previously known as Pariah Syndicate. The style here is also hyper-active thrash/death metal with more intriguing, semi-technical embellishments which make short rippers like "Aftermath of a Tyrant" and "With Hell Assured" worth hearing even by the technical metal lovers. The approach has its more laid-back stomping side ("Six Feet Under Pandora", the excellent diverse closer "Next Chapter of Enslavement") both musical sectors handled by two vocal style, one guttural and semi-shouty, the other vicious and raspy with a hysterical blacky blend. Some of the musicians are also active with the death metallers Death Comes Pale.

Bloodstained Rebellion Full-length, 2017

Official Site

WRATH OF GOD (SPAIN)

This Spanish trio serve heavy modern thrash/post-thrash that has its undisputable moshing side ("Shoot'em!!"), but more often than not this is squashing mid-tempo stuff with "Rex" stomping the neighbourhood with spite, whereas "Avenger Angel" is a rousing thrasher with sharp lashing riffs. The singer is a shouty hardcore presence who spits his antics with an intentional confrontational attitude.

Blood Eagle Full-length, 2023

Official Site

WRATH OF NOAH (JAPAN)

This is pretty cool classic thrash which rips through the speakers, crossing stylish semi-technical shredders ("Immortal Diver") with vehement straight-ahead bashers ("Will Never"), "Psycho Inserter" being more of a modern-ish choppy inserter, the more diverse but still pretty dynamic "Killing Bull Demon" suggesting at loftier dimensions to be explored in the future. The vocals are shouty deathly, creating a bit more noise than the requisite.

Wrath of Noah Full-length, 2020

Official Site

WRATH OF TYPHON (USA)

Based on "Kingdom of Fear", this act serve modernly boosted classic power/thrash which doesn't win too many points from the harsh shouty deathly vocals. The approach also reaches some death metal-ish drama ("Sworn to Die") at times, too, including on impetuous fast-pacers like "E Obsolete". There are shades of stoner/doom ("Fate"), dark somber hymns ("Son of Sam") with echoes of Danzig, and galloping epic battle rousers ("Lazarus Pit").

Speak from the Fire Full-length, 2011
Kingdom of Fear Full-length, 2017

Facebook

WRATH SINS (PORTUGAL)

The debut: the Portuguese metal scene shows obvious signs of waking up from its unproductive period, and here come these purveyors of the retro thrash idea to rock your world with their clever take on the genre which at its most inspired will recall mid-period Megadeth and the more obscure outfit Wrath (see the reviews on that page a few lines above). The band rely on choppy mid-paced riffs which get the message through sometimes with the help of a more energetic delivery ("Textured Vengeance", and especially the cool dynamic shredder "Watching Time Collapse"). The problem is that on the rest the same formula has been repeated to a somewhat tiring effect, and by the time it reaches the 7-min closer "Where My Oblivion Dwells", it can't possibly entertain thoroughly.
"The Awakening" is built around the same patterns with more dramatic developments ("Unquiet Hearts"), and with frequent more dynamic deviations ("Shadow's Kingdom"). "Strepitant Mist" is a cool choppy instrumental with nice semi-technical riffage which aggravates the fairly decent progressive opus "Between Death's Line", one of the more ambitious ventures here. Elsewhere the band don't spare energy and verve, like on the dramatic, marginally more modern-sounding title-track which also benefits from a few more officiant stomping developments; and on "Silence from Above" which closes this pretty decent opus with aplomb, the guys thrashing enthusiastically by also notching it up in the complexity department with more frequent tempo shifts, toning it down a bit for the atmospheric downbeat ending.

