Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Z-SECT (JAPAN)
This is another band to enjoy the vocal abilities of one of the most prominent Japanese metal voices: Nov (also Volcano, Aion). This band plays good old school speed/thrash of the more melodic variety, resembling the Aion debut album. The EP boasts really cool heavy thrashers ("Emergency") and nice speed metal pieces ("Inori"). The guitar sound, however, is too buzzy, and might annoy a bit.
N.O.V. EP, 1989 ZAANG (FRANCE)
This outfit indulge in choppy, jumpy modern progressive thrash which sounds like a more aggressive Tool having coffee with Treponem Pal with a few more aggressive chops ala Obliveon thrown into the melee ("Madoff"). "Dans L'obscurite" is an engaging progressiver with very good melodic leads, and "Tombe De Haut" is an excellent more classic-sounding galloper. "Degage" twists and turns into the least predictable directions influencing the closer "Je Suis Le Roi" which is a prime mechanical shredder with an officiant mid-section and a fast-paced operatic ending. This is a compelling curiosity which gives a nice modern twist to the progressive thrash movement.
Perdition Full-Length, 2015 ZAAR (IRAN)
Based on "Cain's Murmur", this one-man show (the name Dave Zaar) provide an interesting albeit flawed black/death/thrash compendium of the old school which is both dark and progressive, concentrating on atmosphere almost exclusively, the ever-present mid-paced approach wearing thin at some stage, with "Bloodline" coming on top of this somewhat one-dimensional parade with cool energetic semi-technical decisions. The second half also welcomes the rowdy semi-headbanging outcast "The Outcast", and the ambitious contrasting amalgam "The Mark of Cain", a hectic dynamic proposition with a playful industrial vibe ala The Kovenant.
Beldog Lion Lerses Full-length, 2019 Youtube ZABBETH (MALTA)
Another one-man initiative, the alias of this musician being the evocative Chaos, who specializes in simplistic bashing old school black/thrash, think
early Bathory for a very good reference point; straight-to-the-point barrages like "Witchcraft" and "Sacrifice the Bitch" perfectly exemplify the approach
epitomizes here for the most part, Chaos sticking to a venomous spitting out of the lyrics as a vocal accompaniment, think early Quorthon (R.I.P.) again,
the stomping doom-laden "Black Mass" the compulsory slow-burner on this restless pristine recording.
Zabbeth Full-length, 2022 Official Site ZADKIEL (JAPAN)
Based on the debut EP, Zadkiel brought first in Japan the black/thrash metal sound of bands like Venom and Celtic Frost. The music is actually quite energetic, sounding like a mix of Venom and Exciter, with only "Hell's Bomber" carrying the dark, brooding character of the Celtic Frost sound.
Hell's Bomber EP, 1986 Vibrations of Doom ZADOK (GERMANY)
A heavy-handed, clumsy attempt at more complex power metal with timid touches of thrash; this is seriously bad, by the way, with unimaginative guitar work, repetitive song-structures, awful very flat vocal performance... stay away as far as possible; it could kill you (kidding, of course, but... don't push your luck too hard).
The Sign Full-length, 1995 Official Site ZAFAKON (PUERTO RICO)
Based on the "Fall" demo, this act offer intense old school thrash with echoes of early/mid Kreator and Protector when the sound
stays within the fast parametres; in other words, expect an intense fiesta with both a darker and a more melodic twist (check out
the enchanting title-track for both). "Slain by Treason" is a very cool dramatic lasher with more adventurous build-ups bordering
on death metal its macabre qualities strengthened by the harsh death metal vocals; watch out for the sudden hectic technical
section at the end. "Nuke the Cross" is a faithful version of the Toxic Holocaust hit boosted with a more intense deathy tinge.
The singer is a forceful death metal semi-shouter whose controlled rendings are always comprehensive.
Fall EP, 2011 Official Site ZAGTAR (AUSTRALIA)
Based on the full-length, this act serve raucous intense modern thrash which even picks some death metal-ish brutality ("Factory Farms of
Human Sustenance"), the rough quarrelsome shouty vocalist facilitating those more aggressive showings, his timbre becoming noisily synthesized
on the more corrosive, abrasive material ("Unnatural Order"). There's also this not very insistent shade of industrial ("Lazarus Hook") creeping up here and there, giving the album an alien dystopian feel.
Deadly Curse EP, 2018 Official Site ZAHERIR (CHILE)
Thrashcore with shades of crust; energetic one-dimensional stuff with abrasive guitars, short tracks (1-2min), and hoarse shouty vocals.
Veraz Aversión Demo, 2010 ZAKLANA CELJAD (SERBIA)
Amateurish raw thrash/death metal; there's not much speed involved: this is very heavy, almost doomy at times, stuff coming close to the "atrocities" of Hellhammer and early Messiah with very brutal low death metal vocals and exits from the pattern in the form of short punk/funk breaks.
