Copyright (c) 2007-2024 THE THRASH METAL GUIDE
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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
This is decent retro power/thrash which is more on the calm
power metal side of the show accompanied by versatile generally clean vocals
which change the pitch at will and create a lot of dramatism in the process.
Things start moving around near the end where the more energetic songs have
been allocated except for "Voina" which is a lyrical semi-ballad with
cool tasteful melodic leads.
Spasi Moiu Dushu Full-Length, 1996
AHOORA (IRAN)
A good young Iranian act, who play slightly progressive
power/thrash metal in the vein of early Iced Earth and late-80's/early-90's
Testament. The music on the debut is mostly heavy with not many fast-paced
moments, but the riffs are meaty and sharp, and the lead guitar work is quite
good. The singer has a gruff, unmelodic voice, and kind of spoils the picture
with his one-dimensional delivery.
"All In Blood With You" doesn't betray the approach heard on the
debut, but the songs are longer, which is hardly the right decision, since
again the lack of speed doesn't make them the best listen in the world. On the
other hand, the consistent dark, almost doomy at times sound may enchant the
fans, especially hits like the multi-layered gothic/progressive/thrash opus
"Between Maybe & Never", which even finds time for more energetic
riffage, amid the nice melodic hooks, the heavy doomy/gothic overtones, and the
haunting keyboard implements. The end is preserved for a sheer exercise in doom
metal in the best tradition of Saint Vitus and Solitude Aeturnus, in the face
of "Human Within": an impressive achievement supported by fine female
vocals, enchanting quiet balladic interludes, and a hammering heavy rhythm.
This album would hardly be the headbanger's paradise, but the more open-minded
thrashers will not be disappointed, neither will fans of doom, gothic and power
metal.
"Awkward Diary" indeed starts very awkwardly with the pure electronic
wave piece "Masks and Balefires" which is a total Depeche Mode/early
Camouflage worship. The same wave-ish overtones slightly overshadow the hard
thrashy riffage on the following dark mid-pacer "Unattended", and
when "Nervous Ghost" delivers the exactly same electronic depression
from the one of the opener, one may quickly realize that the band has shifted
quite a bit, and from that moment on there is absolutely nothing to catch the
thrash metal fan's ear, although the music takes an intriguing turn towards
alternative electronics not miles away from Front Line Assembly and Clock DVA.
Fans of the aforementioned bands will by all means rejoice, but now the guys
sound like an entirely new act. Maybe a change of name will follow suit soon?
Ahoora Full-length, 2006
All In Blood With You Full-length, 2007
Awkward Diary Full-Length, 2009
AIKIA (USA)
Heavy abrasive modern
thrash/post-thrash which is suitably jumpy on occasion ("Second
Perception") creating more intriguing quasi-progressive atmosphere, but
there are dragging, monotonous moments where the guys indulge in not very
attractive industrial miasmas (the title-track). Things start moving towards
better fields in the second half with the amorphous thrasher
"Weaponize" and "Z-Song"; if only these mean synthesized
semi-clean vocals were more convincing and a tad more attached...
Prime Evil Full-Length, 2017
AION (JAPAN)
Excellent thrash metal similar to
other Japanese bands, Jurassic Jade and Gargoyle, with truly impressive solos;
it's probably more standard without too many eclectic sections, typical for
Gargoyle, for example. The tempo is quite speedy, but more moderate tracks are
also here ("Captured In The Dreams", "Mistress Of Evil").
Rarely does the music get more aggressive and chaotic ("Struggle To
Breathe"), but it's all-out thrashers like "Torment In Fire"
which carry this album. For some reason unknown, the guys re-recorded the whole
album under a different name: "Human Griefman", with only the
song-titles being different. Then they changed their image, acquiring those
glam-one from the late 80's (some trends reach the Far East later...), but on
"Magma" the band carried on in the pretty same vein nicely mixing
power, speed and thrash metal with even better guitar work.
Like with most Japanese acts, it was hard to predict what direction the band
would take, but "Aionism" is a nice continuation of the band's
previous style. The bombastic opener "Launch Game" thrashes intensely
with a technical shade, promising a lot. Later the album offers a similar to
"Magma" blend; there are heads-down speed/thrashers ("Disarray"-
watch out for the frantic, chaotic ending here!; "S.S.S.", which will
make your head drop from banging; "Caution"; the 2.5-min aggressive
closer "Chimeisho") as well as a couple of melodic heavy/power metal
tracks. Clearly the final impression is on the positive side and later this
approach was followed closely by many other Japanese acts (Hellhound, Cocobat,
Sex Machineguns, Volcano, etc.).
"Absolute" concentrates on the speed metal side, and is another
worthy effort although there's only one piece with an overt thrashy edge, the
short chaotic delight "Demoniac Insanity". Having no idea what the
following albums sound like, I stumbled upon another release from that band,
not included in their discography (strange!), here featured under "Unknown
Title". This is the same band all over, who apparently have decided to
play awesome thrash again for a change since reportedly their more recent
affairs had nothing to do with the genre. Most of the songs thrash fast and
intensely surpassing even the earlier material at times; watch out for another
2.5-min aggressive bomb, this time served with a superb short lead
("Accidental Discharge") and another very similar one, even more
brutal, with a shade of death metal ("Surprise Attack"). Complex
chaotic takes on technical thrash are here as well ("Abnoral",
"Stupid Man") that might take more than one listen to be fully
grasped. Very unjustly labelled "a glam metal band", totally based on
their appearance which doesn't do them justice (a reason why I've been avoiding
their output for such a long time), this band thrash in a way which would put
to shame many of the "full-fledged" thrash metal acts around the
world.
"Mithras" is a great way to put an end to the ridiculous flirtations
with other genres and influences that the band indulged on a string of opuses
during the early/mid-90's; this album is full-on retro thrash for most of the
time the guys nailing it from the get-go with the surreal spacey speedster
"May Living In Mars" before "Game" switches onto
straight-ahead mosh, a raging not very restrained proposition that would make
even Slayer proud. More similar blows follow suit like the more complex
"Fly Blow", but watch out for the short bursting near-hardcore
experiences "Cutting Me" and "Blood-Shed" which race with
the speed of light leaving more moderate power/speed metal exercises like
"Rage Of Angel" and "Kill Joy" far behind. The current at
the time vogues are touched with the stylish take on industrial which is
"Peter-Nine", a stylish creepy chugger that would stand quite well on
any of the first three Skrew outings. The thrash machine doesn't experience any
such stop later on the band thrashing like demented elsewhere the lead
guitarist a major performer with his virtuoso pirouettes which are short but
truly dazzling. The only annoynance would be the synthesized at times, shouty
vocals which are still on the more attached side of the spectre.
"Eve" puts an end to the band's flirtation with more radio-friendly
heavy rock alongside the previous raging "beast" that was
"Mithras", and is the next in line intense speed/thrash affair
comprising, for the most of part, of short bursting pieces ("Rise And
War", "Disturbance", etc.) and longer, industrialized
("Cube The Face"; the groovy noiser "Crime") explorations
the latter being incoherent and not as attractive. Moments of more conventional
power/thrash metal ("Circuit Breaker") as well as less controlled
hardcore outbreaks ("Dance") can also be found, which are not too
bad, but grindy nods to The Berserker ("N.S.") should have been
avoided. The closing balladic piece "Loved Living Free", is a find,
though; a pretty unexpected but cool cut. The whole album comes with a pretty
noisy, abrasive guitar sound which doesn't do the guys' musical skills justice.
"Judge of Death Line" is a better offering starting with the
outrageous, albeit well done, death metal piece "Accuse Falsely",
before thrash takes over on "Hysterie", a heavy volcanic number which
transforms into formidable thrash/death on "Declare". Happier
speed/thrash will one encounter on "Dummy General" and "Slip Of
Paper", both suffering from the very noisy fuzzy guitar sound and the
hissing drums. "Spiritualism" is an excellent power ballad with
virtuoso lead performance, and the next "Fifty-Fifty" is a choppy
thrasher with a high-speed exit. The thrash metal roller-coaster becomes quite
scary on "Disgrace" and "Uncanny", but the final chords are
another good ballad ("Adieu") and jokey rock'n roll variations
("Peter Thirteen-Openful Rock'n'Roll"). Nevertheless, despite its
diversity at the end this effort remains a fairly cool proposition amidst the
sea of modern 90's works which were still the dominant force at the time.
The guys' prolific output includes three albums released in 1999 alone, and
"Ceremony of Cross Out" is another vigorous slab of the good old
thrash with a slight modern twist. "Ceremony Of Cross Out" is the
staple intense opener, speed/thrash at its best, paving the way for a string of
energetic numbers, before the arrival of the pleasant heavy metal anthem
"Hit Or Miss", which provides a short pause, rudely broken by the
bursting speedster "Fetishism", which still pales before the
aggressive thrash/death metal bomb "Accidental Discharge".
"Jade" is soaring classic speed metal at its best, but the guys
quickly switch onto full-throttle thrash with "Stupid Man", with
"Surprise Attack" being another "surprise attack" of brutal
death/thrash. The final instrumental piece "Extermination Peter-11"
is happy speed metal all the way with great leads, finishing this fairly good
release with aplomb.
"Magnitude" begins with the slightly annoying overlong intro
"The Moment Of Death", which is plain industrial noise, the noise
remaining in the guitar department which hardly makes this effort the best
listen in the world. Still, the opening "Paralysis" is a potent,
heavy industrial thrasher, and the next "Narrow Escape From Death"
already sounds more classic with ripping riffs which get quite aggressive on
the speed/thrashing title-track. "Shout Out" is a cool semi-ballad
with a furious speedy ending, the latter staying around for the speed metal joy
"Heaven And Earth", and the ultra-heavy thrashterpiece "Die
Gallantly". Things remain on an energetic speed/thrash metal ground of the
more relaxed variety, before "Crushers" does a good job to justify
its title with some of the most crushing riffs around. Chaotic speed/thrash
awaits you on "Talk In Bed", and jokey crossover on "The
Past", as well as a 9-min instrumental extravaganza
"Peter-Fourteenth/Short-Lived", a traditional way for the band to finish
their albums of more recent times, but in this case we have dreamy, jazzy stuff
with sparse leads with no traces of metal, not bad at all, but kind of too
lengthy for what it was intended to be. Still, it's a nice quiet finish to a
demented wild album full of raging riffs and frenetic tempos.
"Manners of Kill and Wound" doesn't betray the spirit of the other
two efforts released the same year featuring similar high-speed antics spiced
with slower "remnants" from their heavy metal period
("Destiny", "Electric Wave"), the latter making the album
the most melodic of the last five. Still, cuts like the demented shredder
"Scoop Out", or the short hyper-speed/thrashers "Bombing"
and "Witch Craft" will cause you a headache easily. The traditional
final "Peter" instrumental is a display of a virtuoso play of the
power/speed metal type with great melodic leads, and is a pretty good closer to
this diverse offering.
"Nine Bells" is an angry offering with hardcore assisting the
melo-thrash "carnage" which doesn't waste time raging from the get-go
with the maddening opener "Rise and War". Things cool down a bit
later on although "Hopin'high" is a jumpy brutalizer, and
"Traitor" is a nice ethereal semi-progressive speed/thrasher. The only
relatively quiet moment here is the mid-paced power/thrasher
"Uncanny", but its sleepiness is immediately canceled by a string of
wild short outbursts of hardcore-tinged thrash which are superseded by the cool
semi-ballad "Magus" the latter in its turn followed by another
furious group of vitriolic speedsters.
Deathrash Bound Full-length, 1989
Human Griefman Full-length, 1990
Magma EP, 1990
Aionism Full-length, 1991
Absolute Full-length, 1994
Mithras FullLength, 1997
Eve Full-length, 1998
Judge of Death Line Full-length, 1999
Ceremony of Cross Out Full-length, 1999
Manners of Kill and Wound Full-length, 1999
Magnitude Full-length, 2000
Unknown Title Full-Length, 2004
Nine Bells Full-Length, 2012
AIRDASH (FINLAND)
The band's debut is well produced,
but rather pedestrian thrash with just a few highlights, sounding close to the
Bay Area scene (Metallica, Defiance, Testament); it has its cool headbanging
moments ("Helluva Noise", "Spit Your Guts"), but similar
stuff has been flowing out in heaps at the same time. "Hospital
Hallucinations Take One" is an improvement in almost every department
featuring good technical riffs, having quite a few things in common with the
heavy late-80's Metallica period; the intensity has been preserved on some
tracks, but the music has become mostly mid-paced with sharp, but also heavy,
meaty guitars.
"Both Ends Of The Path" is quite a surprise, taking a very ambitious,
and not a very expected approach to song-writing, putting it into the
progressive thrash metal camp; standard hard-hitting moments are suddenly
replaced by quirky, technical sections which also finish without warning, and
definitely arouse the listener's attention (this depends on the taste since
some might find these deviations illogical and irritating); certainly there are
offbeat, non-conventional parts going with the style, but they are very well
embedded into the overall interesting picture. By going further, the band
haven't forgotten about their more straight-forward nature, and some of the
tracks still hold their more basic thrash metal roots; certainly not an
immediate listen, but well worth the time.
Thank God It's Monday Full-length,
1988
Vengeance Through Violence EP, 1989
Hospital Hallucinations Take One Full-length, 1990
Both Ends Of The Path Full-length, 1991
AIRE COMO PLOMO (COLOMBIA)
This is modern friendly
power/post-thrash with doom/stoner leanings and occasional escapades towards
the more extreme (the headbanger "Solo En America") side of the
genre. The singer is a pleasant semi-clean crooner with a more soulful baritone
on the more lyrical (read balladic/semi-balladic) passages.
