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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


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


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


Based on the full-length, 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.

Agony of Indecision Full-length, 2012
Happiness Is Not Allowed EP, 2015

Official Site


Groovy modern 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


Based on the "Cass.Lp + Demo' 96" demo, we have two styles mixed here, reflecting on two diffrerent periods of 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


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


Two people are behind this obscure project which offer curious progressive thrash with bad deathy 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", 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-deathy riffs meet eclectic jazzy structures among the obligatory standout leads, a complex multi-layered picture which flows into the closing relaxed speedster "The Tramp" which wraps thing 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.

Look Full-length, 1992


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


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 doomy 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 s\\\\'e5r EP, 2007
De D\\\\'f8des Arkiv Full-length, 2010

Official Site


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 sparce 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...

War Over Nordland EP, 1997
Firereich Full-length, 2000


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), doomy/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


Based on "Human Delusion", these folks provide heavy crunchy post-thrash which acquires both metalcore and death metal-ish "ornamentations", not to mentiion 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


This band offer 3 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.

Walkyria Demo, 2004


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


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


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


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 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 is not 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.

Demo Demo, 2004
No Signs of Armageddon Full-length, 2008

My Space


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


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


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.

Night of Disaster Full-Length, 2015

Official Site


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


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.

Final Days Full-Length, 2015

Official Site


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


Heavy groovy 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


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


Energetic stuff crossing retro thrash with less bridled death metal inclusions the resulting "therapy" being 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 tember.

Machete EP, 2012


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


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


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


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


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


The EP: 2 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 2 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.

Metal Attack EP, 2011
Into the Nightmare of Violence Full-Length, 2013

Official Site


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 thrash; well done, with heavy crushing riffs and the right attitude, but nothing really exceptional.

War WithinFull-length, 2007

My Space


Brutal amateurish black/thrash metal, fast raw stuff totally marred by the awful sound quality. There are only 2 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


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.

DistorsionDemo, 2006

My Space


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


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 "duelling" 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 predecesor, 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 doomy epitaph.

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

Official Site


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



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 doomy sounds which seldom leave the mid-pace and may depress the listener at some stage also thanks to the growling agonizing deathy vocals which try to shout with their limited abilities to an even more frustrating effect.

Warbird Full-Length, 2012

Official Site


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 is a fair amount of professialism at stake here including the very good dramatic clean vocals. The band name promised more dynamics and intensity, though... Some of the band memebrs play similar stuff in Punishment.

Gates of Beyond Full-Length, 2013

Official Site


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 sparce 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, infortunately, remain unanswered since the following "Scorched Earth" is another maddening headbanger. "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 defintiely dissatisfied with the 2nd 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 doomy 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.

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

Official Site


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 progresiver "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


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.

Aftershock Full-Length, 2011
Downfall Full-Length, 2015

Official Site


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. "Seperate" 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 twpo efforts.

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

Official Site


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 2nd 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 whcih 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 installment....

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

Official Site


This is interesting modern thrash with a nice progressive edge which doesn't give much room to many fast-paced riffs, but the music 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.

Devastation With A Smile Full-Length, 2013


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 headbanging riffs and the cool doomy exit.
The full-length 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 2nd 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.

Warcode Demo, 2008
Vortex of Chaos Full-Length, 2014

My Space


Based on the full-length debut, this band plays fast hardcore-ish thrash with hoarse death metal-vocals and a somewhat black-ish attitude reminding of the first two Bathory albums. There is 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


A good blend of heavy, doomy riffs and up-tempo thrasy 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


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 2nd 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 dramatism 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-proressiver, 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


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 tember sounding like a higher-strung Doro Pesch. The speedy cerscendos 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 2nd 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 overhshadows 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


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


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 marvellous melodic, very fast guitars. This is pure old school delight, a main pretender for the "Best Debul Album" award for 2008.

Confronto Bestial Full-length, 2008

Official Site


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"), with Gattis in fine form.
"Scorched Earth" is more diverse and more power/speed metal-based (including one doom metal and one jolly crossover number), with less thrashing involved, a slight presence of modern 90's riffs, and Gattis sounding more restrained.

"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 ("A Sound Beating", and the 1.5min closer "Breakneck"- watch out for broken necks on this one!), plus another doomy number: "Close Friends, Closer Enemies".

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


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 suit some death metal act much better.

When Darkness Reigns EP, 2010

My Space


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 post-thrashers Scorange.

Existance Under Pressure Demo, 2001

Official Site


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 themsleves some slack with a string of more simplistic crossover cuts which bring in more optimistic atmosphere as a finishing touch.