Ni Sam Ne Znam Kako Sam Osnovnu Školu Završio EP, 2003 ZAKULA (GREECE)
Classic death/thrash, briskly executed, with shouty death metal vocals; the approach is prevalently speedy, with melodic embellishments
bringing it closer to the Swedish school ("Hollow") at times, the short ripping "Vanity" not really hiding its hardcore propensity. "Lunatic"
is a more serious offering, flirting with the progressive canons, but the melo-death pull is too strong for those to develop, including on the other short hyper-active delight "Inertia". Some of the band members also play with the progressive deathsters Sacram.
Zakula Full-length, 2021 Official Site ZALAZOBETON (SLOVENIA)
Wild aggressive thrash/proto-death with bashing musicianship which tries to make sense at times, especially on the closing
joke "Polka" which is a 2-min rendition of the Polish national dance turned into unbridled crossover in the second half.
The singer is an unrehearsed deathy shouter, but doesn't take a lot of space.
Demo Demo, 1990 ZALTANA (BRAZIL)
This is modern power/post-thrash with an appealing gothic atmosphere and a touch of progressive. The music is mostly groovy and the male/female vocal "duel" is not bad at all; neither is the lead guitar work which produces some fine melodic moments. Actually, the overall feel of the album is quite melodic with more peaceful passages gracing almost every song. "Outliars" is a cool more dynamic shredder the female vocalist unleashing some scary deathly semi-growls to a startling effect. The final "Dukkha-Satya" will surprise you pleasantly as well at the very end with a portion of hard-hitting fast-paced riffs, something which should have been applied more regularly earlier.
Zaltana Full-Length, 2014 ZAMBONI (USA)
Energetic sincere old school thrash/crossover the band just having a good time here unleashing merry uplifting rhythms which only seldom thrash with passion ("Norman Bates"). The last three numbers surprisingly get longer although the approach doesn't change drastically, even becomes more punky recalling the early exploits of Broken Bones including in the carefree, semi-declamatory vocal department.
Zamboni Full-Length, 2016 ZANDELLE (USA)
This act, who was formed by the Gothic Knights singer George Tsalikis, started with the tribute to the NWOBHM, the debut "Shadows of Reality" (not featured here), but "Twilight on Humanity" is a different story: this is potent speed/power/thrash in the best tradition of early Iced Earth, Manticora and Dark Empire. "Warlords of Steel" is a vigorous galloping opener, with the soaring vocals of Tsalikis sounding as convincing as ever, well supported by the catchy chorus. "The Champion" is an epic power metal hymn, but the battle rages on, with "A Hero's Quest" and the speed metal anthem "Lord of Thunder". "Immortal Realms" is a dark mid-paced piece, and later on, till the end, we have an alternation between the two sides, both coming together on the larger-than-life closer "Twilight of Humanity", which is more than 12-min of epic/progressive power/speed/thrashing with all gamuts and moods within.
Twilight on Humanity Full-length, 2002 Official Site ZANTHROPYA EX (GERMANY)
This young outfit pulls out competent modern thrash/death with technical/progressive tendencies. The music is energetic with a frequent change of pace which makes the songs eventful pieces with various twists (check out the progressive saga "Sternenfeuer"; the diverse "Opeth-meets-At the Gates" deathster "Blutbad"). Short, hectic numbers ("Endzeit") work almost as well and are placed towards the end where the guys spare no speed even adhering to blast-beats on the black metal-decorated closer "Damon Meiner Selbst". The singer is a normal mid-ranged, deathly semi-shouter.
Seuchenherr Full-length, 2009 ZAPLAHA (BULGARIA)
Four songs of modern post-thrash with hardcore overtones; this is heavy but unimaginative music which has a couple of heavier moments, but is boring and uninspired as a whole accompanied by rough shouty, semi-death metal vocals.
Aggression Demo, 2004 ZAPPENDUSTER (GERMANY)
Based on “Death Clock”, this outfit serve an epic blend of thrash and death, strictly old school, the dramatic spin-arounds of “Human Disability” matching the catchy histrionics of “Iceland”, the clean/deathly vocal duel supplying the needed vocal accompaniment. The more energetic lustre of “Degenerated Humanity” is duly acknowledged, but the remainder is on the melodic laid-back side, excluding the several hyper-blasts on the varied “Blackened Might”.
Rising... Full-length 2017 Official Site ZAQUEO (ARGENTINA)
Based on the debut, this band pulls out modern thrash with brutal low-tuned death metal vocals. The music is close to the new American school (God Forbid, Lamb of God, Chimaira, etc.), but is more complex and more aggressive moving into the death metal fields at times. So as a whole this stuff has energy despite the few slower doom/gothic throw-ins. The guitar work is not bad relying more on melody rather than sharpness, and that's why those faster more brutal passages are more than welcome even when they rudely interrupt a more peaceful Cemetary/Sentenced-like moment.
Inquietante Extrañeza Full-length, 2005 My Space ZARATHUSTRA (GERMANY)
With an intelligent name like this (I guess you know who Zarathustra is, if not-check it out) one might expect that this would be a progressive metal band or something at least more technical. Well, the truth is that we have mostly black metal not too far from Darkthrone, but mixed with a fair amount of thrash riffs (mostly on their last work) with a slightly dragging and monotonous feeling; would be of bigger interest to black metal fans.