A.C.P. Full-Length, 2015
AIRRAID (JAPAN)
Based on the "Armed
Children" demo, this obscure Japanese trio plays pretty cool speed/thrash
metal with bad screechy vocals. The band spices things up with a couple of
heavier slower moments, but at the end the sound gets too unbridled bordering
on hardcore ("The Creep").
The "Touched in the Head" demo is an entirely different story
containing vicious raw thrash metal mixing heavy doom-laden Celtic Frost-like
riffs with much faster ones topped by very brutal for the time proto-death metal
vocals. The sound quality is not very good, and the overall result is much less
appealing than the one achieved on later efforts.
Lunatic Asylum Demo, 1988
Touched in the Head Demo, 1988
Far East Thrash Army-Thrash Live in Savagery Split, 1989
Armed Children Demo, 1989
AIRSTRIKE (POLAND)
This is modern power/thrash which
straddles between somewhat heavy mid-pacers ("Prey") and intense
fast-paced pulverizers ("It's a Trap"), the relaxed semi-balladic
"You Got to Go" notwithstanding. "Stop Breathing" is
another less tamed occurrence, but the rest follows a more controlled formula
the latter upgraded to more ambitious progressive parametres on "Because
of War", a nice diverse sagas with a few fiery skirmishes as well, this
appetizing delivery nicely mirrored by the sprightly roller-coaster "Power
in Your Hand". The vocals are steady clean mid-ranged, not emitting a lot
of passion, but staying the course in a more laid-back manner.
Power in Your Hand Full-length, 2022
AJAL (MALAYSIA)
An old school mix of thrash and
black metal topped by sinister witch-like whispers which can definitely not
pass for singing. The music is both fast and mid-tempo with simplistic riffs
and cool memorable melodic leads. The more speedy sections cling towards early
Whiplash and Rigor Mortis whereas the slower ones ("Susuk Kheramat")
come with a cool epic shade.
Ajal Tiba Bila Seruan Menjelma Demo,
2010
AJDATH (JORDAN)
A generally quite fast mixture of
death and thrash metal (more death than thrash), more on the old school side
with nice technical touches and Oriental melodies. The band founder Omar Al
Kilani later moved to Poland, feeling unhappy with the music scene in his
native country (I wonder why!?).
Triangle of Death EP, 2006
AJNA (BRAZIL)
Heavy modern thrash metal not too
far from Pantera and Machine Head, but more diverse with calmer stoner/doom
passages and industrial elements. The dynamics is quite big for most of the
time also helped by the crisp biting guitar sound and the convincing clean
vocals which are at times intercepted by harsher deathly ones. The tempo is mid
throughout clinging towards the doomy side on the original "Hunger"
which becomes fairly dramatic at some point, and is the clear highlight on this
cool, but hardly exceptional effort.
Mirror Full-length, 1998
AK-47 (MEXICO)
Modern heavy thrashcore with a
thunderous bass bottom and occasional ventures into pure thrash
("Cf1'e1ustico") which never develop fully since the songs are short,
within the 2-3min confines. There are faster moments, of course, but the
majority of the tracks are heavy plodding experiences even for the short time
span. The singer is the prototypical aggro-shouter.
Crecerse Al Dolor Full-Length, 1999
AK'BAL (MEXICO)
Based on "Estado
Alternativo", these guys offer alternative industrialized post-thrash with
dry dispassionate guitars and not very vivid tempos. There are jumpy riffs
aplenty ala Helmet as well as more stylish sections in the vein of Tool.
Reino de las Sombras y la Muerte
Full-length, 1997
Estado Alternativo Full-length, 1998
AKA WHITE DEVIL (USA)
The abrasive guitar sound is an
obstacle for the band to show their skills fully unless it's been applied
intentionally for the creation of this modern thrash/death metal affair which
is not far from the Swedish school except on the moments when they incorporate
the power/speed metal gimmicks ("Amistad") into their repertoire. As
a whole the style isn't very hard-hitting with loads of catchy melodies present
on almost every song bringing the delivery close to Children of Bodom. The end
is covers; the more likely choice, of the death metallers All That Remains
("This Darkened Heart") done well and faithfully; and the odd one, of
Journey's "Separate Ways" which is also done true to the original,
not bad at all; so don't expect any thrash/death on it, but a few clean vocal
insertions to shatter your composure.
Against All Gods Full-Length, 2013
AKADEMY SHRED (USA)
A weird obscure formation who
indulge in interesting varied thrash/crossover which can be quite dark and
doom-laden ("Speed Freak Messiah") at times, but expect fast
uncompromising escapades on the shorter material ("Got A Shovel",
"Crack Baby") which is pure hardcore for at least half the time
boosted by the intense semi-shouty/semi-declamatory vocals.
Demo Demo, 1989
AKALLAN (USA)
This act serve stylish modern
progressive thrash/death which is constructed around mechanical, sterile
riff-patterns the band keeping the element of surprise by changing the pace
frequently, seldom blasting ("Dreams In The Witchhouse") in a less
controlled manner. On the other extreme we have the doom-laden progressiver
"The Shadow Over Innsmouth", and the laid-back atmospheric "In
the Mountains of Madness". Stylish shorter exercises in technical
thrash/death like "Imprisoned With The Pharoas" and the melodic
shredder "The Vault" seem to be the highlight on this diverse opus
which also relies on shrieky hysterical blacky vocals.
The Nameless City Full-length, 2017
AKANI (SWEDEN)
The guitarist Daniel Antonsson (Dark
Tranquillity, Dimension Zero, Soilwork, etc.) has teamed up with other
musicians for the production of this bland modern post-thrashy affair which is
doomy balladisms for at least half the time with several not very notable
exceptions: the jumpy title-track, and the wild headbanging closer "Know
My Name". The vocals are shouty death metal ones and create quite a lot of
noise in the process.
Santa Muerte EP, 2014
Through My Darkest Infernal Full-length, 2016
AKANT (SLOVAKIA)
Based on the debut demo, this
unknown act pulls out pretty stylish and very well constructed technical
thrash/death which sucks you in with a seamless blend of technicality and speed,
reaching early Sadus and mid-period Death heights with ease. Despite the
slightly muddy sound quality, the guitars and bass have a rich, dark feel to
them, the bass particularly striking "decorating" each song with the
odd Steve DiGiorgio-like pyrotechnics. The guys thrash with passion on the
shorter numbers ("Zevislek"), unleashing less controlled
"hell" here and there (the technical death metal
"slaughter" on "Skladisko Udsk'fdch Nezmyslov"). Dramatic
technicality with progressive tendencies will one encounter on the excellent
"V Oeaialenstva", before the "massacre" continues with the
explosive "Smrt za Smrt". "Oceanus Procellarum" closes the
demo in the best possible way: a brilliant instrumental sustained in a vigorous
up-tempo thrashing both wildly and with a big pinch of technicality with a few
clever more quiet breaks. Another bow to the band for the cool doom outro
"Do Hor'facich Pekiel" which is another stylish throw-in into this
obscure pleasantry which shows the not very prolific Slovakian/Czech scene in a
very bright light.
The "Prophecy Of The Dead" demo is less experimental and more
melodic, and a tad less striking. It starts with two elaborate progressive
pieces, before the soft balladic "N Kame" arrives. Then "Atimove
Reno" restores some faith with its aggressive riffage, ably supported by
the more complex, but equally as intense thrash/deathster "Master
A.I.D.S.". Time for some seismic doom with "Sem v Meste Tieov",
and for the last progressive thrash/death saga with "Proroctvo Smrti"
which is controlled aggressive shred for most of the time. The final
instrumental "Eros" brings in peace and quiet with its calm
semi-balladic delivery which is still a fitting epitaph to this cool effort,
the last chapter from the band's short, but fairly interesting discography.
Pod Gilotiu! Demo, 1993
Prophecy Of The Dead Demo, 1994
AKBAL (CHILE)
The debut: this is modern thrash
with proto-death references plus an added doze of hardcore also in the shouty
vocal department. The music is not very eventful sustained in an expected
mid-tempo very seldom attempting something more aggressive: the energetic
melo-thrasher "Sueno Irreal"; the jokey thrash/crossover closer
"Starfuckers Inc.", which show an obvious fascination with the style
of early Pro-Pain.
"Mirando Al Cielo" is a much calmer affair with a more ethereal
progressive character which is almost completely devoid of speed so it should
come as no surprise the presence of several pure doom metal delights:
"Desterrar", "Fenix", etc. "Voraz" is a wonderful
dissonant piece, but the rest kind of misses this stylish sparkle to make it a
highly recommended listen.
Cegado Full-length, 2007
Mirando Al Cielo Full-Length, 2015
AKELA (HUNGARY)
The band's style throughout their
long career is pretty consistent, being heavy, mid-tempo to slow power/thrash;
monotonic, but delivers the goods. "Farkastnyek" is perhaps the best
representation of ther early style, a cool classic combination of heavy steam-rolling
riffs ("Kozeleg...") and some surpsiringly sprightly numbers like the
semi-technical rager "Semmi Sem Tiszta" and the thrash/crossover
happiness "Nem Csattognak". "Alljon Meg a Menet" is another
piece worth mentioning the stylish virtuoso pyrotechnics at the beginning, as
well as the more technical headbanger "Egu Fiu Csigakat" which is
pacified by the more officiant semi-balladic approach on the closing
"Felkeszultem a Halalra". The follow-up had already readily embraced the
new groovy/aggro/alternative trends which the guys carried on exercising all
the way to the more recent years from the new millennium when sparkles of old
school vigour have started springing up in their repertoire again.
"Farkas Mesek": the band are back on the field after a 10-year
hiatus, and this effort sees them power/semi-thrashing in the same old way so
their diehard fans should have no problems embracing this mild, friendly
affair. The others will be frowning here and there since there isn't much
thrash to be savoured the band going through the motions calmly without any
fuss, often calling the semi-ballad for help. "Emberes Mese" is a
cool more dynamic headbanger, but his shining example hasn't been followed
elsewhere.
A Fenevad Full-length, 1992
Farkastorvenyek Full-length, 1993
A Felelem Szuletese Full-length, 1994
Fekete Barany Full-length, 1995
Foldi Oromok EP, 1996
Fovarosi Emberkert Full-length, 1996
Fajdalomcsillapito Full-length, 1997
Fu Alatt Full-length, 1998
Forr a Dalom Full-length, 2004
Fejetlenseg Full-length, 2006
Fattyudal Full-length, 2007
Farkas Mesek Full-length 2016
AKERBELTZ (BRAZIL)
Based on "Akerbeltz Coven
Rising", these Brazilians raise the flag of the good old speed/thrash high
spicing it with black metal throw-ins and references to crossover. The
resulting amalgam is entertaining, albeit pretty basic, and evolves around
slightly repetitive up-tempo formulas which also introduce a certain doze of
catchy tunes. "Apocalyptic Rising" and "Envenom" break the
"idyll" near the end branching out in less controlled blasting
aesthetics. Not to worry: the final "Sabbatical Rites" is a laid-back
heavy/power metal calmer which still adds nicely to the carefree nature of the
album. The singer sings in a semi-clean/semi-declamatory manner and emits
authority despite his disputable vocal skills. Some of the musicians create
another concoction of styles with the black/death/thrash outfit Necrofilia.
Therion Rising Full-length, 1999
Akerbeltz Coven Rising Full-length, 2011
AKERONTE (ARGENTINA)
The EP: four tracks of classic speed/thrash
akin to the early efforts of their compatriots Lethal, with a pinch of the
Bay-Area; the guys alternate fast with mid-paced rhythms throughout the tracks,
adding the odd balladic passage ("Eternos Miedos") wherever needed.
The leads are good albeit too short, but the drum sound is hollow,
successfully muffled by the forceful throaty semi-clean vocals.
The "E.P.I.D.E.M.I.A" demo is three tracks offering similar music
with vivid crunchy guitars and fast tempos. The guys thrash with gusto
"courting" both Slayer and the Bay-Area in equal dozes, even managing
to sound curiously technical ("El Detractor") at times.
Mientras Los Reyes Rien EP, 2009
E.P.I.D.E.M.I.A Demo, 2010
AKHERON (COLOMBIA)
Based on the full-length, this band
play quite cool classic speed/thrash which comes death metal-decorated on the
awesome opener "Pesadillas". "Armagedon" brings forward a
touch of epic melodies before "Delirium Tremens" switches on full-ahead
roller-coaster thrash. The heroic speed metal-ish flavour returns for
"Reino Del Caos" and stays there for the remainder until the guys hit
with the progressive opus "Miedo Al Manana" followed by two covers:
one of Rigor Moris' "Cattle Mutilation" played at the speed of light
with a more overt death metal flair than the original; and a live recording of
their compatriots Acutor's "Infernal", sounding way worse than the
original marred by the noise coming from the audience. Some of the musicians
also play in the heavy metal outfit Regnvm.
Ser o no Ser ...Irracional EP, 2011
Pesadillas Full-length, 2013
AKILLIAN (USA)
Fast ripping old school thrash is
what's on offer here, quite close to Hirax; the forceful shouty semi-clean
vocals lead the show assuredly, with "Land Of Hate" a particularly
vicious headbanger. "Death's Escape" treads in more restrained
mid-tempo waters, and "Evil World" is another entertaining high-speed
trip.
Demo Demo, 1990
AKKILA (USA)
This obscure band play American
power metal with a certain doze of thrash, similar to early Laaz Rockit and
Meliah Rage. "As For Me, As For You" is the more melodic affair,
slower, with more nods towards the power metal field, featuring one track
called "Speed Metal", which will remind you both of early Venom and
Metallica's "Whiplash"; but... you'll have to wait till the second
half of the song to hear those influences since the beginning is much slower
and not as promising.
"The Cursed" is more satisfying with a thicker, more aggressive
guitar sound including quite cool speed/thrashing pieces: "Abstract
Illusion", and the more pounding semi-technical "Pree To Die".