Blood and War EP, 2013
Wise Man Is Dead Full-length, 2015

Official Site


This Mexican trio specializes in intense, vicious classic black/thrash which develops at insane speed with a sparce adherence to blast-beats, tryig 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 is 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


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-ornated, maybe not all the way, but enough to arouse the thrash metal fans' appetite. "Baron Frankenstein" is a nice mix of heavy, doomy 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 cancelled 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


The debut: modern melodic thrash/death with the obligatory mix between energetic headbanging 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 2 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 siappears 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 doomy 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 wiht 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.

Depicting The Macabre Full-length, 2009
Exoneration Denied Full-Length, 2013
Scavengers Full-Length, 2016

Official Site


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.

#669933" size="2.5" > Death Full-Length, 2010


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


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.

Call to War EP, 2014



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 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.

Inner Bomb Exploding Full-length, 2010

Official Site


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 are not too few, either, but there will be plenty of moments for one to "bang his head", like the title of one of the 3 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


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 "HellTyrant 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 2nd half which are short aggressive bursters with a pinch of proto-death melodic reliefs 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.

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

Official Site


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


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 sombre doomy "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


This young outfit, who appeared once the thrashers Adamantivm split up a few years back, indulge in classic speed/power/thrash which mixes the dominnat 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 epicer "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.

Back from the Shadows Full-Length, 2014
In the Dusk of Men Full-Length, 2016

Official Site


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 evdent 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 remmainder 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


"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


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/thrashy 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


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


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


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


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 duelling 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 althoough "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 mroe 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


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 tember.

Every Man's Nature Demo, 1989


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


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


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 syles 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


4 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, rough, semi-clean vocals, not far from the ones of Cronos, with a pinch of James Hetfield.

Warhead EP, 2000


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 af 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


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 2nd 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


This obscure, but quite prolific band have done a fairly good job in the German undergroung; 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 is a cool ballad, too, in the Testament vein again ("Missiles").
"Perfect Infect" takes a more modern direction, but fast thrashy 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


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 buzzy annoyances.

Demo Demo, 1990


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


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 apporach 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 tember.

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


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 tember 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 simlar 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


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

Official Site


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 is not totally bad with his husky mean death metal-ish voice.

Offer Your Blood to the Mosh Demo, 2009

My Space


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


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


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


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


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


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 sparce speedy insertions.

Kult Of Disorder Full-length, 2009

My Space


This band's debut was one of the best steam-roller, battle-like efforts this side of their compatriots Bolt Thrower. 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 deathy 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 deathy 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 deathy side of their repertoire the battle hymns following one after another to an apocalyptic smittening effect. The bass support is admirable as well as the super-brutal guttural vocals, and again this is more of a death metal entertainment.

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

Official Site


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".

Morbid Execution Full-length, 2017

Official Site


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


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 accentutes 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, occuying loftier, speedier dimensions.

The Beginning of the End Full-length, 2005

Official Site


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/thrashy 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


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 5 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." is trying hard to break the sound barrier, and almost succeeds. 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 WarpathDemo, 2002
Beer maniacSingle, 2003
Mors tua, vita meaSingle, 2004
Rites of Vengeance Full-length, 2009

My Space


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 intelligble, 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", which betrays the energetic feel of the demo treading slow doomy waters for most of the time.

Only Death is Real EP, 1992

Official Site


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 which is immediately evident on the next ultra-thrasher "Hollow Of The Innocent Victims". "Life Consequences" is another commendable piece, slower and stomping, but the next "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


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


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.

AftermathFull-length, 2002

Official Site


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 8-9min opuses of which "Evil in the Dark" is the better offering with more aggressive thrashy 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


Cool energetic speed/thrash with proficient screamy leads and passable semi-cleam/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.

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


Based on the "Smell My Pipe" demo, this formation provide playful jocund thrash/crossover which is to soft and friendly too 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 earier demos the guys 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.

World Insane Demo, 1991
Barmy Fluid Demo, 1991
Smell My Pipe Demo, 1992

My Space


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 3 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.

Massacre EP, 2010

Official Site


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 tember, 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


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.

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



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


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


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


"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, thrashy 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 powwer/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 "eagle fly free" effort.

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

Official Site


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: heavy, steam-rolling technical thrasher with a cool speedy passage near the end. It is 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


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 peces 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


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 complants 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 entertainng 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


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 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 thrash.