Contempt over the Stormfall Full-Length, 2015
The Awakening Full-length, 2017

Official Site

WRATHCHILD AMERICA (USA)

An interesting, but not a really great band; on the debut, apart from nice invigorating thrashers ("Hell's Gate") and stylish technical passages ("Hernia"), there are quite a few cheesy moments, not heard before on a thrash metal album: the mild heavy rocker "No Deposit, no Return"; the hard rock pleasantry "London after Midnight", etc. Many of the songs are firmly in the power/proto-thrash metal camp with only one packing a real punch with its more intense galloping rhythm ("Day of the Thunder"), including also a cool cover of Pink Floyd's "Time".
"3-D" is a cool, albeit too eccentric at times, concoction of influences which still manages to bang the head whenever it feels like it. The opening “3-D Man” is a jazzy hectic listen that is quite good despite its “bumpy” character. “Spy” enters the scene, and the uplifting optimistic rhythms overtake the aether permeating the Mordred-esque funker “Gentleman Death” and the atmospheric melodic progressiver “Forever Alone”. “Draintime” is a weird, but listenable, combination of ballad, more hard-hitting riffage, and funky “distortions” reminiscent of the Japanese avant-gardists Doom, already heard on an EP released a few months back. “Surrounded by Idiots”, another cut from the mentioned EP, is an edgy progressive offering trying to keep up with the merry mood instilled, but its relaxed attitude is completely overwritten by the more intense thrashing on “Desert Grins”, a surprisingly dynamic roller-coaster sustained for 6.5-min, with a nice balladic interlude, the highlight here. “What’s Your Pleasure?” retains the thrashier ways of execution even reaching headbanging proportions at some stage, obvious echoes from the debut, somehow surviving among the funky, groovy jumps and jolts also amply provided. “Prego” is a nervy all-instrumental shredder with not very predictable riff-patterns ala Spastic Ink. making the second half even more attractive, but “Another Nameless Face” is just a bluesy/balladic non-sense its blasé nature compensated by the sprightly “//”, another less ordinary attempt at the good old thrash with the obligatory quirks installed including a cool quieter passage. The merits of the closing “I Ain’t Drunk, I’m Just Drinking”, another cover (of Albert Collins), are also quite debatable although it’s obvious that this is supposed to be the joke song, but this mild unpretentious rock’n roller is too big a mood spoiler to be placed in the better-filler category, also certifying the album's fate as one of the passable, but hardly exceptional recordings from the early-90's roster.

Climbin' The Walls Full-length, 1989
Surrounded by Idiots EP, 1991
3-D Full-length, 1991

My Space

WRATHEON (USA)

Based on the full-length, this act serve a wild hyper-active blend of thrash and black metal, the unbridled impetuosity of cuts like “The Horde” and “We're All Fallen” painting on the canvas with more insistent blacky strokes, whereas “Bathory” is a more measured thrashy tribute to the great late Swede. The short guts “In Late October” is another thrash-fixated excursion, the final “Becoming Nil” helping the moshing cause with one more portion of wild sizzling riffs.

Black Thrash Mass EP, 2021
Becoming Nil Full-length, 2023

Official Site

WRATHFUL (SPAIN)

Cool intense classic thrash/death marked by impressive lead guitar work and a few more entangled arrangements ("Crumbled to Dust") among the raging prevalence the latter accentuated by fast ripping cuts like "Human Plague" and "Will of Damnation". The singer is a scary deathly growler who pleasantly aggravates the setting, the guys exploring more technical territories with the excellent creeper "They Lurk in the Shadows" and the varied shredder "Death Lake".

Open Chest Full-length, 2020

Official Site

WRATHNOISE (SPAIN)

The debut: this power trio serve intense choppy thrash/death which doesn't rely on too much speed, and shoots quite a few very stylish lead sections into the aether, those quite close to the Shrapnel pyrotechnics (check those on "Source of Evil"). The brief "Allowed for Genocide" is a nice combination of atmosphere and aggression, the blend also convincingly executed on the stomping "Ad Extirpanda" and the excellent closer "The End", a semi-balladic/doom proposition with heavy macabre motifs, partly ruined by the not very expressive, mean semi-declamatory vocals.
"The Art of Obscurity" is a more intriguing proposition starting with the not very expected semi-progressive saga "(Prologue) into the Mist" the guys death/thrashing with brains at this early stage before settling for a string of fierce vitriolic pieces ("Syndrome of Blood", "Fight till Death", etc.) with death metal going out the window, leaving the good old thrash to do the bigger damage including with atmospheric brooding stomper "A Path to Otorten" and the officiant short doomster "Tenebris Waltz".