As For Me, As For You Full-Length,
1988
The Cursed Full-Length, 1989
AKRAMEN (CHILE)
Good classic thrash; most of the
album flows in the Germanic tradition- think Destruction, Necronomicon, but
sometimes the band go into intense, aggressive thrashing ala Slayer
("Carcel De La Mente"). "Desierto De Sangre" even reaches
out towards death metal and is quite a brutal piece, but deviations of the kind
aren't many at all. The guitar work is simplistic with sparse more stylish
sparkles (the leads on "10 Siglos Mas") thrown in.
"Bajo Control": 11 years later the guys are back in action and
clearly show that they haven't forgotten how to play some cool classic thrash.
The delivery has become a tad more melodic now starkly contrasting at times
with the brutal death metal vocals, but this is a minor complaint having in mind the
good music on display. The longer numbers ("Guerra Sucia", "Bajo
Control") come with the more elaborate riff-patterns, whereas the shorter
ones ("Akramen", the closing "Terrorismo Diarlo") are pure
burstung lashers with a lot of energy released. The sound quality is a bit
pristine trying to follow the one from the very early days of the genre, but
kind of hampers the guitars which sound somewhat muffled because of that.
“Distopolis” carries on with the guys’ penchant for intense dynamic retro thrash, the headbanging impetuosity of cuts like “EnfermedadPrimitiva” and the annihilating “Terrorcracia” leveling the floor in no time, leaving no room for any respites, the hardcore virulence of “Necropolitica” adding more fuel to the fire, also with the help of the closing “A.F.P.”, a Slayer-esque violator which finishes this exhausting effort with wild panache.
Esclavos Del Nuevo Orden Full-length, 2004
Bajo Control Full-Length, 2015
Distopolis Full-length, 2023
AKRASIA (HUNGARY)
This is modern thrash/death in the
first half, which can be both a complex and thought-out ("Inside")
and brisk and dynamic ("Sterile Gods"). The vocal duel is an expected
occurrence, shouty death vs. cleaner more dramatic, and the music is nothing
new, either, the more optimistic and longer "Aftermath" betraying the
hard-hitting approach with merry heavy metal arrangements, the latter taking
over in the second half, phasing our the thrash and the death almost
completely, making this effort a confusing unfocused fare in the long run.
Act of Will Full-length, 2022
AKROASIS (SWITZERLAND)
This act provide modern
power/thrash/post-thrash, passable stuff with a vocal duel, one side being
clean and attached, the other clinging more towards the gruff deathly spectre.
On the music front we have steady mid-tempo rhythms, those interrupted at times
by either semi-balladic progressivisms ("Patroclus") or by more
inspired old school thrashing ("Watershed"), the semi-technical chops
on "Scylla and Charybdis" standing for the highlight on this
otherwise pedestrian, not very exciting offering.
Ilion Full-length, 2021
AL AZIF (SPAIN)
Based on the full-length, this band
play modern thrash/death which alternates between aggressive and more laid-back
numbers. Cool Oriental atmosphere ("Irrealidad") gets created by the
melodic hooks, used to probably match the exotic band name, which are quite
contrasting to the harsh shouty death metal vocals. The thin production makes
the guitars a bit hissy, though.
La Nueva Plaga EP, 2011
Sombras Sobre Una Pared Calcinada Full-length, 2015
AL SIRAT (POLAND)
Based on "Warhead", this
band play pedestrian modern groovy post-thrash, often exiting the field
completely, stretching into many other directions (alternative, ballads, etc.),
leaving just a little room for more intense thrashers ("No Harmony",
"Alert!"). Reportedly on their earlier output the guys delivered the
goods in a much better way playing cool thrash/death metal of the modern type.
"Kala" is hardly this better way, delivering the same bland, insipid
groovy post-thrash which occasionally gets faster and edgier ("Dno"),
but most of the time it's just heavy rehashed riffs with better melodic
variations from time to time.
Signa Tempori Full-length, 1999
Kala Full-length, 2004
Alert! EP, 2005
Warhead Full-length, 2007
AL VIRIUS (RUSSIA)
A cool mixture of Bay-Area thrash
and symphonic passages; sparse blast-beats can be heard ("The Book of the
Dead", and elsewhere) as well. The sharp riffs are well fused with the
piano and keyboard melodies, and the guitars always lead the way. The music
softens a bit here and there ("The Voices", "Dying"), where
the good melodic leads rule, but remains entertaining, topped by gruff vocals,
slightly reminiscent of James Hetfield.
Beyond The Human Nation Full-length,
2007
ALAJA (RUSSIA)
Based on the EP, this band plays
modern thrash metal which is both intense and fast, and melodic and heavy both
sides working fine to produce a cool blend finished with a not very
recognizable cover of Deep Purple's "Highway Star" due to both the
thrashy nature of the guitars and the brutal low-tuned death metal vocals;
still, the melodic hook following the lead section can not be mistaken, and
this is where the listener will exclaim, "Ha! These guys are covering
Purple!".
Chaos Theory Full-length, 2009
The Mechanical God EP, 2010
ALAN SMITHEE (USA)
A talented shredder of the stylish
semi-chaotic variety who aptly balances between thrash, death and djent
producing outstanding pieces of twisted technicality like "Perennially
Numb" and the jumpy mind-scratcher "Regime on Wholesale".
"Glimmer" is exemplary technical thrash whereas 'Booger Bears"
brings in a bit of groove into the already fairly eventful proceedings along
with some super-complex riff-patterns with a blast-beating potential. "You
Don't Know Me" is a very hectic speedster which lashes maddening elaborate
riffs with the utmost dexterity, and is the last cut here. A short, but very
interesting piece of technical exuberant metal topped by very shouty thin
vocals which can only be a mild appendage to the much superior music.
Wizards N' Shit Full-Length, 2015
ALARUM (AUSTRALIA)
This talented outfit started greatly
with "Fluid Motion", exemplary technical/progressive thrash/death rubbing
shoulders with the best in the genre: Atheist, Pestilence, late-period Death,
etc. so expect twisted technical riffage, suddenly intercepted by slower,
atmospheric and jazzy sections. The complexity of most of the tracks is nicely
compensated by the more accessible (this is relative) death/thrashers
("Internal") which still come decorated with offbeat moments and a
certain technical charge. The tempos change all the time, creating a very
complex, but quite compelling picture. Even songs where there isn't a single
very intricate passage ("It Passes Always") sound compelling with
hectic, more jarring guitars. The middle is preserved for a string of
first-class progressive pieces: the larger-than-life, multi-layered progressive
death/thrasher "Blueprint"; the quiet jazzy "Could This Be
Real"; the technical riff-fest "Severed" in the best tradition
of late period Death; the brilliant labyrinthine, Coroner-influenced
"Taking Place". More brutal performance comes later ("Silence";
well, you won't get much silence with this one) to take away some of the
complexity, but just for a while since "Sustained Connection" brings
back the swirling guitars of the calmer, slower type, only to give way to the
"Unknown" closer which, despite the title, knows very well what it's
doing, providing more laid-back progressive metal.
The Promo shows the band having given up the aggressive death metal shredding
to a certain extent although thrash metal remains almost intact mixed with
straight progressive metal reminiscent of late period Sieges Even and Spastic
Ink. Still short technical death/thrashers, like "Woven Imbalance"
and "Boundless Intent" are simply brilliant recalling early Atheist.
"Receiver" is progressive metal in its finest form, something which
Spiral Architect should have done. "Remote Viewing" is a superb mix
of more laid-back progressive and more intense technical thrash/death sections.
"Sustained Connection" follows the same path, but is of a more
aggressive nature, and some parts are pure headbanging thrash. And a few words
about the awesome closing "Subject to Change" which is a wonderfully
abstract, dreamy, but suddenly more intense, meandering delight, and will
remind you of Pestilence's "Spheres".
The Promo showed the band in a great, albeit more controlled and less
aggressive form, and that's why "Eventuality" comes as a big, maybe
unpleasant surprise: it has almost no ties to thrash and death metal, and is a
more melodic form of progressive metal, still quite complex, with a bigger
number of quirky and jazzy sections. It's a good work on all counts, but the
guys were capable of much better music earlier.
The band are back on the field, and "Natural Causes" sees them more
aggressive and angrier, resulting in a strong progressive thrash offering with
myriad other influences, among which jazz takes a particularly important place.
The title-track opens the album in a more relaxed energetic fashion, but
"Shifting Skies Like Nothing" is already a more complex affair with
Cynic (think "Traced in Air) a very close soundalike. "For New
Creation" is a soft progressive metaller with a nice memorable chorus and
very good leads. "The Signal" brings back the thrashiness with
hard-hitting riffs alternating with stylish jazz-isms; but it could hardly be
viewed even as a rehearsal for the excellent jumpy, complex thrash/death which
comes aplenty on "Non-Linear parallels" with sudden time-switches
occurring within 3-min. Top-notch twisted technical thrash ala Coroner comes on
"Silent Betrayal", which also contains the necessary galloping
riffage to keep the headbanging going. Dramatic spiral-like riffs overwhelm you
on the hectic "Interface", another not very easy to swallow
composition, which all of a sudden introduces quiet jazzy implements supported
by violins and latino drums; another winner which takes the sound back to the
band's very roots. "Boundless Intent Part 3" is a dreamy,
semi-balladic cut, and "Sensory Endeavour" is the obligatory
instrumental with great melodic leads and numerous funky/jazzy decisions thrown
in. "Undivided" finishes the album in an awesome thrashing fashion, a
first-rate progressive thrasher with again Coroner and Cynic the reference
points. This is a really strong comeback which could have been a top ten pick
even if released during the late-80s/early-90's, a testimony that the real
talent can't possibly go wasted during the long breaks, also seamlessly
crossing styles by only winning in the process.
The demo is three songs of twisted semi-technical thrash/death showing some
promise from this early stage the band also thrashing with might mixing quirky
rhythms with straight-forward passages, leaving the title-track for the end the
latter also offering great melodic leads among the speedy crescendos.
"Circle's End": wow, it's such a relief that, busy with the
avant-garde/progressive deathsters The Levitation Hex, the guys haven't
completely forgotten about their main occupation, and here it comes this
circle which is simply put another another exemplary prog-thrash/death mix with
the staple for the band jazz/fusion walkabouts. The guys stomp with passion
("Syzygy") at times; at others ("Delta") put the
fusion-esque ingredients up front for a more melodic, dreamier layout; at
others let some nice female vocals ("Crystals") sneak in for the
creation of the softest composition here, a very short lyrical ballad which is
rudely brushed aside by the impetuous "Sand", a complex thrasher with
a couple of addictive melodic hooks embedded. "War of Nerves" is
spastic technical thrash at its finest, "In Spiral" racing with it in
terms of organized intricate shredding for the highlight here; although the
creepy twisted "Thoughts to Measure" is another sure candidate for
the award, a restless diverse cut with vortex-like rhythmic patterns. The
title-track is more on the conventional fusion prog-side, but there's thrashier drama to be savoured from it in the second half with the abrupt
headbanging etude, the actual quiet proposition being the final chords from the
closing "Sojourn", but not before the lads stir a most eventful
prog-thrash parade with time shifts galore. A sure pick for album of the year,
this is a glorious return for one of the finest artists ever spawned Down
Under.
Another World Demo, 1994
Fluid Motion Full-length, 1999
Promo Demo, 2002
Eventuality Full-length, 2004
Natural Causes Full-length, 2011
Circle's End Full-length, 2020
ALARUM (NEW ZEALAND)
An interesting albeit pretty flawed
recording which doesn't come anywhere near the lofty trajectories carved by
their namesakes from Aussieland; these Kiwis indulge in semi-complex retro
thrash which reaches progressive heights on the entangled "Eternal Slave,
but the short "Ome" is just a hardcore joke, and "Doomsday
Clock" is a mid-paced monotonous power/thrasher. "Misanthropedic
Nation" attempts something more contrived as well, but the lack of speed
makes it a tiring experience at some stage, and "Purgatory" is a
frolic power metal hymn ruined by the listless hardcore-ish semi-clean vocals.
Alarum EP, 1992
ALASTOR (CROATIA)
Based on the "World Of
Wars" demo, this act plays moderate thrashy crossover with high-strung
somewhat feminine vocals. This is pretty simplistic music with a thin guitar
sound, mid to up-tempo, with surprising slower epic-smelling moments
("Dark Ages") plus one good ballad ("Alternations").
Alastor Demo, 2001
World Of Wars Demo, 2002
Endward Demo, 2003
ALASTOR (POLAND)
Alastor's debut has quite a few
genuine, original ideas which could loosely put the album into a technical
thrash metal territory, very close to the Americans Wrath, or even Toxik. The
music is mid-paced to up-tempo the exception being "Ides of March"
(which isn't an Iron Maiden cover) which is the most aggressive track on the
album, recalling Slayer, but still containing stylish riffs. In the second half
the music loses its edge a bit and becomes more complex and slightly faster,
but still remains quite impressive. These guys looked perfectly equipped to
rival Wolf Spider and Turbo on the field of technical thrash in Poland, but
unfortunately their next two releases "grabbed" modern, groovy
post-thrash straignt for the throat.
"Spaaazm" is the comeback album which isn't an exact return to the
band's roots, but clings more towards the groovy 90's trends again. There's
more speed involved compared to the last two efforts, and at least half of the
tracks begin in an energetic semi-classic manner before the groove settles in.
The 2.5-min "Dosy'bc" is all-out retro speedy thrash, but simply
because there's no time for other elements to be inserted. Still, this is heavy
stuff with meaty riffs and good tempos which some might find a cool deviation
from the sea of the retro 80's thrash worshippers of recent years.