Demo Demo, 2012
Barn Burner Full-Length, 2015

Official Site


This Russian formation provide crisp rousing classic thrash/proto-death which is hyper-energetic with a constant downpour of fast cutting riffs which are 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 meloidc 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


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


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


The demo: 3 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 beginnning 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


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 voalcs assist this futuristic musical scenery which may also recall another deeply underground act from the States, Transilience. The 2nd track, "Virtual Reality", is a hectic dissonant shredder the wierd 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 come forward later on to ensure the thrash metal fans' interest which 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 millenniium. 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


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


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


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


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


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


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 2nd half switches onto full-ahead speed/thrash the only annoyance being the thin screamy leads.

Your War Sucks Without Artillery Demo, 2010

Official Site


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 2 songs, but it continues the technical style from 2 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.

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

My Space


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 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 doomy 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


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

My Space


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


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 doomy 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 cacophonic structures and dissonant rhythms; surely a sign of much greater things to come...

Waryag Demo, 2010

My Space


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 remaning 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


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


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


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


Based on "The Debt", this band plays the prototypical modern thrash metal with aggressive death metal vocals. The music is melodic descending to post-thrash at times, but one can not 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


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 DazeFull-length, 1988

My Space


The EP: pretty decent, more classically-sounding thrash with more aggressive death metal touches added, mostly in the 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.
"Genuine Parts" is a slightly uneven debut; it starts with a couple of all-out speed/thrashing tracks, aggressive and fast. Later on up-tempo, calmer pieces spring up ("Lavatory Charwoman"). "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. The bad news is that after this one the more aggressive delivery never returns, and the remaining songs are pretty much in the same vein, not that impressive and samey, finishing with the awkward crossover piece "Torture Garden, Paradise Of Pain".
"Torture Tactics-Mercy Killings" is a lot more 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 TranquillitatisEP, 1995
Genuine PartsFull-length, 1998
Torture Tactics-Mercy KillingsFull-length, 2003

Official Site


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


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 whcih seldom straddle in the up-tempo fields, but keep things less predictable. The epic doomy 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


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 is 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 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


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


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 parametres. "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 pice 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


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, are not 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


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 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 tember which he hardens on the more aggressive material, where he comes close to James Hetfield.

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


Based on the "The Reborn" demo, this act indulge in brutal thrash/death which is modelled after 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 Petorv (Entombed).

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



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


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


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 2nd half. The singer is the staple deathy shouter ala Peter Dolving (The Haunted), maybe a bit lower-pitched.

Paradise Paradox Full-Length, 2011


Energetic classic thrash which 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 HellbrigadeDemo, 2009

My Space


Groovy modern indistrialized 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


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


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...

DemoDemo, 2005

My Space


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/deathy section as a finishing touch. The singer has a deep clean, soulful tember which ably assists the ambitious musical delivery.

Nuclear Winter EP, 2011


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


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-thrashy 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


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-otiented 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


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 doomy 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-doomy 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 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".

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

Official Site


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 track 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


4 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


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.

Live Demo, 2001
River of Broken Dream Demo, 2003
Apocalypse Demo, 2008



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.

Heretic Blasphemy Full-Length, 2014

Official Site


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 ChunkFull-length, 1991

Official Site


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


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


Very good 80's thrash metal 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


Based on the full-length, 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.

Weresquatch EP, 2012
Frozen Void Full-length, 2015

Official Site


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


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 is not very explicit except on occasion ("Enclosed Eyes"), and when the lashing riffs acquire a more doomy 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 deathy "interludes" in the middle. The man never exceeds his performance in the lead department leaving the super-sharp riffage 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


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 is 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 tember which is quite reminiscent of Gene Adam, the 1st Iced Earth singer.

Spiral Empire Full-Length, 2012


This is a 3-songer of proto-doomy 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 jusy 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


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


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 shrieky death metal ones, which sound like a more hysterical version of Kelly Shaeffer (Atheist), are a kind of an acquired taste, quite shrieky at times. "Synod" is another masterpiece, not as diverse as the previous one, but a lot more 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 doomy exit with keyboards springing up to form a cool "duel" with the guitars. "Presence Disstilled" is a nice creepy doomy 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 RedFull-length, 1998
New Start HumanFull-length, 2002
SynodFull-length, 2005

Official Site


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


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 is not 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 thrashy 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


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


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


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


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


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 the next "Last Rites" which is a mild power/thrasher. Nevermmimd, 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


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 9 songs long) with shades of power metal.