The Sound of Rage Full-length, 2018
Praise of Christ EP, 2018
The Art of Obscurity Full-length, 2020

Official Site

WRECK CREATION (USA)

This band was founded by John Duffy- a member of both Wehrmacht and its continuation Macht. Well, the guy had taken an entirely different direction from the previous two bands, and had decided to stay true to the modern trends, and this is nothing more than your average groovy post-thrash, a typical product of the 90's. It doesn't completely lack energy, and some tracks bite: "The Power of Positive Drinking" with sharper riffage, but the big promise shown with the Macht demo five years ago is nowhere to be found.

Wreck Creation Full-length, 1995

WRECK-DEFY (CANADA)

The debut: the line-up here features the former Annihilator vocalist Aaron Randall; the style is more on the epic power/thrash hybrid one with mellower mid-pacers ("Justify the Unjust", "Sentenced") floating next to rowdier, faster-paced propositions ("Under My Skin", the galloping "Karmic Wheel"). The focus is more on the former aspect, though, the overall delivery not far from the one more recent Metal Church and Meliah Rage.
"Remnants Of Pain" has more bite and verve as exhibited by the hard-thrashing "Killing the Children" and especially by the explosive ripping "Riverview", a thrashterpiece second-to-none, vehemently cancelling tender semi-balladic pieces like "Looking Back" and the proto-groovy "The Divide", those coming on regular bases, making the final "Blackend Cloth" a sure winner with its fast lashing riffs.
"The World Enslaved" is a more intense affair, and consequently the band's finest achievement. "Bring It All Down" opens the openly moshing fiesta which later grows into the galloping wonder "Fashionably Offended", the slower semi-balladic "Obey" showing a more lyrical side of the band, the latter also reflected in the misplaced radio-friendly parade "Crushing the Coward". More galloping suspense ("Tow The Line") later alongside vigorous speedy headbangers ("Moment of Clarity", "Kill the Pain"), the Randall replacement Greg Wagner (Shatter Messiah, Archetype, H.A.T.E.) doing a pretty decent job behind the mike with an attached lively semi-clean timbre.

Fragments of Anger Full-length, 2017
Remnants of Pain Full-Length, 2019
Powers That Be Full-length, 2020
We Got You Covered EP, 2021
The World Enslaved Full-Length, 2021

Official Site

WRECKAGE (BELGIUM)

Four tracks of decent classic thrash; "In A Split Second" is a cool Slayer-esque headbanger, but "Background" slows down adding more melody and technicality. "Sons Of Desertion" is a letdown trying to elaborate on the more technical elements, but is too soft bordering on ballad quite a few times. "Lost In The Masses" is heavier and more thrashy, but the fuzzy guitar sound, which is actually clearly audible on the whole demo, here simply irritates.

Sight The Five Demo, 1994

WRECKAGE (MEXICO)

A good album-title inevitably leads to good music, and this album here isn't an exception: the guys have done a fairly good job unleashing intense dynamic old school thrash with sharp lashing riffs, very cool melodic leads, and a very nicely applied crushing mid-paced rhythm section (check out "Deathmatch", "Feel the Fire"). On the rest the up-pace rules and the headbangers will rejoice with vitriolic guitars tearing the air till the end recalling both the Bay-Area and the German heroes to one of whom the guys pay a handsome tribute at the end with a nice cover version of "Remember the Fallen" (guess, or rather... remember who?). The singer isn't a slouch, either, providing a mean-ish semi-declamatory timbre reminiscent of Mille.

Smash the Trash with Thrash! Full-Length, 2013

Facebook

WRECKAGE (USA)

"Experiment in Terror" offers brutal thrash/proto-death metal sounding like a faster and a more vicious version of Possessed's "Seven Churches". It doesn't require a very big imagination on the side of the listener to see this demo as one of the first good attempts at early death metal, as a matter of fact.
"From the Ashes" surprisingly abandons the death metal elements and settles for aggressive thrash akin to Slayer and Dark Angel, not a very distant departure from the sound heard on the debut demo. "World Of Despair" brings back the death metal, now a full-blooded genre on the metal map, but thrash still dominates, and the music is tighter and more technical than the one from their earlier efforts.