The guys have suddenly become very prolific, and here they come with two albums
released in 2012. No idea what "Destiny" brings, but on "Out of
Anger" the band play on in the same old groovy fashion by adding the odd
more intense passage ("Crawling", "Hatemate") to the
proceedings, but this is all too painfully familiar to strike a cord really.
The singer sounds more aggressive and angrier and generally does a cool job
leading the groovy post-thrashy "show" with dexterity.
"Destiny" (the Polish title "Przeznaczenie") was intended
as a 1990 release, but saw the light of day some 20 years later. It contains
their first demo, recorded in 1988, plus three new tracks all of them made in
the late 1980's. So expect retro headbanging delights till the very end the
band thrashing with a lot of passion producing a masterpiece similar to their
full-length debut, even better on the more inspired moments which are quite a
few. The lashing steel riffs start pouring from the get-go with the opener
"Przejladujc Samego Siebie" which is a faithful "Forbidden
Evil" follower. "Syndromy Miast" is a super-fast technical
shredder, a mix of Invocator's "Excursion Demise" and Toxik's
"World Circus" with great screamy leads. The guitar work in general
is on a fairly high level and some of the performance easily reaches Shrapnel
heights: check out "Skorumpowany" and "Strefy Cienia" as
well as every other cut. "W Obliczu Prawa" is a 7-min semi-ballad
with an overt technical flair, an enchanting piece superseded by the superb
blitzkrieg technicaller "Czas Wyrokow", an encyclopaedia of precise
technical riffage finished with a nice acoustic passage. "Droga Do
Nikod" is a more linear pounder, but the next "Dotyk Przemocy"
is another chaotic technical shredder ala the aforementioned Toxik effort.
"Hardcore Queen" is more of a technical speed/thrash
"Queen" with some admirable twisted rhythms; all leading to the
closing speed metal delight "Komu Da Cidea Wiat" which is calmer than
the rest, but ensures a fitting atmospheric ending in league with the final
short balladic instrumental "Wizje Ycia". The vocalist is in his
nature with his high-strung dramatic timbre, pitching it higher and higher to a
pretty positive effect.
Syndroms of the Cities Full-length,
1989
Zlo Full-length, 1994
Zyj, Gnij i Milcz Full-length, 1997
Spaaazm Full-length, 2009
Destiny Full-length, 2012
Out of Anger Full-length, 2012
ALASTOR (PORTUGAL)
Although the vocals might put this
band into the black metal field, the music is vintage classic speed/thrash
metal with a strong Germanic flavour (think Iron Angel, early Angel Dust,
Warrant), very well done. The guys have the habit of making cover versions of
their favourite bands (Iron Angel, Exciter, etc.).
The band took a long break, so it should come as no surprise the lengthy new
effort ("Demon Attack") featuring whole 19 brand new tracks of the
good old speed/thrash metal with the staple black-ish apocalyptic vocals
topping the energetic musical delivery which starts with two intense pieces
before the cool atmospheric stomper "Necromante" brings something
fresh and a bit more light-hearted. But then comes "As Portas Do
Inferno", a furious thrasher, a sprain-necker of the highest order. A
pleasant innovation follows suit: an excellent lead-driven instrumental
("Hino Funebre"), a great balladic piece with beautiful melodies
which seamlessly flows into another major headbanger: "Fogo E Sangue".
"Orgia Nocturna" is another deviation, a more complex gothic-ornated
composition switching from mid to up-tempos the whole time with catchy,
memorable hooks. The speed/thrashing saga then continues with the more speed
metal-based piece "A Mebo esquerda de Deus" (think early Helloween,
Vectom), and the cool cover of the Motley Crue hit "Red Hot" from the
Americans' greatest album "Shout at the Devil", ruined a bit by the
vocals, before another "calm before the storm" sneaks in: the peaceful
acoustic interlude "Depois Do Ataque". No mercy later on, including
the presence of the good cover version of Black Sabbath's "Children of the
Grave", here turned into a speedy roller-coaster well conformed with the
style of the album. The final damage is done with the closing "Spawn Of
Evil", which is another 5-min portion of intense speed/thrash. The guys
were never meant to re-invent the wheel, but at least they make it spin quite
well without any hurdles along the way; and the only complaint may come from
the buzzy guitar sound which takes away some of the sharpness of the riffs.
"...The Dark Tower..." appears after another lengthy break, but the
band haven't lost their touch, and the intense speed/thrashy shenanigans
commence from the get-go with the raging "O Mal Morto". The album is
entirely sung in Portuguese which is pretty much the only novelty as music-wise
this is the familiar hyper-active barrage with a handful of imposing epicers
("O Pai da Mentira") disrupting the reign of direct compulsive
headbangers like "O Poder do Inferno" and especially the
lightning-speed roller-coaster "Invocacoes". The moshing party seldom
stops here, reaching a culmination on the final "Maquina Infernal (O Olho
do Inferno)", an over 8-min fest of intense old school thrashing.
"The Unholy Hordes": the Portuguese veterans are here again, and this
time there aren't any glaring surprises again, the staple speed/thrashing
barrage reaching the speed of light ("Massacre Profano") at times,
with more moderate but equally as vicious headbangers ("Morte Da
Trindade", "Forcas Do Inferno") following suit, the epic
developments on "Que Se Abram Os Portais" pairing well with the
stomping atmospherics on "Ritos De Invocacao" before the band mortify
any such attempts at lyricism with the maddening ("Deuses Antigos",
"Morte") closing duo.
Crushing Christendom Full-length,
2000
Hellward Full-length, 2001
Infernal Lord Full-length, 2004
Demon Attack Full-length, 2011
...The Dark Tower... Full-length, 2018
The Unholy Hordes Full-length, 2021
ALASTOR (USA)
Based on "Day of Decay",
this band play a mix between the modern and the classic trends which is
predominantly heavy with squashing abrasive riffs intersperced by occasional
faster "temptations ("Econoside"). The overall approach isn't
very eventful if we also exclude the good lead guitar work on the closing
"Torch the Heretic". The singer is a not very capable deathy shouter
who hasn't seen the rehearsal room more than once, or twice at the most.
A New Blood Full-length, 2007
Day of Decay Full-length, 2009
ALAZIF (CANADA)
A very aggressive mixture of thrash,
hardcore and proto-death metal with short 1-2 min tracks; "Sect of the
Damned" reaches the 3-min length, and is the highlight here, coming close
to Slayer's "Reign in Blood".
Rotten Citizens Demo, 1987
ALBERT (GREECE)
These Greeks provide modern
power/thrash which officiant mid-tempo tone is rudely "broken" by the
vigorous "Resist!" which carries after it other surprises: the dramatic
galloper "Betrayal", the short Slayer-esque "pleasure"
"Pure Pleasure". The end comes in the form of the high-octane doom on
"A Dream of Sadness" which is vintage Candlemass and Solitude
Aeturnus and could pass for the highlight on this diverse testing of the soil
which needs a little refinement and a bit more focus in order to walk with the
finest.
Dinner Is Served EP, 2012
ALBERTO THRASH PIMENTEL (MEXICO)
There's only one musician involved
here, guess the name right away… correct, who specializes in heavy pounding
retro power/speed/thrash, the galloping pulverizer "A Traves de los
Tiempos" stirring the spirits with suppressed vigour, the more overtly
speedy "Pasaporte al Infierno" jumping on the headbanging wagon with
bigger enthusiasm. The groovy "Sara" is a filler, the friendly hard'n
heavy tune "El Chaman" another half one, Alberto serving a hoarse
near-deathly baritone behind the mike, strangely suiting the atmosphere which
only gets aggravated once more, on the other galloping anthem "Dia de
Invierno".
Sangre de Cristo Full-length, 2022
ALCATRAZ (HUNGARY)
The self-titled demo features heavy
modern post-thrash which breaks the pattern on a few times offering spontaneous
hardcore "explosions". If those latter breaks are desirable giving
the demo the necessary vigorous edge, check out the techno electronic outro:
1-min of the fans of Darude and DJ Tiesto's dream come true... hello!
Demo Demo, 2008
Alcatraz Demo, 2009
ALCHEMICON (USA)
The sophomore demo: this is
excellent fast and aggressive thrash combining Slayer's "Reign in
Blood" with early Destruction with forceful early Chuck Schuldiner
(R.I.P.)-like vocals. The music is really fast and relentless, but never
ventures into death metal boasting stupendous guitar work, not often heard on
the works of the two aforementioned bands (except probably on Destruction's
more technical period: 1987-1990). This is great, but very obscure, headbanging
stuff.
The debut demo is more on the immediate, bashing side and as such is a fairly
primitive affair with noisy guitars and drums and brutal deathy shouty vocals.
Regardless of the semi-amateurish delivery it's clear that the band were aiming
at the more extreme side of metal where death metal was lying in wait.
Shit KIlls Demo, 1987
Witness To The Afflicted Demo, 1988
ALCHEMIST (AUSTRALIA)
Arguably the finest Australian metal
act of all times, this progressive/avantgarde metal pioneers started their
career as thrashers, and not surprisingly their early exploits are anything but
orthodox. This 4-songer here already suggests at the great experimental
potential the band would unleash in the future. The opening "I Am
Free" is a twisted bass-dominated instrumental technicaller which nicely
warms up the setting for the coming of "Kill For It", a stylish progressive
shredder with a solid galloping motif and a quirky funky mid-section.
"Just Let Me Die" is more on the stomping side if we exclude the
thrash/deathy passage in the 2nd half which again transforms into an impetuous
galloping delight. The final "Eternal Wedlock" carries on with the
gallops which are finely cemented by the onmipresent bass this eventful musical
scenery topped by not very convincing semi-declamatory deathy vocals. The sound
quality is pretty rough not doing much justice to the inspired innovative
musical delivery.
Eternal Wedlock Demo, 1987
ALCHEMIST (CZECH)
Based on the EP: this band offers
modern groovy post-thrash with alternative elements; this is mid-paced heavy
music with also a few doomy elements. The guys have another band: Chewbacca,
where they offer similar stuff.
"Alchemy of Rising" is an elaboration on the sound from the EP; so
expect the same approach, a bit more complicated probably, with longer
compositions which escape the groovy "traps" well although the
delivery is too soft to impress the regular thrash metal fan; and consequently
it's the doom metal fans again who will have the last laugh, with the
progressive metal ones a close second (check out the labyrinthine "GoDevil").
The singer offers a warm clean tember which doesn't emit a lot of passion, but
is at least on with the peaceful, moderately complex musical approach.
"Damnation" is a modern post-thrash affair sustained in an optimistic
uplifting mood with frolic tunes cruising around touching alternative, grunge,
stoner/doom, blues, and all else. It's probably only the closing "Speed of
Darkness" which holds some little significance to the genre here being a
heavy pounder with a few up-tempo passages.
"Fear Business" is a more vivid and consequently a better affair with
a few more dynamic progressive power/thrashers ("Muse VI. (Fear
Business)") roaming around, but bit by bit the sound acquires the expected
mellower tendencies the faster-paced "Necropolis" near the end
offering some thrashier respite among the prevalent engaging progressive
opuses.
"Anti-Atheist" is a more dynamic, and consequently better offering
with speed/thrash ("God Hates Religion") dictating the proceedings
for at least half the time; the other half is spared for the staple
proto-groovy post-thrashy developments ("Design Your Own World") or
for surprisingly vivi purer thrashy excursions ("Pain and Hate").
“Roots of All Muses” returns to the more modern ways of expression once again, the band sticking to their power/post-thrashy guns more, the more dynamic “Do Neznama” stirring some drama, but it doesn’t receive much support from the remainder among which one can easily spot the rowdy headbanger “Cizíráno”.
Disaster Area Full-length, 2007
Doublemind EP, 2008
Alchemy of Rising Full-length, 2011
Evilcrusher Full-length, 2013
Damnation Full-length, 2014
Fear Business Full-Length, 2016
Anti-Atheist Full-length, 2020
Roots of All Muses Full-length 2022
ALCHEMIST (ITALY)
This Italian trio stay on the retro
side of the thrash spectre, the guys moshing with overt glee ("The Fallen
Angel", "Wings of Freedom") at times, at others indulging in
clumsy ponderous ballads ("Empty Mirrors"), the more contrived
shredder "Cyclone of Torments" nodding in the direction of the
Bay-Area. The singer is all over the place, reciting, semi-whispering, shouting
his lungs out selflessly as well... a versatile performer on all counts albeit
a bit short in the skills' department.
Architecture of Humanity EP, 2023
ALCHEMIST (USA)
Choppy semi-technical thrash that
suffers from the sloppy sound quality, but wins from the very good clean vocals
and the intriguing choppy rhythm-section which is partially abandoned on the
semi-balladic roller-coaster "The Fourth Dimension". Actually, the
band seldom go with all the speedy guns blazing except on the closing
"Tried But Not Heard" which is a cool semi-technical shredder.
Demo Demo, 1992
ALCOHELLDRUGS (BRAZIL)
Based on the full-length, this act
serve raw punky thrashcore with awful unrehearsed rending vocals, and some
curious stylish attempts at proficient lead guitar work. Short brutal rippers
("Underground Resistance") take turns with darker, near-blacky
dirgers ("Domination of Evil"), the pristine sound quality actually
doing more service to the simplistic execution than damage.
Never Stop the Madness EP, 2018
Infernal Metal Punk Full-length, 2020
ALCOHOL (HUNGARY)
Based on the debut, this act plays
90's power/post-thrash of the laid-back variety with the casual faster
interlude ("Mediaszterok"; the crossover joys "Szakits
Szat" & "Jol Erzem Magam"), and gruff semi-clean vocals with
a drunken flavour.