Dogma Antichrist Full-length, 2000 Official Site ZATARRAS VENGEANCE (AUSTRALIA)
Modern groovy thrash with less conventional guitar work offering more energetic moments ("Wasted Youth") which come with good melodic hooks.
Demo Demo, 2008 ZASTUP JINYCH (CZECH)
Based on the "Empty Hours" demo, this outfit unleash a rough heavy blend of modern and retro thrash which is devoid of any faster-paced surprises, but its monolithic mid-paced nature should be satisfying for the 90's trends' lovers. The singer is a cool semi-cleaner who strains his voice a bit for a couple of higher-pitched heroics and generally leaves a positive impression.
Poslední v Rade Demo, 1991 ZATH (USA)
These are two tracks of "shitty", also "piggy", moderately complex, also dynamic classic thrash which tries to keep the headbanging by also making things a bit more complicated with a few more or less obvious "tricks". The bass support is very good, but the singer rends his throat hysterically deafening the instruments quite a bit, and is generally the weakest link here.
Cain's Murmur Full-length, 2020
Highway Z Single, 1986
The full-length debut runs away from the German influences except on the tracks featured from the EP, into a heavier sound which still leaves plenty of room for the obligatory speedy "excursions: "In Resistance", the Slayer-esque damager "Collateral Slavery".
"Conspiracy" is a more seriously plotted galloper, but "Summoning The Vortex" is a direct simplistic cut where one can hear the
vocal cords of Mr. Joel Grind straining: yes, that same one from Toxic Holocaust. The closing "At The Mercy Of Fate" notches it up
again being a more complex number with some technical pretensions changing the pace the whole time also promising some more overt
technical/progressive deviations on future works.
"Release" is a much more carefully plotted offering the band thrashing with more technicality, but also with a lesser sense of melody the guitars having a noisier, more abrasive edge. "Ecosfear" is a nice futuristic shredder ala Darkane with a cool balladic interlude, and "Prevaricator" enters the fields of progressive death with more atmospheric arrangements. "Valor y Sacrificio" is a more direct headbanger with a great oblivious lead-driven mid-break; and "Phantom Scream" is a complex dramatic galloper again in the progressive metal camp, before "The Optimist" brings in more "optimistic" touches with a shade of abstract spacey progressive among the razor-sharp riffage. The closing title-track is balladic atmospheric doom with nice leads, and despite being an enchanting composition on all counts, it's a big departure from the intense approach on the preceding material which ranks among the best albums in the genre this year.
"Aftermath" is another clever modern thrash affair, the guys retaining the more complex lustre from the preceding slab, the title-track throwing a more progressive cloak over the proceedings which is later consolidated by the equally intriguing "Burning Black", "Apotheosis" stirring a brief moshpit session with a more aggressive layout. "The Revenant" bets on atmosphere and suggestion, a path also explored on the lengthy closer "The Pale", a diverse conglomerate of influences with not many fast-paced explorations.
War as a Drug Full-length, 2013
Release Full-Length, 2015
Aftermath Full-length, 2022
Primordial Mother Full-length, 2022
"Vengeance Rising" is mostly speed metal, a faithful rendition of the popular sound of the 90's, not containing too many surprises for the thrash metal fans (the short technical speed/thrasher "Vengeance Rising" the sole exception). "Flames of Rage" is more aggressive, bringing back the edgier, thrashy flavour of the guitars, well expressed on the galloping "Broken Trust" and the "dark" stomper "Dark Nemesis". "Face of War" is the highlight here, an encompassing 9-min opus of technical/progressive power/thrash, a mazey multi-layered composition with interesting complex arrangements, a major riff-fest which never speeds up. The problem is that it should have been left for the end since it easily overshadows everything which follows. The guys overdo it a bit on the gigantic closer "Eradicated Existence" which is 22-min of music, an apparent reference to the way Iced Earth used to end their early efforts, but here one will definitely get lost, since the nuances are so many that the listener may not be sure whether he/she listens to the same song at some point; still, it remains an engaging metal symphony summing up all which was heard in the band's repertoire so far.
"Shadows of the Past" is very close in spirit to the debut containing a milder brand of power/speed metal with no traces of thrash; still this is a cool energetic release with crunchy riffs and soaring melodies stepping the pedal harder for more speed near the end with vigorous cuts like "The Warrior" and "Unleashed", but watch out also for some cheese (the closing "Bad Boys", and elsewhere) sneaking in. Yes, indeed: the "shadows of the past" are pretty deep here...
Vengeance Rising Full-length, 2006
Flames of Rage Full-length, 2009
Shadows of the Past Full-length, 2011
Death Clock Full-Length, 2023
Siempre Guerras Full-length, 2009
Heroic Zarathustrian Heresy EP, 2000
Nihilistic Terror EP, 2003
Perpetual Black Force Full-length, 2003
Contempt EP, 2005
In Hora Mortis Full-length, 2006
Labyrint Demo, 1992
Empty Hours Demo, 1992
Abuse Demo, 1994
The Eyes Demo, 1994