Experiment In Terror Demo, 1986
From the Ashes Demo, 1987
World Of Despair Demo, 1988
Dilema Demo, 1989

WRECKER (MEXICO)

The debut: classic aggressive thrash with death metal overtones; the music is predominantly fast and will remind you of the French Agressor debut quite a bit if we exclude the attempts at melodic stylish leads which deliver the goods contrasting with the lashing speedy riffs. Some of the band members also take part in another classic thrash resurrection participant, Wolfskin.

"Wreckage Day" is more melodic and consequently better. The guitars are more technical without losing the intensity, especially on perennial exploders like "Banshee Queen" and the death metal madness "Reborn". The middle is occupied by a few more epic numbers ("Tormented by Sin") where the sound becomes more officious, almost doomy. This is good fun with some impressive leads (check out the exiting title-track) as well the melodic fiesta only marred by the expressive, but also quite brutal, death metal vocals.
The self-titled carries on with the death/thrash roller-coaster the delivery now recalling the Swedish melo-death movement with epic gallopers ("Battlefront") making sure the pace doesn't go beyond the desirable confines. "King of Disharmony" is a raging thrasher with the title-track following suit with blazing leads and even more vicious riffs, these numbers' unbridled intensity later matched by the closing short ball of fury "Karma Is a Bitch".

Suicide Headache Full-length, 2008
Wreckage Day Full-Length, 2014
Wrecker Full-length, 2017

My Space

WRECKONING (USA)

Modern 90's groovy post-thrash (both demos) which can be pleasantly bouncy ("Real Eyes"), the balladic/doom "Box" a cool deviation, soaring above the sea of thick but catchy grooves, the more energetic layout of "Control" passing for the highlight if you can tolerate the decent hardcore-ish semi-clean vocals those resembling Gary Meskill (Pro-Pain), the music also swinging this act's way ("Toys of Time") at times.

Wreckoning Demo, 1992
W.A.S. Demo, 1993
The Wreckollection Compilation, 2020

Official Site

WREKKING MACHINE (USA)

Quite good, fairly technical thrash metal of the old school; there are similarities to the Forbidden's early works, but this band have a more jolly and playful attitude to song-writing, also akin to Anthrax; the guitar work also reminds of that band, and more particularly their works of the late-80's. The singer has a good higher-pitched voice, not miles away from Sean Killean (Vio-Lence). "Hear Me Now (Listen to Me Later)" is a good intense, technical opener; the following couple of tracks slow down, but preserve the interesting, intelligent riffage. "Without Direction" is another more energetic thrasher which actually has direction (pun intended) combining sharp, Anthrax-like riffs with more technical, "Twisted Into Form"-like ones. Modern, 90's guitar work rarely shows up, and for most of the time this is very well executed heads-down retro thrash with a hefty technical twist.
The band's 1988 demo is two tracks of energetic Bay-Area influenced thrash whereas on the second one the music becomes more experimental and technical, and closer to the full-length with two of the songs from it also finding a place there: "Wrongful Snagulation" & "I Am What I Am"; the other two are also worth checking out, both being quite jumpy and twisting, still thrashing with force on a few moments, graced by very good bass work.
The "Fatal Mistake" is three songs one of which is a cover of King Diamond's "The Family Ghost" from the "Abigail" album released just months earlier; a bit sloppily performed but with very convincing falcetto vocals; some may think that it was the King himself behind the mike... music-wise it feels like the guys were still honing their guitars, the title-track being an ordinary mid-paced power/thrasher, and "Critical Mass" shredding a bit harder, the bass overtaking the space for a more aptly-stitched ride, but still far from the lofty musicianship served on subsequent endeavours.

Fatal Mistake Demo, 1987
Demo Demo, 1988
Somethin' Happened Demo, 1989
Mechanistic Termination Full-length, 1993

WRETCH (USA)

The band's style recalls the 80's American power metal scene: Attacker, Griffin, Savage Grace, with a slight shade of melodic thrash ("Touch Like Thunder"). Although this is quality music and all, it might not appeal to the more hard-boiled thrash metal fans.