Phantasmal Force Demo, 1989


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 was not much inside to be labelled 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 10 years later, during the genre's 2nd 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/thrashy style already introduced on "Thrashback" with "Swallow The Slaughter", a memorable number with varied tempos and good Portaro vocals which 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 doomy/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 not be disputed, but the thrash metal fans will not 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


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 tember, but more emotion would have been beneficial on the more lyrical moments which are quite a few.

Playground Full-Length, 2015



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 anotehr 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.

Crude Rock'n Roll Full-length, 2010
Never Leave This War EP, 2012
Troopers of Mayhem Full-Length, 2013
Black Rose Killz EP, 2014

Official Site


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, of course those who don't look for anything serious or engaging.

Whiskey Tax Full-Length, 2013

Official Site


The beautiful band name shouldn't mislead you; this is not 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


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


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


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.

Fukkin' Demo Demo, 2014

Official Site


This band featured two members of Mortal Sin. The style is not miles away from that other band being energetic Bay-Area 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 doomy, heavy 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


These young Brits offer modern power/thrash with an alternative, progressive edge, not very intense, but melodic and catchy. The music is not very dynamic, mostly mid-paced, and the tracks are mostly instrumentals. The guitar work is varied, but the sound quality is not 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 BeginBest of/Compilation, 2009

Official Site


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


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


Here comes an undergorund gem from Poland; the obscene name shouldn't pull you back; this is not 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 4th 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 parametres 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


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


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


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 fews 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


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 2nd part of Mercyful Fate's "Satan's Fall" from "Melissa" with its escalating speedy dramatism. 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


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 IntellectDemo, 1987


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 Asphys 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


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


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


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


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. "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 mighty debut, but separate moments from it still deliver the goods leaving the final impression clinging more towards the positive side... I guess...

Mend Or End EP, 1994
The Paramount Question Full-length, 2000
Lithium Full-length, 2002

Unofficial Site


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


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 doomy 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


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.

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

Official Site


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 "reliefs" coming mostly in the form of Swedish-styled melo-death hooks.

In These Rusted Veins Full-Length, 2010


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


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 2 tracks.

Thrash Til Death Single, 1993

My Space


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 deathy 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/thrashy 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


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


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


This band indulge in bluesy post-thrash clinging between the doomy 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


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 medicore 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


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


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 playng 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


Based on "Old Habits Die Hard": a more energetic take on the good old 90's groove full of instant harcore-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 2nd 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


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 offical release stage with ease.

Scenting the Prey EP, 2012

Official Site


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



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 marvellous "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 doomy 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 2nd 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.

South Facing Epitaph Full-length, 1994
Window of Souls Full-length, 1996
Windham Hell EP, 1998
Reflective Depths Imbibe Full-length, 1999

My Space


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 is 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


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 buzzy production. 2 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


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


Modern thrash/post-thrash with dual vocal "duel": one harsh and shouty, the orhet 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


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 beign the "brutal shouty/lyrical clean" vocal alternation.

Welcome The Afterlife Full-Length, 2017


"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


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 variery. 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


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


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.

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

Official Site


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


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


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


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 1st demo.

Winds over Salem Demo, 1988
Discontent Demo, 1989


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 deathy 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


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 is 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 will not 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 is not 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


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


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 Necodeath 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


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, tember distantly reminding of Schmier and Ken Kennedy (Criminal Justice).

Total Holocaust EP, 2011

Official Site


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/thrash metal similar to Liege Lord and Helstar.

Eternal SeaFull-length, 1988


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 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-deathy "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 deathy escapades ("Seraphic Terror"). "The Alchemist" seems to deliver the best, a diverse raging piece which soars above the pretty mediocre material offered here.

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

My Space


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 Eveyone 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 fairly original recording which doesn't sound very close to its predecessor, but sees the guys (and a girl) entering a more thought-put, 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 2 to be released not far from now...

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

Official Site


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.

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 InfinityBest of/Compilation, 2005

My Space


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


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 approptiate 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/thrashy 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


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.

Through the Eyes of the Dead EP, 2010
The Demon Calling Full-length, 2013
Haunted Full-length, 2015

Official Site


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 ("Mirror, My Mirror", 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 ("Blood On The Rocks"), 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


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-levelled, 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/thrashy 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 thrashy passion in the past now sounding like a more modern version of Heavy Load and early Jag Panzer.

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

Official Site


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


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.

From the Underground Demo, 1990


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 title instrumental 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 deathy 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.

Rise Of The DesecratedFull-length, 2009
Past Midnight... Full-length, 2011

Official Site


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 musiciahship 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.