Ezen a Szinten Full-length 2007
Hezam Egy Kocsma Full-length 2009
ALCOHOLATOR (CANADA)
A 4-song demo of old school thrash
of the fast dynamic variety; the sound quality isn't very clean, and at times
the music takes certain crossover aesthetics ably supported by the gruff
hardcore vocals. Watch out for the hidden track which is a cover of "The
Ballads of S.O.D.".
"Coma" arrives soon after the demo and some of the tracks from it
have inevitably found their way onto the full-length ("Liquid Thrash"
& "Drink Beer or Die Trying"). The album opens with the
razor-sharp instrumental "Intoxication 101" which warms up well for
the ensuing speed/thrash "carnage", which will throw you into
spontaneous headbanging on the merciless "Abduction". Then comes the
pleasant surprise: the cover version of their compatriots Exciter's
"Pounding Metal" from the legendary "Violence & Force",
well done preserving the seismic, "pounding" character of this
immortal cut. Later on the guys don't bother to slow down a lot playing at
breakneck speed at times with sharp, cutting riffs also recalling another big
name from their homeland: Sacrifice (check out the varied, semi-technical
closer "Wasted (All The Time)"). The vocals this time are better with
a cool mean, semi-shouty edge. Some of the musicians also play in the death
metal outfit Under the Grave.
"Escape from Reality" provides thrash right as rain with fast
blitzkrieg riffs pouring from all sides to no end the comic, and also melodic,
"reliefs" coming in the form of short optimistic crossover cuts
("Out Of Control"). "Plastic Surgery" will sprain quite a few
necks along the way, whereas the closer "Cursed By My Thirst" will
bemuse thanks to its steady mid-tempo rhythms served on a suggestive doomy base
even recalling Candlemass at the end.
Drunker than Thou Demo, 2010
Coma Full-length, 2011
Escape from Reality Full-Length, 2015
ALCOHOLIC DISASTER (POLAND)
A decent take on the
"alcoholic"... sorry, classic thrash/crossover idea with aggressive
death-ish vocals; more modern-sounding elements sneak through ("Well Of Souls")
here and there, bringing slower heavier guitars with them, as opposed to the
brisker delivery on the rest.
Irrumabo Vos, Et Pedicabo Vos EP,
2010
ALCOHOLIC FORCE (COLOMBIA)
These Colombians pull out brisk
retro thrash "courting" the German school above all (think
"Pleasure to Kill", "Possessed by Fire"). So expect fast
music with slightly screamy high-strung non-clean vocals, simplistic sharp
riffs, and one much milder heavy metal delight ("Beers And Bitch")
sounding like a leftover from an early Grave Digger album. The same guys are
also responsible for the more speed metal-based Legacy and the similarly-styled
Savage Aggression.
Alcoholic Force EP, 2009
ALCOHOLIC RITES (EQUADOR)
Fight for your "alcoholic
rights" with Alcoholic Rites! The full-length is a full-on
"alcoholic" thrash metal attack of the "alcoholic"...
sorry, old school, led by the black/death/thrash metal guru of Equador Lord
Devastador. The music is predictably fast sometimes spiced with brutal blasting
outrages (the maddening grinding 1-min madness "Violent Desecration",
and elsewhere) ala Deathwitch and Torture Squad, but make sure not to miss the
cool speed/thrashy headbanger after it "Tortured". The Devastator
doesn't change his singing approach, the one he uses on his other more brutal
death metal projects, and his brutal guttural growls don't quite suit the more
laid-back music.
"Fermented in Hell" is a brutal offering the band now sounding way
more black metal in the beginning the friendly tone arriving with the frolic
speedster "Death Blade", but more brutal downpours carry on
alternated by the more mellow cuts almost on a song-by-song basis before the
final string of pieces which are vigorous extreme black metal outrages with not
many musical merits consequently ruining the mild positive impression from the
previous material.
“Rope of the Spirits” arrives after nearly 10 years, but the band haven’t lost their penchant for the good old black/speed/thrash hybrid, and this slab is a vintage old school tribute, the dramatic bounces on “Unholy Perception” cringing before the hyper-blasting vehemence of “Set the Demons Free” and the macabre doom gravity of “The Horns of Psychonaut”. Jump with joy on the short brutalizer “Summoned by the Abyss”, a faithful nod at Impaled Nazarene; and on the vigorous speed metal winner “Awakening in the Mist”, arguably the most mellow proposition on this overtly aggressive entry.
Metal Alcoholico-Destructivo EP,
2008
Alkomanifesto Full-length, 2010
Fermented in Hell Full-Length, 2013
Rope of the Spirits Full-length 2022
ALCOHOLIC TRENDKILL (BRAZIL)
Modern thrash with hammering meaty
riffs in mid-pace which doesn't change much throughout except for the
stoner/doom joy in the middle "Alcoholic Trendkill" (!?) which is a
bit more energetic. The angry attitude of Pantera is reached on the most
intense moments, including in the semi-shouty semi-clean vocal department, but
generally this is not very brutal stuff.
Alcoholic Trendkill Full-length 2010
ALCOHOLICA (ARGENTINA)
This is melodic post-thrash with
heavy/power metal overtones, carefree laid-back music with a lot of melody
assisted by cool emotional clean vocals not far from Sebastian Bach (Skid Row);
the musical approach may also remind you of the Americans' "Slave to the
Grind", also based on the 3 very good ballads.
Danzando En El Fuego Demo, 1996
ALCOHOLICA (POLAND)
The debut: this is rockish feelgood
heavy/proto-thrash which provides the odd brisker track ("Master
Plan", the excellent mid-paced lasher "How Far Is Far Enough"),
but this isn't the focus here as the guys surely aim at the more melodic loving
fanbase who will jump around to oblivion on those merry uplifting tunes.
"F.E.A.R." treads a very similar path, the dynamic opener "Eye
for an Eye" raising the energy bar high, but the remainder refuses to
follow this trajectory, "A Long Walk" being a heavy doomy walk, and
"I Am" welcoming everyone with hospitable hard'n heavy rhythms. The
band bring back some of their primal energy with the more thrash-prone
"The Devil All the Time" and "Alone in the Crowd", the
title-track another fast-paced winner, cancelling outright the pinky joke
closer "All I Have to Do is Dream".
Sub Zero Full-length, 2017
F.E.A.R. Full-length, 2023
ALCOHOLOCAUST (PORTUGAL)
Based on the "Speed Degredo
Metal" demo, these Portuguese troubadours pull out raw primal speedy
black/thrash metal crossing early Whiplash with early Bathory to a mixed
effect. The sound quality is awful, and at times it is quite difficult to distinguish
what is going on with the vocals doing a particularly big damage with their
screechy hysterical pitch. Some of the band members operate in the death/black
metal circles with Dark Agression, and also take part in the pure black metal
"misanthropes" Infernus.
The full-length is a much more proficiently executed affair, the guys moshing
on full-throttle with more adherence to speed metal, with the remorseless
"Speed Metal Tornado" naturally leading the way. The assault is
pretty much never-ending with outbreaks like "Bulldozer Infernal" and
"Necro Ritual" shattering the listener's senses with their fast
lashing riffs, the more relaxed crossover-prone "Anti-Sobrio"
bringing some hope for the tender hearts, but those should stay away from this
admirable ball of polished fury.
Ensaio Do Diabo Demo, 2006
Speed Degredo Metal Demo, 2008
Necro Apocalipse Bestial Full-length, 2019
ALCOHOLOKAUST (MEXICO)
Pretty decent intense retro thrash
crossing the Bay-Area sound with the more aggressive cords of Slayer and Sacred
Reich ("Ignorance"). The tempo is quite fast most of the time, and
the guys take no prisoners on killing numbers like "Overdoze Of
Violence" and "King Of Pain". "Genocidio" is sheer
Slayer-esque madness, and the closing "Plaga Humana" is speed/thrash
at its best. The singer slightly disappoints with his unemotional semi-shouted
hardcore delivery.
Satan Inside Full-length, 2008
ALCOHOLOKAUST (PORTUGAL)
Necro Apocalipse Bestial
Full-length, 2019
ALCOOTEST (FRANCE)
Pretty capable old school thrash
with a modern production which gives the guitars a strong mechanical edge at
times; the music has its technical leanings and could be likened to some of the
Bay-Area acts (Testament, Exodus) except that the fast moments are not too many
and the delivery is mid-paced with smashing steam-roller riffs which may wear
out on a full-length, but for the time being they work just fine. The singer is
more on the dispassionate dry, proto-hardcore side.
Hateman EP, 2011
ALCOR (CHINA)
Quite cool classic thrash with a
nice semi-technical edge; the Chinese thrash with passion "courting"
the Bay-Area, above all, with vocals on the border of death metal with an
expressed shouty baritone. "Night Of The Living Dead" is a sure
headbanger, and "Order & Chaos" is a really intelligent
speed/thrasher with echoes of Artillery. "Face Down" is a wilder
death/thrasher and the only not very striking composition here lasting for over
2-min, closing this entertaining roller-coaster from the Far East.
On the Scorched Earth Full-Length,
2016
ALCOTOPIA (LITHUANIA)
Retro power/thrash that fliirts with
several motifs and nuances some of which are pleasantly goofy ("Faceless
Man") with an overt speed metal flavour ala S.D.I.; others ("Dr.
Waclow", " Asylum of the Damned") are happy-go-lucky power metal
anthems those partly ruined by the gruff not very melodic vocals. The focus is
generally on catchiness and playful attitude with "Alcotopia" defying
the ruling mood with a portion of more hard-hitting thrashing rhythms.
It Hits The Spot Full-Length, 2019
ALDEHEZT (CZECH)
Another marvel from the always full
of surprises Czech scene; this is striking surreal progressive old school
thrash that sides with the best from the Mekong Delta, Target, and Psycho
Symphony repertoire. "From the Darkness" is already an outlandish
piece of art with puzzling time-signatures, weird trippy riffing, alluring
balladic respites, and last but not least the bizarre pathos-like punky vocals
which create a lot of hilarious drama when in action. "Labyrinth Of
Shadows" is rather a labyrinth of intricate melodic nuances the
high-strung vocals on this one starkly contrasting with the monolithic
mid-paced soundscape which gets carved by sudden bouts of eccentric angular
riffage the latter becoming more schizophrenic on the mind-scratching on
"Phone Rings In My Schizophrenic Head" which will greatly recall
another worthy Czech outfit, Chirurgia (their debut "The Last Door",
in particular). "Drinking Angels" is a more linear balladic
proposition the charmingly attached singer causing a few more humorous moments
due to his limited vocal abilities in the more emotional department; and
"Twilight In The Paradise" is a progressive multi-layered masterpiece
the jumpy rhythms and the unheralded twists and turns causing dizziness among
the interesting melodic walkabouts which are mostly reflected in virtuoso lead
sections on the bizarre shredder "Testament Of Mr Kriegel" and the
marginally more orthodox closer "Mirror Behind The Mirror". This is a
sheer gem, a work of mind-stimulating art that should be much better known.
Twilight in the Paradise
Full-length, 1993
ALEA JACTA (SPAIN)
Based on the full-length, this band
play modern melodic thrash with metalcore ingredients. Nothing to surprise the
fan, generally mellow friendly stuff wih the harsh/clean vocal alternation
fully implemented, accompanying the bouncy mid-paced, also semi-balladic
("Searching for a New Self") musical background which seldom gets
moved around by the odd more energetic dash ("The Others in Us").
Enter the Chaos EP, 2010
The Empire Will Fall EP, 2012
Tales of Void and Dependence Full-length, 2017
ALEISTER (FRANCE)
Aleister's only 90's album is a shining
example of how moderh 90's thrash metal can sound interesting and compelling.
They have been active since the late 80's, but were never fortunate to get an
album deal until the mid 90's when thrash metal was in its most dormant state.
Despite the having-nothing-to-do-with-metal album title, the music is forceful
thrash, complex and technical (so the "tech" part from the
album-title is justified) and would probably remind you of the Canadians
Obliveon (their early works). The band spare no energy, and although the music
never gest too brutal, it really sounds intense and hard-hitting most of the
time. Still, the concentration is more on complex, technical riffage, and
tracks like "Tribal Tech" and "Scorn Dread" will require
your concentration to get into the vortex of heavy, unconventional rhythms.
"Criminal" is another highlight, quite hectic and choppy, putting
together faster aggressive riffs and swirling technical ones within the short
span of 3-min. Surprisingly, there's no groove involved, but the guitars have
this characteristic for the 90's mechanical, clinical sound which in this case
is definitely on the positive side. The vocals might pull you back a bit
staying more on hardcore territory, but this is a very minor complaint.
The "Annihilation" demo is four songs showing the band still on a
more basic stage with a sound quality which is a major detraction making the
guitars very buzzy on top of other minor annoyances like the chaotic
song-structures, the unrehearsed shouty vocals, and the not very focused
musicianship which tries to be more complex, but these attempts don't produce
the desired results the riff-patterns being more straight-forward at this point
in time. This is an inauspicious beginning seeing an act far from the higher standards
of the scene in their homeland whose perseverance paid off handsomely some six
years later.
The "Schizophrenia" demo contains tracks of the heavy type with a
couple of really intriguing riff decisions, an indication that something bigger
was coming this way. The overall approach recallls Defiance and Xentrix with
very good vocals reminiscent of Rick Astley (Xentrix again), maybe a bit more
shouty and more aggressive. The sound quality is quite muddy, but the band
don't care that much about that, and shred with passion producing several fun
moments for the headbangers, also laying the foundation for the coming of their
magnum opus some five years later.