"Warriors" is another chapter from the American power/thrash metal saga sustained in a dynamic galloping pace for at least half the time also providing a lot of epic drama along the way (the dark brooder "Fallen From Grace"). Again, there's not much thrash to be savoured, but the good musicianship should keep the listener at least mildly entertained.
"The Hunt" is another heroic speed metal affair as thrash hasn't been given a very big chance again. The energy and passion of cuts like "The Final Stand" and the galloping delight "The King In Red" may prove infectious to some, but this would be mostly entertainment for the Savage Grace and early Helloween fanbase.
"Man or Machine" raises the flag of heroic old school speed metal high from the start with the "eagle fly free" hymn that is the title-track, and from then on it's mostly power/speed metal that the listener will come across by-and-large, with friendlier power metal cuts ("Steeler") alternating with impetuous gallopers ("Requiem Aeternam"). Happy-go-lucky stuff which becomes a tad more serious on the "The Inquisitor" trilogy at the end, the most aggressive cut on the album, the mentioned title-track offered in an acoustic version for a calm meditative epitaph.

Reborn Full-length, 2006
Rise to Power EP, 2013
Warriors Full-length, 2014
The Hunt Full-Length, 2017
Man or Machine Full-length, 2019

Official Site

WRETCHED (USA)

Based on the "...With Malicious Intent" demo, this act specialize in dense old school thrash which can be both pedestrian and mid-paced ("Raving-Renfield) and devious and technical (the meandering "Onslaught"). The threatening death metal vocals don't fit the music very well, but latter compensates for such pitfalls with the mazey progressive delight "Warlock" and the monolithic doom-laden steam-roller "Boots Must Die". Crystal-clear production also helps quite a bit on the side, the band shying away from speed for most of the time, but trying something calmer and subversive with the dark creepy title-track.

Vicious Inflictions Demo, 1991
...With Malicious Intent Demo, 1992
Though Compelled by Curiosity Full-length, 1998

WRETCHED EARTH (USA)

Old school thrash of the heavy pounding variety which largely suffers from the unsuitable semi-shouty hardcore vocals, the very muddy sound quality. A nice sense of melody ("In the Cage") can also be detected, including bigger bass-driven virtuosity ("Less Than Human"), and "Oppression" is an enjoyable volatile power/thrash hybrid, oppressing… sorry, opposing the dark sinister closer "Birthright".

Wretched Earth Demo, 1996

Official Site

WRETCHED EXCESS (USA)

Dark doom/atmospheric modern thrash/post-thrash with gruff low-tuned deathly vocals. "Bloodlines" is full-fledged doom, but expect bigger energy on the semi-lively cuts "High Strung" and the near-headbanging "Face the Enemy". "Prisoner of War" is a cool more varied composition with a wider gamut of nuances covered, and "Take It All Away" is a really nice dramatic number with a shattering speedy beginning and intriguing melodic pirouettes.

Mass Consumption Full-length, 1994

WRETCHED SOUL (UK)

The debut: this is old school speed/thrash with epic overtones which takes more extreme speedy dimensions ("Summon the Hunter") recalling early Helloween and the Swedes Cranium. A touch of epic power metal is served on the title-track, and melodic death metal can be heard on the bombastic (also blastic) "Wounded Illusion" before the sweeping galloping sections take over. The speed/thrash saga carries on after that reaching the culmination on the dramatic closer "Dash to Destruction". This is varied music which should have a wider appeal outside the thrash metal confines.
"The Ghost Road" serves a similar concoction speed/trashing with passion at the beginning the opening "Necromancer" a really nice battle-like anthem. "War Wolf" gallops with the finest out there, but "The Silent God" is just a middle-of-the-road power metal hymn. Comes "Bury the Heretic", though, and things get back to speed/thrash dimensions this one a perennial speedster ala Attacker despite the quiet balladic intro. "I Am the Thunderer" is more varied with blast-beats present as well ensuring this effort's wide appeal once again seeing the band not giving up any of the mentioned metal genres.