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

My Space


A long 11-song demo, or rather a rehearsal, presenting ultimately brutal, grinding thrash/black metal; a raw, amateursih 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 Diskinson. It's amazing that the same musicians are also involved in the much softer heavy metal act Scalare...

Priests of Profanation Demo, 1999


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


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.

Witching MetalEP, 2000
Sorceress BitchFull-length, 2002
No AnesthesiaFull-length, 2006
Nightmares Of The DeadEP, 2007
Vengeance Is My Name Full-length, 2012
Trap the Witch Full-Length, 2015

Official Site


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


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


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


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 doomy 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


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


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


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


Based on "Disease Is Man": two members of Headlock have decided to play energetic thrash/crossover, at least in 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 retouche 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


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 2nd 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 2nd 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


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


This is the next "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 Gary 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 wate 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


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


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


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


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


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


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


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.

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

Official Site


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


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 parametres, 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 "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 tember.
"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 2nd 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.

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

Official Site


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


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


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


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


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


A trio of "werewolves and jackals" playing sludgy modern thrash/death metal with noisy buzzy 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


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


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 metalish tember 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 2 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 deathy 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


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 2nd 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


This outfit pulls out intense modern thrash/death metal with brutal deathy 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


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


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.

ReloadedFull-length, 2005


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


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 frendlier, poppier notes as well ("Celebrity") those appropriately backed up by the man who also unleashes a couple of hellish deathy shouts.

False Salvation Full-length, 2017

Official Site


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


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


This is modern progressive power/thrash which nicely combines speed and melody on the encompasing 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 doomy 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


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 groud 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


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


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 oold 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


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


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


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".

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



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 metal; 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 10 years later.

Wotan Demo, 1986
TranquilityFull-length, 1996
Children of TechnologyFull-length, 1999


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


These "psychopaths" from a very small European country have concocted 3 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 deathy cut ala the Fear Factory debut. The singer shouts very noisily his histrionics barely recognizeable 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


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


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


A forgotten band from the heydays of thrash metal; "Fit Of Anger" offers good stylish semi-technical power/thrash metal with a Bay Area flavour, partially ruined by Gary Gulwitzer's vocals which are clearly an acquired taste. The music is quite speedy and energetic rubbing shoulders with speed metal 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 more thrashy side of the band 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 parametres 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" is nowhere to be encountered, either. This effort comes close to the more stripped-down debut, but it's obvious that the band are willing to expand their palitre 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.

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

Official Site


A live demo without anything released before, is an interesting decision, but these guys pull out 3 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 doomy manner. There are a few sleepers scattered throughout, like the doomy monotonous "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


Two songs of retro thrash with a dirty buzzy 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


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


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 decent progressive opus "Between Death's Line", one of the few more ambitious ventures here.

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

Official Site


Based on "Kingdom of Fear", this act serve modernly boosted classic power/thrash which doesn't win too many points from the harsh shouty deathy vocals. The approach also reaches some death metal-ish dramatism ("Sworn to Die") at times, too, including on impetuous fast-pacers like "E Obsolete". There are shades of stoner/doom ("Fate"), dark sombre hymmns ("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



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"), uncluding also a cool cover of Pink Floyd's "Time".
"3-D" is even more confusing taking a very eclectic progressive orientation, not too far from Voivod at the same time, raising big doubts as to whether the band have really ever aimed at the thrash metal fan-base.

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

My Space


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 5 years ago is nowhere to be found.

Wreck Creation Full-length, 1995


4 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 buzzy guitar sound, which is actually clearly audible on the whole demo, here simply irritates.

Sight The Five Demo, 1994


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 tember reminiscent of Mille.

Smash the Trash with Thrash! Full-Length, 2013



"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


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 officiant, 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 eppic gallopers ("Battlefront") making sure the pace doesn't go beyond the desirable parametres. "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


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 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 first 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.

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


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 dramatism 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.

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

Official Site


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/thrashy 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/thrashy 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


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 4 songs are sustained in a very energetic thrashy tempo with sparce blast-beats thrown in ("Limit").

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

Official Site


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


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 2nd 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


A great demo of technical thrash metal similar to Wrath's first two albums, and probably 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.

Demo Demo, 1990


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


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 tember, 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


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


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


The debut: this Norwegian outfit acquit themselves with pretty acceptable old school thrash which scores patricularly 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 deathy 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


A pleasant surprise from Africa: good dark doomy 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 doomy 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


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


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.

Gnitimov Fo Gninnigeb Eht Demo, 2011
Holy Goatse Full-Length, 2014

Official Site

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