"No Way Out": wow, if this isn't a most unexpected comeback, then I
don't know what is... so is this another exemplary modern tech-thrash
rifforama? Well, it all depends on the point-of-view as the execution is
clearly on the positive side although the guys don't exactly go out with all
the intricate guns blazing, settling for a less flashy pounding delivery which
on "Slave" is suitably contrived and jumpy, the more dynamic bounces
on "Primary" creating a dizzy hectic atmosphere the latter becoming a
tad more entangled on the longer more varied shredder "Straighten
Up". "Bastard" is a short to-the-point semi-headbanger, and
"I Feel Myself" will accommodate the more vigorous thrashers with
another portion of lively brisk riffs. The guys are back, and it would be good
to have them around although the debut remains the superior recording by a long
shot.
"Nightmare" is an even more ordinary offering that its predecessor, the band apparently not planning to go back to their delightful more technical shenanigans from the 90's. Anyway, this is a pedestrian slab of modern thrash which holds some spacey surprises on "The Game", but apart from the rowdy shredder "Don't Let Him Down" there isn't much on display to be half-lauded even, the semi-intricate bounces of "The Reason For My Anger" very lightly hinting at much more ambitious past.
Annihilation Demo, 1988
Schizophrenia Demo, 1989
Tribal Tech Full-Length, 1994
No Way Out Full-length, 2019
Nightmare Full-length, 2023
ALEISTER (SPAIN)
This is groovy post-thrash of the
playful, bluesy kind; mild riffing and hoarse semi-clean vocals is what one
will come across here, and not much else.
Hijos De Los Hombres EP, 2010
ALEISTER C. (BRAZIL)
Based on the single, this act offer
gruff classic power/thrash with both dark ("Witch Dream") and
frolic/bluesy ("The Weight") rhythms topped by hoarse inebriated,
semi-clean vocals. The production is a bit muddy, and the leads are quite cool
with a flirty, rock-ish edge.
Witch Dream/The Weight Single, 1993
Struggle for Life Full-length, 2000
Spiritual Full-length, 2003
ALEKHINE'S GUN (USA)
The debut EP: this is an aggressive
affair which "flirts" with the modern thrash/death metal hybrid the
band trying to incorporate more complex ingredients into their furious
approach, but their hearts by all means lie in the speedy delivery where the
sound comes quite close to pure hardcore ("Bardo"). The singer shouts
in an attached vicious manner and delivers with his devilish histrionincs. Some
of the musicians also play in the metalcore formation Desolate.
The "...And Kings Will Fall" EP is another capable mixture of the two
aforementioned styles, at times death metal ("Atlas", the chaotic
brutalizer "Crown of Knives (Tsconcha Korlo)") taking the upper hand
with hectic urgently technical riffs; at others thrash ("Bound", the
atmospheric shredder "Endgame") pulling forward with creepy officiant
rhythms. The music is on a high level again and the band should pull themselves
together and come up with a full-length to satisfy the fanbase's hunger.
Meditations in Wrath EP, 2011
...And Kings Will Fall EP, 2014
ALEKTO (BRAZIL)
These folks serve modern
thrash/death which can be quite aggressive ("Who Dares to Raise the
Hand") with bolder steps into death metal territory, but can also be on
the more lyrical, more melodic side ("Let's Talk About War").
"Deliberate Entropy" exhibits a more serious side of the guys'
repertoire with dramatic pounding riffs which kind of better match the deep
atmospheric death metal vocal delivery.
Based on "Abstract Evil", this act serve modern thrash/death which
straddles between varied energetic semi-technicallers ("The Demon Behind
You") and darker atmospheric mid-pacers ("Another Freak in a
Cage"), the belligerent shouty death metal singer spearheading the show
with subdued panache. There aren't too many overt headbangers here, the
delivery is mostly within the mid-paced parametres, "From Clown to
Killer" enlivening the setting with the odd more dynamic riff. Some of the
band members are also taking part in another death/thrash formation, Krow.
The Unpleasant Reality Full-Length,
2017
Abstract Evil Full-Length, 2021
ALEPH (ITALY)
This Italian act is one of the best
kept secrets from the local scene there. The debut is an admirable slab of
fairly complex atmospheric progressive dark/gothic thrash which indulges in
long eventful compositions where hard thrashing alternates with elaborate
structures with a lot of operatic dramatism involved also reflected in a couple
of more quiet passages. "Depths" is built entirely on those passages
and is an engaging dreamy cut of the semi-balladic variety. On the other hand,
the 11-min opus "Mother of All Nightmares" is a total thrash worship
with plenty of intense riffage to be savoured distantly accompanied by echoing
keyboards. "In Tenebra" is an imposing doomy interlude followed by
the slightly faster "The Fallen" which boasts the finest leads on the
album, among great keyboard implements which ineffably grow into the final
number "Acid Tears", aggresive technical thrash to the bone crossing
the brutality with the obligatory orchestral sections to a pretty positive
impression. The vocals are another big asset, vintage early Tom G. Warrior,
forceful, authoritative and emotional.
"Seven Steps of Stone" arrives after four years and shows the guys
having not lost anything from their fairly original read of the genre thrashing
with style and atmosphere the whole time, maybe adding more abstractism on the
longer compositions (the Coroner-esque mazer "The Voices from Below (2349
A.D.)" spiced with more sterile mechanical riffage in the vein of mid-90's
Voivod). The complexity goes up a notch on the multi-layered
"Chimera" which is exemplary progressive thrash overshadowing a bit
the following "Tidal Wave" which is even harder to swallow recalling
the final exploits of Celtic Frost on "Monotheist", only more
dynamic. The highlight, however, would possibly be the energetic headbanger
"Epitaph Lies" which lashes rapidfire riffs for over 9-min trying a
few impressive galloping sections, before the closing "El Aleph"
embalms the album in creepy medieval atmosphere with sinister keyboards
overlapping with heavy volcanic riffs without the interference from the vocals
producing an all-instrumental opera of moods and complex musical decisions
recalling Nocturnus and early Therion on the more keyboard-infused passages.
This is really good stuff which shows visionaries with their own unique style
who also show their sparkle of genius with the black/death metal act
Soulphureus whose debut album "Rest in Hell" (2012) is another
example of sheer musical mastery.
The promo is an imposing start for the band with its three compositions of dark
brooding riffage with sudden labyrinthine decisions with again Nocturnus a
fairly close soundalike except that the style here is much more thrash-fixated.
"Hallowed Hatred" is a weird psychedelic mid-pacer with surreal jumpy
rhythms which could have been taken from the later-period Coroner recipes
(think "Grin"). The complexity only grows bigger later on the other
two numbers being even stranger concoctions of hard thrashing and surreal
progressive deviations the latter containing some of the finest lead sections
around. The keyboard background is sinister and suggestive and plays a major
role in evoking foreboding mood which could be rudely "broken" at times:
check out the abrupt super-technical riff-section in the middle of
"Crossroads". This may be a big pill to swallow by the unprepared,
but is another testimony of sheer genius lurking in the Italian underground
ready to cause a bigger damage soon...
"Thanatos" is another gem on the profusive metal horizon the band
unleashing their atmospheric "handwriting" from the get-go with the
progressive opener "The Snakesong", a multi-faced composition with
death/doom undercurrents. "The Old Master." thrashes in a surreal
choppy fashion keeping a steady dynamic pace which becomes even bigger on the
next "A Game of Chess", another offbeat spacey shredder with echoes
of the Australian avantgardists Alchemist. "Fire Demon" brings more
darkness with sinister symphonic sweeps, but "Nightmare Crescendo"
dissipates it with a portion of wild deathly riffage which "duels"
with the more laid-back operatic passages. More aggressive thrash comes served
with "Smoke and Steel (Multitudes)", but it's the creepy mid-tempo
guitars on "A Renegade's Path" which will bemuse the listener more
who will have realised by then that this opus has no intentions on keeping the
thrash metal fanbase happy as it looks beyond the boundaries of any established
genre into a universe here also the last Celtic frost album and its sequel
Tryptikon reside.
The "Exhumed Alive" EP is a full-fledged full-length with its over
40-min of playing time. The good news is that the band have returned to their
more aggressive roots like "Nightmare Crescendo" shows so well with
its brutal death metal accumulations. "The Snakesong" is a superb
surreal progressive 9-min thrasher which jumps from intense headbanging passage
to funeral doom dirges in a matter of seconds. A similar approach has been
selected for the other behemoth, the 9.5-min saga "Chimera MMXVII"
which is a tad more pensive and elaborate; and for the excellent battle rouser
"Smoke and Steel" which thrashes with more officiousness and epic
swagger also serving a few breath-taking balladic strokes. The closing
"The Old Master" is another more energetic composition with a more
epic flavour the band sounding revitalized and determined to play a more
important role on the thrash metal horizon in the days to come.
Promo Promo, 2002
In Tenebra Full-length, 2005
Seven Steps of Stone Full-length, 2009
Thanatos Full-Length, 2016
Exhumed Alive EP, 2017
ALEX FROM HELL (USA)
Based on "X", this guy
Alex (from hell) pulls out dark old school thrash which tries to sound
pleasantly progressive ("Food Delivery Vehicles", "Puke Boy III
Servants") at times, but it's the more direct lashers like "Thank God
for D.V.R." which deliver the goods in a better way. Otherwise the
approach is more on the melodic side despite the constant pounding bass in the
background and the slight death metal-ish drama witnessed here and there.
Alex provides a deep semi-clean baritone which perfectly fits the morose
atmosphere.
"Don't Mow the Baby" offers a mellower blend of power and thrash
which the title-track exemplifies so well although more aggressive, also more
technical, cuts ("Goddamn Grass Burrs") are also provided. "The
Uncanny Valley" even reaches the headbanging parametres, but later on one
will come across lyrical all-instrumental respites ("As Twilight
Fades"), battle-rousing epicers ("The Oyster Is His World"), and
at least one more raging lasher (the cleverly-consructed closer
"Brazos").
"Pollo De Paz" is another fairly cool opus with "La
Tormenta" being an imposing dark progressiver, preceding the more dynamic
"Dia de Los Muertos" and the dramatic power/thrasher
"Spearfishing" the latter spearheading a string of not very intense,
but pretty effective mid-pacers the rousing galloper "Running the
Gauntlet" a sure highlight alongside the more technical Coroner-esque
title-track. Borh more melodic ("The Road to Holbox") and heavier
doomier ("T.H.E.Y.") follow suit adding to the attraction, also
making this effort the guy's finest hour so far.
2012 Full-length, 2012
The Revolt of One-Billion Brains! Full-length, 2013
Moths/Pimples of God EP, 2014
X Full-length, 2015
Don't Mow the Baby Full-length, 2018
Pollo De Paz Full-Length, 2018
ALEXANDER ODEN (USA)
Based on "The
Culmination", this multi-instrumentalist acquits himself with a classic
blend of thrash and death metal which is both fast and slower, and doesn't
excel in the technical department like it could be expected from one-man
projects. The most proficient aspect are the leads, but they are short and not
very widely covered except on the closing "Barren Utopia" where
Alexander allows himself a deserved show-off. The vocals are nothing special,
typical gruff death metal ones, quite audible and expressive though.
"Denihilism" is another run-of-the-mill offering, ordinary thrash now
more on the modern side with groovy passages boldly inserted on the slower
material ("Sin Hoarder") which also goes away with the finest lead
sections. "Malignant" near the end is a fine fast-paced shredder, but
most of the time the approach is too pedestrian to make this effort highly
recommended.
Abaddon Rising Full-Length, 2014
The Culmination Full-Length, 2014
Denihilism Full-Length, 2016
ALEXANDER PALITSIN (RUSSIA)
Based on "Dystopic", this
Russian multi-instrumentalist offers intriguing progressive thrash which isn't
miles away from his main act, the Death worshippers (not quite anymore after
the brilliant "Argumentum Ad Ignorantiam") Incarnator. The music has
its dramatic heights, and is overall not very intense with a bigger focus on
melodic hooks serving some impressive technicallers like "Tolerance
Overexposed" and speedy shredder "Spiritual Marauder". The
fast-paced delivery on the latter influences the next "A Myriad of
Doomsdays" which is a nice piece with great melodic leads. "451"
is another exemplary technical thrash cut, more dramatic than fast-paced, and
"Responsible for Staying Alive" finally bows to the Death heritage
with a portion of stylized Schuldiner (R.I.P.)-esque riffs. "Destructive
Elements" is a cool progressive number before "Ministry of
Truth" shreds you to pieces with its sophisticated elaborate guitars which
get translated in a more simplistic fashion on the closing "Hound
Dog" which also flirts with an Elvis song. If we exclude the slight fuzzy
tone of the guitars the rest is really worth hearing seeing a young talent
ready to follow on the steps of old Russian guitar wizards like Valerii Gaina
(Kruiz).
The debut is another commendable effort the guy sticking closer to the
progressive patterns resulting in more thought-out pieces some of which
("Deep Water") will stay in the listener's mind due to their
memorable, individualistic nature. More rigorous technical thrashing can be
heard on "Incubus" and "Rancour" the latter a cool reminder
of the man's infatuation with Death. There are also two instrumentals opening
and closing the album, the final "Unimpeded Invasion" being a fine
ripping cut with very good leads. Alexander provides a mean-ish semi-clean
timbre distantly echoing Dave Mustaine, maybe a tad hoarser and more audible.
Incubus Incorporeal Full-length,
2011
Reflection Demo, 2013
Dystopic Full-length, 2014
ALFA (GREECE)
Based on the "Empire Of
Fantasy" demo, this band plays heavy abrasive thrash/proto-death with
brutal low-tuned vocals. Nothing exceptional if we exclude the atmospheric
keyboard implements which remind of their compatriots Nightfall and Septic
Flesh. The music is mid-paced with gothic/doom overtones and a fuzzy guitar
sound. Some of the band members are active again under the name Koronzon
playing classic thrash reportedly more dynamic and less atmospheric.