Veronica Full-Length, 2013
The Ghost Road Full-Length, 2016

Official Site

WRITHEN (USA)

Based on the "Stop At Nothing" EP, this band offers quite cool melodic thrash/death metal sounding like a more technical and thrashy version of Dark Tranquillity. All the four songs are sustained in a very energetic thrashy tempo with sparse blast-beats thrown in ("Limit").

No Time for Tomorrow Demo, 2004
Wait to Die Single, 2005
Stop At Nothing EP, 2006

Official Site

WRITTEN IN BLOOD (USA)

A young power/thrash metal outfit who pleasantly surprise with a tight musicianship and a very good sound. "This Purpose Driven Life" is a bombastic speed/thrasher, but the more moderate delivery is soon to come with "In This Fire" which is a calmer mid-paced number. "Your Fortress Falls" doesn't break any sound barriers, but "We Are Divinity" is already much faster and less controlled with a couple of more officiant epic sections. Both approaches alternate till the end with the vigorous speedy piece "Create A Dream" wrapping it up at the end. The singer is truly a find with his emotional delivery covering several tones with ease. The guys used to play metalcore in their early stages, but here there are hardly any traces of it.

We Are Divinity EP, 2011

Official Site

WRTX (FINLAND)

Modern death/thrash metal; the style is more laid-back with heavy riffs and good hooks. There are a few classic moments, too: "Lost in Trenches", which is a nod to the Bay Area scene.
"A Message Left Behind" is a bit mellower with post-thrash sneaking in, creating a lot of boredom at some stage, and brisk thrashing pieces like "Person to Blame" and "Black and Yellow" are more than welcome to dissipate it. Things get way harder in the second half where the band unleash more passion and vigour except on the cool but overlong ballad "Hercules" which could even make Hercules cry with its tearful acoustic guitar passages.

Step 1 (The Dark Sources of Humanity)Demo, 2003
Unbeknowst To UsDemo, 2006
The Third Part of Malicious DelightDemo, 2007
A Message Left Behind Full-Length, 2013

My Space

WRYNGD (BELGIUM)

This formation specialize in modern abrasive thrash/post-thrash that weaves a more intriguing pirouette ("Suffocating Serenade") on occasion, but "Demon" is merely a dirgy quasi-groover, and "Social Masochism" is a more dynamic version of the modern thrash shenanigans of Dew-Scented. Siht Köff" is a straight-ahead mosher, the singer semi-shouting comprehensively on the side, pitching it higher from time to time to resemble Peter Dolving (The Haunted).

Interrormezzo I EP, 2024

Official Site

WYCKED (USA)

A great demo (the second one) of technical thrash metal similar to Wrath's first two, and also Forbidden's "Twisted Into Form"; the six tracks here are guaranteed to stay in your mind since they all sound different from each other without betraying the band's basic style. There are faster moments ala Deadly Blessing or Attacker ("Torture"), but they only add up nicely to the more technical and slower nature of the rest. The vocals are really impressive being clean, high-pitched sounding close to Dirk Schroder (Iron Angel); "Blood Thirst" is actually a mighty thrasher which is a nod to the German thrash metal scene of the 80's again bearing resemblances to Iron Angel, but with a more technical edge.
The debut demo contains three cuts ("Frozen Death", "Blood Thirst" and "Torture") that were later featured on the sophomore.

Demo 1 Demo, 1988
Demo Demo, 1990

WYDFARA'S PROPHECY (AUSTRIA)

Based on the full-length, this formation offer decent modern speed/thrash with mean-ish semi-clean/semi-shouty vocals which are at times intercepted by more brutal guttural death metal ones. The tempos vary as some songs are quite intense ("Zymyma") whereas others are milder with a shade of heavy metal ("QTS"). Some of the band members can also be seen in the doom metal outfit Scargod.

Zmyrna EP, 2005
Amplified Wrath Full-length, 2007

WYKKED WYTCH (USA)

Before moving onto the extreme mix of styles: gothic, doom, black, death metal, etc. this band were capable of producing really good thrashy riffs as evident from their debut. It's actually quite a cool release offering a little for everyone as well: from 80's power/thrash metal in mid-pace ("Wytch's Sabbath"), to quite hard-hitting fast-paced thrash ("In Darkness Let Me Dwell"), to high-octane doom/thrash mixtures ("Resurrection", the "psychotic" creepy "Psychotic Waltz"), to more. The pure thrashy approach is most extensively covered, and one will have a very good time on the heavy crushing sinister "Black Widow" and "Expect No Mercy", or the brutal proto-death, and also technical "Shallow Grave", or the frantic closing dark ala Infernal Majesty piece "Ripping Flesh", again offering genuine technical twists. A major asset is the singer, a girl going under the alias Ipek who, with her mean apocalyptic timbre, switching from more aggressive to cleaner singing the whole time, very nicely adds up to the macabre mood permeating the album. This work sounded so fresh amidst the sea of rehashed angry/groovy efforts from the mid-90's, that the only reason why this band hasn't been mentioned alongside the leaders of the thrash resurrection movement, is that neither of their three subsequent albums bears any resemblance to the one reviewed here. Don't get misled by the reputation this band has established on the gothic/black metal field (and on the technical black/death metal field with the excellent "Nefret"); their debut is vintage classic thrash metal which would leave no one indifferent.

Something Wykked This Way ComesFull-length, 1996

Official Site

WYRDFORGE (UK)

A wild, aggressive mix of death, black and thrash which still finds time for a few more controlled sections of the stomping, Celtic Frost-like type (the sinister doomster "Belief Possession"). The guys play with no remorse bashing at will with a sparse participation of the hyper-blasting black metal school. The singer is a macabre low-tuned growler, and at times his voice gets lost in the incessant musical barrage.

Wyrdforge Demo, 2012

WYROK (POLAND)

Based on "To The Last Drop Of Blood", this act serve dynamic retro speed/thrash with gruff death metal vocals. The style meanders through aggressive death-prone ragers ("Kattegat") and mellower, more playful roller-coasters ("Acid Test") where also the closer belongs, the thousandth cover of Motorhead's "Ace of Spades". Previously the band were called Morgoth when the style was death metal.

Judgement Full-length, 2012
To The Last Drop Of Blood Full-Length, 2018

Official Site

WYRUZ (NORWAY)

The debut: this Norwegian outfit acquit themselves with pretty acceptable old school thrash which scores particularly high in the melodic lead department. Otherwise the guys know their craft thrashing with force producing clever semi-technical music which never breaks the speed of light, but relies on heavy hammering riffs (check the seismic delight "Shellshock") in mid-tempo recalling late-80's/early-90's Slayer at times. The guitars crush onwards and one would easily adapt to the band's steam-rolling approach, although "fuel to the fire" is inevitably poured later with "Fuel the Fire" which is a brutal proto-death exploder where the cool mid-ranged semi-clean vocals introduce their more aggressive deathly side. "Heartless" brings the album back to the thundering mid-paced rhythms which get interrupted once again by another "fire": "Fire at Will". The closing "Before I Bleed" is a revelation: speeding up again a bit with rolling dramatic riffs consolidating the positive impression from this promising debut seeing a new act well versed with the laws of the genre without necessarily emulating their peers.
"Judge and Jury" is a more intense offering the band lightly incorporating more aggressive death metal riffs from time to time. The headbangers follow in quick succession the virtuoso lead passages still leading the show even on hammering pieces like "Limitations" and "Wither". A certain amount of the songs are sustained in a steam-rolling mid-pace as well so there's variety also reflected in the more cleverly-constructed "Desolation".

Fire At Will Full-length, 2012
Judge and Jury Full-Length, 2016

Official Site

WYVERN (EGYPT)

A pleasant surprise from Africa: good dark doom/power/thrash with crushing riffs and cool not very high melodic vocals; the tracks are dynamic mixing slower and faster sections all the time, paying also a tribute to the 80's American power/speed metal scene ("The Clown", "Fallen Idol"), but "Kingdom of Gold", on the other hand, is pure unadulterated doom with fine lead guitar performance. "Clearly Invisible" is a great catchy ballad, and the closer "Inner Warfare" is a nice blend of hard-hitting and doomy riffs in the spirit of Communic. "Sex for Sale" is a nice doom-ornate thrasher with a nice Oriental theme also featuring a very short excerpt from Britney Spears' "Up All Night" (now that's what I call, "Surpriiise!").