Welcome To My Funeral Demo, 1994
Live in Salonika Live album, 1994
Empire Of Fantasy Demo, 1995
ALFORNA (AUSTRIA)
Abrasive noisy modern post-thrash
which is more on the dynamic side, and doesn't plod around, but provides
several headbanging opportunities which still have to fight sometimes with the
seismic groovisms which occupy at least half the space here. The singer is
quite angry and shouty, but his more romantic side shows up here and there (the
balladic title-track where the guy unleashes a cool semi-clean voice). It's a
pity that the fuzzy guitars impede the proceedings creating quite a bit of
noise which may have been intentional, by the way.
Awake Full-Length, 2013
ALGEBRA (SWITZERLAND)
A new Swiss formation who would make
you listen with care with their invigorating brand of retro thrash which is
built around the heavier and more technical side of the Bay-Area community
(Defiance, Testament, later-period Vio-Lence, etc.). The guys indulge in heavy
volcanic riffs without forgetting the more dynamic side of the genre
("Away From Us All", "Polymorph") where fast steel guitars
will nail you to any wall around. Speed and technicality come seamlessly
"married" on the excellent "Tim's Cavalry" which is a
raging puzzler with infectious hooks and various tempos. "Insane
Times" is a more stripped-down exploder which raises the bass performance
level high, among other niceties. More musical "intelligence" comes
served on "(K)YFOSOLYF" before the closing "Crook" shoots
all competition with the final portion of fast blazing riffs. This is clearly a
no-brainer for old school thrash fans and it's a kind of pity that the guys
have no real rival on the Swiss scene (Surrealist, but that's about all) at
present.
"Feed the Ego": the Swiss "mathematicians" are back in line
sounding a tad angrier recalling Sepultura's best period (1989-1991) plus an
added death metal-ish aggression ("Survival Nowadays") which works
fine embedded in the clever song-structures. The stylized assault goes on
unabated the speedy riffage seldom interrupted for more than a few seconds
where a more atmospheric ("Necessary Evil", the semi-balladic
surprise(or rather a shock) "My Shelf") or a more technical
("Profound Guilt") sneaks in. Headbangers' siege await you in the 2nd
half, first with "Feed Me More" which thrashes directly without any
ado, and then with "Egosystem" which is a technical speedster with
slower Slayer-esque passages on the chorus-like moments. All "forts"
around the world will break after "The Fort Broke" is over, another
fast-paced shredder, before "Monotask" closes the album with an
exiting portion of clever speedy guitars. This is a second consecutive strong
effort from these talents, and it seems as though they have occupied the very
front row of Euro-thrash right now regardless of how many veterans and young
aspirers are in operation at the moment.
The EP is already a pretty strong beginning the band having epitomized their
intricate approach down to the -A-. The delivery at this early stage is fairly
aggressive with a tad less polished proto-death flair, but the technical
proficiency has already been nailed perfectly as well as the razor-sharp
riffage and the sweeping fast-paced passages some coming with a brutal blast-beating
("Pronator Teres") swirl. "III" is a choppy
"puzzle" superseded by the raging technicaller
"Procreation" the latter taken straight from the early-Gorguts
catalogue. The vocals are more aggressive with an expressed shouty death metal
tone which the guy later stifled to better fit the less intense musical
approach.
"Pulse" is another admirable offering the band shredding with the
expected level of competence and intricacy as evident from the interesting
varied opener "Inner Constraints". More abstract riffs arrive with
the longer and more labyrinthine "Addicted To Authority", a nice
progressive thrasher which leaves to free room for a couple of Bay-Areasque
tributes those nodding in the Hetahen ("Victims of Deception") and
Dark Angel (Time Does Not Heal") direction with their elaborate approach,
"Quantum God" and "Simulated Mind" thrashing more
vehemently, the intimidating stomper "Manipulated Soul" another
delectable addition to the contrived mosh which receives a hefty mid-paced
support on the hammering crawler "Concrete Jungle".
"Chiroptera" is the next-in-line intense moshing fun, with Sepultura
again a tangible influence at least in the beginning, the more laid-back layout
of "Constricted" serving the band well to take a break from the
intimidating pummeling on the rest, "Accomplice" and the Bay-Areasque
technicaller "Suspect" valiant headbangers, the atmospheric escapades
on "Eternal Sleep" a sure highlight, including the elaborate
intriguing twists on the closing "The Great Deception".
Procreation EP, 2009
Polymorph Full-Length, 2012
Feed the Ego Full-Length, 2014
Pulse Full-Length, 2019
Chiroptera Full-Length, 2022
ALGESIC MASSACRE (USA)
This demo combines fast raw tracks
with atmospheric slower ts resulting in a sound which comes pretty close to
early Messiah (similarities in the vocal department, too), or their compatriots
Silent Scream. There are more intense proto-death sections, but most of the
time this is pedestrian unimpressive thrash.
Fate of Death Demo, 1988
ALGOPHOBIA (ITALY)
These death metal wizards had a
short spell with the thrash metal movement in their spawning stages, and they
do a great job executing some exquisite technical death/thrash on this demo
which begins with "Human Shreds", a choppy technicaller with
brilliant vortex-like melodic riff-patterns which stand on the border between
death and thrash crossing on each side through various times as the death metal
side is supported by the low-tuned subdued death metal grunts. "The Black
Voice of Wind" begins like a chapter from Coroner's "Mental
Vortex" with strong bass implements and more outstanding intricacy
following suit as the tempos change almost on a second-by-second basis with
creepy labyrinthine riffs occupying the middle. "The Walled Town" is
a top-notch technical speedster with stylish hammering guitars and more serious
progressive build-ups plus more serpentine Coroner-esque riffage served later alongside
a sprawling lead section. The title-track bashes more violently, but the more
technical ways of execution can't possibly remain buried, and more complex
riff-formulas inevitably emerge performed in a fairly dynamic, intense hectic
fashion again recalling the mentioned Swiss masters to whom this grand effort
could be considered a most tantalizing tribute.
Dreams Demo, 1994
ALIBI FOR A MURDER (GERMANY)
Based on "Pieces", this
act crosses thrash and death metal on a strong technical base. The guys don't
waste their time and start perplexing the listener from the get-go with the
super-technical shredder "Wrath Of Eden" which would make anyone's
head shake with the sudden time and tempo shifts. At this early stage the only
unmitigated annoyance may be the very common vocal "duel" between the
guttural brutal death and the shrieky black-ish throats, but their presence is
totally overshadowed by the virtuous music which on the acrobatic masterpiece
"Anhuman Doctrine" reaches Shrapnel-like proportions. "Writers
Of The Apocalypse" introduces more thrash to replace the prevalent death
metal side, and consequently sounds more controlled albeit still quite hectic
and complex. "Sanity In Madness" death/thrashes with more melody, but
watch out for the brilliant technical mid-break and the hallucinogenic exiting
fast passage the latter seamlessly binding this cut with the next "Life
Request", a more melodic death/thrasher which will remind of Atheist with
the sudden time changes and the spastic vortex-like rifforamas. The closer
"Distortion Mirror Twin" is classy technical number with echoes of
Coroner and Alarum with its swirling, both technical and melodic, riff-patterns
those intercepted by breathtaking balladic insertions and more extreme speedy
sections. This is a sheer no-brainer, a truly impressive entry into the
technical thrash/death metal catalogue and a major contender for the Top Ten of
2016. Reportedly on the earlier efforts the band were fonder of the metalcore
idea, but one must track those down: they can't possibly be slouchers based on
the virtuoso performance here...
The EP is on a more pristine stage the guys honing their weapons, still coming
with a fair bit of interesting moments, like the hectic dissonant riffage on
the intense dramatic deathster "Teenage Trend Kill"; or the
atmospheric black sweeps on "On Broken Wings". The rest is pretty
traditional modern death metal faithfully following the Swedish canons crossing
early In Flames with the more elaborate, progressive landscapes of Dissection.
"A Moment of Annihilation" is a diverse black/death metal saga with
occasional sparkles of technicality which are sadly buried in the hyper-active
bombastic delivery which would make fans of early Cradle of Filth, Dissection
and Dimmu Borgir fall in love with it instantly.
Alienated Creator EP,2007
A Moment of Annihilation Full-length, 2009
Pieces Full-length, 2016
ALICE IN HELL (JAPAN)
Based on "The Fall", these
folks fall... sorry, play rigorous old school thrash which doesn't exactly
folow the lofty models from its godfather, the Annihilator debut. The crunchy
guitar work sides with power metal ("Past My Face") at times, the
gruff mean semi-declamatory vocals not handling those mellower moments that
dexterously. Short speedsters like "Broken Healer" and especially the
galloping delight "Evil of Your Dead" will stir the blood, but expect
also a couple of more atmospheric, less dynamic cuts ("Secret
Thunder", the dark quasi-doomster "Eyes All Around") along the
way.
The debut is another commendable affair with impetuous galloping strides
("Time to Die", "The Battle of Ulster") tearing the silence
alongside short simplistic thrash/crossover dissipators ("Rage 4 Gt",
"Creation of the World") and more serious, nearly progressive
power/thrashers (the excellent diverse shredder "Cry for War").
"Blood Fist" is an uplifting speed/thrasher which gives a great boost
to the proceedings as a finishing touch.
Creation of the World Full-length,
2014
The Fall Full-length, 2017
ALIEN SQUAD (PORTUGAL)
Based on "Order Not
Government", these guys pull out brisk speedy thrash/crossover ala D.R.I.
mixed with the thrashier attitude of Hellbastard's "Natural
Order". The headbangers will be more than happy with this one and would
hardly look for variety from this constant speedy downpour; there is one,
though; the jolly punkish "Death Cycle", and the heavy metal hymn at
the end "Laugh After Death (...Finally Free!!!)". Despite the
one-dimensionality this effort delivers well with its jolly optimistic
atmosphere which never gets lost for a split second.
From Alienation To An Alien Nation
Full-length, 2000
Sons Of A Switch Full-length, 2002
Order Not Government Full-length, 2005
ALIEN WEAPONRY (NEW ZEALAND)
The debut: this is modern mechanized
post-thrash which is built around heavy stomping rhythms with occasional
progressive pretensions ("Rage-It Takes over Again"), but the
one-dimensional execution will wear thin before long regardless of the good
emotional clean vocals' dexterous contribution.
"Tangaroa" follows a similar trajectory, the guys stomping onward
with little imagination and verve, the weird atmospheric sniffs on "Ahi
Ka" livening the setting to an extent, the other more intriguing moment
being the bouncy Helmet-esque "Buried Underground". The rest is only
for 90's groove lovers...
Tu Full-Length, 2018
Tangaroa Full-Length, 2021
ALISON (ARGENTINA)
Two cuts of crisp old school
power/thrash which is served longer and a bit elaborate on "Holes In the
Sky", a more modern-sounding piece as well; and is more immediate and
rushing on the sweeping "War After War", the singer possessing a
quarrelsome semi-shouty hardcore timbre.
Alison Demo, 1994
ALISTER (SERBIA)
Based on the EP, this band pulls out
heavy pounding power/thrash of the classic type with cool Max Cavalera-like
vocals. The songs are mid to up-tempo with hard sharp riffs; "ted" is
a nice heavy semi-ballad. The two Ivan's (Petrovic & Dulic) also take part
in another Serbian act: the death/thrash metal outfit Stillborn.
"Memories and Dreams" shows the guys in a different light as this is
atmospheric thrash with slight shades of black and death metal with a healthy
presence of keyboards bringing the delivery close to early Therion, Nocturnus,
and later-period The Kovenant. There are quite a few quiet moments, atmospheric
interludes, an abundant use of leads which are very cool, by the way, as well
as a couple of more laid-back power/thrash passages where melodic clean vocals
can be heard as opposed to the harsh death-ish main ones. The band spare no
speed on at least half of the compositions although those moments come close to
the 90's power/speed metal movement.
"Obscurity" abandons the atmospheric keyboard passages and
concentrates on riff-driven music with the softer power metal sections still
roaming around. Watch out for awesome speed/thrashers like
"Cicatrice" which take no prisoners with their heavy pounding, but
also quite fast, approach.
"Otrov" is a laid-back offering clinging between post-thrash and
power metal; it's pleasant, smoothly flowing, music without too many edgy
moments, those being the more vigorous speedster "Pru'9ei mi Ruku
Spasa" and the closing thrashy outburst "Ja Sam Tvoj Strah".
Memories and Dreams Full-length,
2002
Obscurity Full-length, 2002
Where Angels Bleed EP, 2006
Otrov Full-length, 2010
ALITOR (SERBIA)
Based on the full-length debut, this
band play first-class progressive/technical thrash without forgetting about the
dynamic side of the genre, and the opening "Realm of Grief" shows a
nice co-existence between hard-hitting classic thrash and more elaborate
passages. "Eternal Depression" starts with en explosive death metal
outbreak before turning into another fabulous display of virtuous musicianship
the latter carrying on until the end. The death metal-ish drama reaches
Death-like sophistication and actually the shadow of the great Americans can
also be felt on a few other compositions later on. The band play at high speed
throughout and one can't help but admire the seamless transitions to a more
technical play which works miracles on intense shredders like "Nothing
Lasts Forever" and "Drained". This album is a topshelf
achievement in the technical thrash (probably a bit of death metal as well)
sector, and except for the new Mekong Delta opus there aren't too many
candidates to be able to beat it in the year 2014.
"II" is a more melodic, also less intricate offering the band
clinging towards the Paradox school of progressive speed/thrash with the
opening "The Tempest Within", but the direct ragers ("Present
Tense") are just a rhythm away, with "Homo Ignoramus"
diversifying the setting with a wider array of riffs, and with
"Euphoria" providing a poignant all-instrumental idyll with soothing
pacifying acoustics for nearly 7-min. The album picks inertia afterwards,
especially with the impetuous varied, also death-laced opus "Some Sort of
Truce", but overall this is an inferior slab, lacking the ideas and vision
that made the debut such an arresting listen.