The Clown Full-Length, 2009

WYVERN (FRANCE)

Based on the “Resolument Noir” demo, these folks pull out crunchy groovy 90’s post-thrash which plods along with little imagination inserted, the more vivid “Ivoire Et Rien Y Voir” taking care of the more frivolous side of this obscurity, the jumper livelier riffage of that one dispersed by the friendly demeanour of “L'impasse”, and partly by the steady mid-paced stroll “Misfit”, the harsh angry vocals standing in the hardcore realm for most of the time.

Résolument Noir Demo, 1997
Wyvern Demo, 1998

Youtube

WARICIDE (USA)

Under this slightly idiotic demo-title (pun intended) lurks a really worthy slab of guitar-driven heavy thrash metal which is quite close to Nasty Savage (somewhere between "Indulgence" and "Penetration Point"); it's actually closer to the latter boasting very good lead guitar work which would easily arouse envy among the Shrapnel brotherhood (Yngwie Malmsteen included), and twisting, technical lines which sometimes aren't very easy to follow, but are always coherent, and there's a certain number of more conventional passages to keep the headbanging going. The music isn't fast or aggressive, and the guitar pyrotechnics might come a bit too much to those who aren't very fond of a very guitar-driven delivery, but the high level of musicianship displayed here will guarantee a very satisfying listen.

Retarded Elf Demo, 1991

W0MIT ANGEL (FINLAND)

This young trio specializes in energetic thrash/crossover which is sincerely hardcore-ish at times, and cruel black metal vocals. On the other hand, some tracks sound out of control (the blasting piece "Buried In Pig Skin", the Impaled Nazarene-worship "Into the Storm of Sodom", the vicious 1-min grinder "Vrath"), and generally the guys don't bother slowing down too much the only exception being the power metal closer "Monastery Pervert" which is a cool melodic digression with epic moments (remember Impaled Nazarene's great hymn "Blood is Thicker Than Water").
"Holy Goatse" is way more brutal now adhering to black metal for most of the time ripping the air with frequent blast-beating sections without completely forgetting about their more laid-back side (the cool melodic tunes on "Neilgun Crucified"). Still, this is black metal outrage all the way through including in the medley tribute at the end "Terveet Kedet Medley/Tornion Kevet/Pissaa Ja Paskaa" which is a combination of Impaled Nazarene songs.
"Sadopunk Finland"contains very similar aggressive black/thrash which isn't very far from the early atrocities of their compatriots Impaled Nazarene. The resultant downpour is quite fast and unpretentious, comprising lightning bolts of fury ("Crushing Suffering", "Stürm Battalion", the more serious thrasher "Heretic" winning the race with the rest, the latter also having this anarchic hardcore veneer ("Total Ordeal") supported by the shouty raven-like vocals.
"Impaling Force of Satan" is another exhausting shower of super-fast virulent riffs, but this is kind of more elaborate without being overtly serious, with "Forgotten Name of Evil" even adhering to something like gallops, but run for cover on "Armageddon Wolfpack", a face-melting grinding attack, the more light-hearted crossover "Nun Raping Rock n' Roll" keeping then more squeamish in the vicinity, before "Goat Hellfire" and "Raping the Holy, Pt. 2" disperse them with bouts of unrestrained brutal black/thrash/core violence.
"Under Sadistic Pressure" is the band's most brutal offspring, violent wound-inducing barrage which knows no respite along the way, "Slaughterburster" a brief gust of grindcore passion, the marginally more laid-back rifforama "Paindomain" another illustration of musical frivolity, the latter surprisingly erupting in a fountain of stylish near-technical riffs on the longer more serious "Sadocommand", a totally surreal occurrence that has its brotherly sequel in the form of the epic much more controlled closing title-track.

Gnitimov Fo Gninnigeb Eht Demo, 2011
Holy Goatse Full-Length, 2014
Impaling Force of Satan Full-length 2017
Under Sadistic Pressure Full-length 2019
Sadopunk Finland Full-length, 2022

Official Site


Copyright (c) 2007-2024 THE THRASH METAL GUIDE