Embittered EP, 2012
Eternal Depression Full-length, 2014
II Full-Length, 2020
ALKANZA (BRAZIL)
The debut: clumsy, almost doomy
modern post-thrash drowned in groove, groove, .. and groove. There's some
dynamics involved later on, but those unbearably heavy rhythms will squash you
way before you reach the closer "Residente do Caos" which tries to
jump around in a less predictable Helmet-esque manner. The singer is the
prototypical angry shouter.
"O Ceu Da Boca Do Inferno" is a more dynamic affair although the
approach remains in the modern confines and is at times closer to the
mainstream thrashcore of Pro-Pain. "Em Coma" is an intense shredder
which predates a string of mellower numbers that bring the sound back to the
heavier post-thrash patterns from the debut.
"Caos Codificado": the Pro-Painesque mannerisms lead the show once
again, but this is hardly a complaint as thanks to rowdy steam-rollers like
"Por Todos Nos" and "Desistir Jamais" the situation isn't
entirely hopeless, and it actually manages to get on its feet quite intensely
on the mad headbanger "Moendo Ossos" and the strangely technical and
also melodic closer "Entre Orfaos e Bastardos". The production
continues to scream "modern values!" with the boosted instruments and
all, but again this album does little wrong even in a more classic metal-savvy
environment like the contemporary one.
Colonizado pelo Sistema Full-Length,
2015
O Ceu Da Boca Do Inferno Full-Length, 2017
Caos Codificado Full-Length, 2019
ALKATRAZ (POLAND)
Stylish dark/gothic thrash metal
which starts with a very cool technical number ("Error") in the best
tradition of Obliveon and Voivod, but moments of the kind are not to be heard
later on. This is brooding music, rich in atmosphere with not much speed
involved except on a few occasions ("Sbowa Prawie Te Same") with deep
clean vocals taking turns with harsher ones. The descents to doom waters are
inevitable, but they're done with style: the Oriental instrumental
"Ayy...Yy G:or" which doesn't forget to thrash along with the best
near the end. "Ycie-Pyk, Lufa-Pyk" is a nice ballad after which the
tempo doesn't leave the semi-balladic one, leaving this effort clinging more
towards the doom/gothic side in the second half. But it's not bad at all and
will remind you of the British masters of the genre The Whores of Babylon.
Error Full-length, 2001
ALKIIR (USA)
A not very known entry into the
American speed/thrash metal catalogue which acquits itself with clever, serious
music which is pure progressive thrash for most of the time surprisingly
predating the sound epitomized by Heathen on "Victims of Deception".
"Hamburger" could be considered a curiosity, an odd doom/ballad with
very good clean vocals which plainly semi-shout on the rest. Then comes the
funky/jazzy hallucinogenic extravaganza "Viking", and one may doubt
if he/she listens to the same act from the beginning. This could be a compilation
of some sorts since there is a border between the two halves as both have their
charm the 2nd one coming with a better sound quality.
Alkiir Demo, 1990
ALKIRA (AUSTRALIA)
Based on the "Red Devil"
EP, these Aussies provide a more energetic brand of the 90's post-thrash with
brisk biting guitars, a few cool melodic licks, and several more intricate
passages mostly present on the engaging title-track which opens this short
effort in an ambitious, almost progressive, manner. Later on what one will come
across is heavy grooves served in a more dynamic form with the staple shouty
quarrelsome vocals. Make sure not to miss the technical section on the closing
"Masks of The World" which is quite a whirlwind of riffs akin to
Megadeth plus a nice speedy exit, something on which the band could elaborate
on future releases.
"Juggernaut": the Australian "juggernauts" are back in
action and show a hungrier attitude towards the classic thrash vogues. As such
this album is a sheer ripper even featuring a few blast-beats (the opening
"Submission Therapy") which ably assist the impetuous thrashing
encountered for most of the time. "The Fleet" is a cool interlude, a
laid-back modern power metal all-instrumental hymn, but after it comes
"Inebriated State" which is thrashing madness to the bone. Then the
band relax with a string of more modern proto-groovy compositions among which
"Shattered End" is a diverse 8.5-min opus followed by a good stomping
cover of Sepultura's "Inner Self". This is a pleasant surprise which
sees a young act not content to stick to the same repertoire, and their future
"exploits" may even be more interesting.
"Klotho": the tireless Aussies are here again, this time with a full-length,
and their angry antics start from the get-go with the short ripper
"Hospice" this cut's more orthodox chug turned into furious
semi-technical shred on the following "Karmaphala". The fast and the
furious will rejoice on this one, but comes "A Thalidomide Child" and
the environment changes into more controlled, mid-tempo thrash with stylish
quasi-progressive quirks including impressive exploits in the lead department
the latter kind of ruined near the end due to the untimely insertion of brutal
blast-beats. "Gene Supremacy" starts with a nice lead-driven intro
before the guys start thrashing with passion again breaking the established
path with portions of more technical performance. "The Null" raises
the lathe even higher with choppy technical death/thrash breaks resulting in an
appealing progressive deathster, this number's headbanging urgency partially
cancelled by the atmospheric accumulations on the more moderate, also more
conventional "Wilted Rose". "The Hybrid Horde" comes
thrashing with force also deathing at some stage with surreal brutal additions
making this composition another less ordinary listen with fast and slower
rhythms alternating to a hallucinogenic effect. "Curse of Clotho" is
just a short balladic instrumental, predating the closer "The Last
Life", another reckless headbanging track with seldom a calm moment during
its 7-min except for the imposing operatic outro. The band have logically
reached something like a creative peak here, and one can only hope that they
would be able to sustain that high level of musicianship and ideas on future
releases.
Down from the Hills EP, 2012
Red Devil EP, 2013
Juggernaut Full-Length, 2014
Klotho Full-Length, 2016
ALKOHOLIZER (ITALY)
A worthy addition to the Italian
thrash metal scene of the new millennium; the album starts with the infamous
Tom Araya-esque shout from "Angel of Death", and the singer really
delivers a tone close to his peer from Slayer. The "Reign In Blood"-like
aggression later comes mixed with less intense, but equally as enjoyable
speed/thrashers (the roller-coaster "Sardinian Beer" which may arouse
your curiosity in trying this sardinian beer). Your head will
definitely drop (if not your head, one of your jaws at least) on the explosive
"Age Of Misery", but you will have time to fix it back on the
following "Alcoholic Metal" which is optimistic melodic
thrash/crossover. More extreme Slayer-sque thrash on "Kill Without Remorse"
which lasts until the end including the brutal hardcore joke "Sick
Orthopedic" and the excellent more speed metal-fixated closer
"Drinking Till Death".
The EP is three tracks of fast aggressive speed/thrash which creates numerous
headbanging opportunities those coming with an echo of Slayer again on the
closing "Resuscitate". The sound quality is great the guitars ripping
with might leaving a lashing reverberation in the air.
"Free Beer Surf's Up" is a cool new chapter from the guys' career,
and they show no remorse speed/thrashing with gusto their histrionics now
resembling Forbidden's debut and early Exodus. Some thrash/crossover
("Surfin' Beer") comes thrown in to spice the delivery, and generally
the headbanging will seldom stop the fast lashing riffs reaching the moshing apex
on the maddening "Antisocial Trap" and the closing rager "Stop
Hit Off the Ghetto-Join the Boar Party!!!" which title sums up quite well
the mood which will be felt by the majority of the fanbase: this is a wild
thrashin' party with a lot of beer and "boars"!
Drunk of Dead... Full-length, 2009
Sardinian Boars are Back!! EP, 2013
Free Beer Surf's Up Full-Length, 2014
ALKYMENIA (BRAZIL)
Based on the full-length, this band
play modern thrash/post-thrash/death metal with a very boosted modern
production. The computerized nature of the album hides the actual skills of the
people involved, but the headbanging potential here is hard to disguise the
music being fast and intense losing the dynamics a bit in the middle with a
string of aggro-pieces ala Pantera. It has no problems capturing it later on,
though, and the effort finishes in a high energy tone. The singer is a brutal
death metal growler whose not very decipherable rendings are more of an obstacle
than an asset.
"Strong And Unfailing As A Thunder" is a more brutal
"beast" the band moshing with more passion this time their enthusiasm
also reflected in the choppier, more varied rhythm-section. The groove
eventually returns on the noisy "Coward Even With Yourself", but the
guys manage to intrigue the audience with the more engaging chugs on "I
Say 666" and the excellent semi-technical shredder at the end
"Falling Bombs" the latter even reminding of the later-period Death exploits.
“Meeting before the Death” keeps the moshing firmly in place in the beginning, the band gleefully alternating frivolous speedsters (“Like a Homeless”) with melodic creepy strolls (“Stupidity”), the banal groovisms on “I Need a Way” the sure downpoint, the second half almost completely surrendered to the timid post-thrash patterns.
They Don't Deserve Respect EP, 2009
Dark And Nebulous Full-length, 2012
Strong And Unfailing As A Thunder Full-Length, 2017
Meeting Before the Death Full-length, 2023
ALL AGAINST (FINLAND)
Modern thrash/death sustained in an
energetic pace, but done with a little imagination despite the more stylish
inclusions on "Drug Of Choice" which is a varied atmospheric track
with technical overtones. The singer is a brutal low-tuned growler.
Blindness EP, 2012
ALL AGAINST (PORTUGAL)
Based on the full-length, this band
play old school thrash barrage enhanced by more violent deathly strokes from
time to time, the intense shouty vocals also courting said movement. The more
tamed walkabouts on "The Hourglass" are a decent deviation, but heads
will fall on neck-sprainers like "Free in Chains" and "I Am
Alive". Expect an engaging variegated near-progressiver ("Erratic
Hands") as well near the end.
"The Day Of Reckoning" is another derivative modern thrasherism, the guys reminding of some classic string on their souls with the vivid shredder "Mass Murder Policy", the fiesta later continuing with equally virulent "Fight Until I Die" and the sizzling "Rebeliao", the hyper-active proto-deathster "The Day of Reckoning" mortified by the short but effective acoustic/balladic outro.
Medusa EP, 2017
Feed the Machine EP, 2018
I Am Alive Full-length, 2021
The Day Of Reckoning Full-Length, 2023
ALL AMORT (ITALY)
Three songs of modern thrash/death
which is quite dynamic and even has pretensions at some originality coming from
the unobtrusive keyboard presence. The guys try to play fast, but change the
rhythms often resulting in a less predictable, even technical at times,
delivery ("End of the Remains"). The vocals are the characteristic
for the style subdued apocalyptic shouts which come interrupted by more screechy,
blacky ones.
Lost in a Corner EP, 2012
ALL CONSUMED (UK)
Crusty modern thrashcore with brutal
shouty death metal vocals; the approach is fairly intense but seldom touches
death metal, the only time that happens being on the spastic brutalizer
"Infectious", and on the extreme grindy closer "Infectious".
No World Order Full-Length, 2015
ALL FORLORN (SOUTH AFRICA)
Based on the full-length, this band
offer decent but predictable modern thrash/death which sticks to all the
familiar gimmicks of the style with little deviation from the path. Still,
there's plenty of energy to be savoured here: check the brutal blasts on
"Passing on the Moon" which come accompanied by more original
semi-technical riffage; or the furious speed/thrash crescendos on "Of
Eyes"; or the dramatic deathfest "Taking Down the Thunder". The
sound quality is quite good the guitars cutting like a knife the whole time
getting nicely melodic on occasion, like on the semi-progressive arrangements
on the closing "The Dank".
Dizzy Blank Dead EP, 2008
Taking Down the Thunder Full-length, 2010
ALL HELL (USA)
The debut: a hellish trio from the
States who pull out energetic black/thrash boogie which is as close to
Motorhead as it is to Amebix due to its abrasive, crusty guitar flavour. The
songs are short and bashing except for the more laid-back Venom-esque heavy
rocker "Dead of Night" and the morose doomster "Child of
God". The vocalist sits between Cronos and early Tom Angelripper, but
seems enthusiastic and motivated despite the drunken blend which shows up from
time to time.
"The Red Sect": the crusty saga carries on unabated the guys
obviously perennially fascinated with the old British acts this time adding a
more aggressive, speedy colouring also recalling early Bathory (ironically on
"Venomous"). "Graveyard Dust" is a stomping doomster with
echoes of Bathory again (remember "Raise the Dead"), but such stops
from the merry boogie roller-coaster are not to be encountered very often
"the red sect" casting its spell in a monotonous, but consistent
manner.
"The Grave Alchemist" is here, and "he" sounds suitably
angry and crusty again. In other words, expect no surprises along the way
although "Necrosophia" may make some cringe due to its remorseless
steam-roller approach; and "Wed The Night" is very close to capturing
the doom/gothic charm of the Type-O-Negative exploits. There's a more
pronounced hardcore edge to the guitars, but that only makes the music sound
more intense and kind of more optimistic.
The Devil's Work Full-Length, 2014
The Red Sect Full-Length, 2015
The Grave Alchemist Full-Length, 2017
ALL OUT WAR (USA)
Based on "Into The Killing
Fields", this band plays modern thrash metal of the intense hardcore-ish
type. The approach isn't very predictable since the guys don't lash out in a
stripped fashion the whole time, but vary things quite a bit: there are quite a
few interesting gimmicks, like heavier more classic-sounding Slayer-esque
passages which spring up on almost every song; more intriguing semi-technical
arrangements, formidable steam-rolling exits (check the one on "Mercy
Killer"), etc.
"Give Us Extinction" carries on in the same vein as its predecessor,
the band staying closer to thrash this time with heavy stomping cuts
("Worship the Cancer") blending well with the faster-paced material
("In Praise of Leeches", the excellent mosher "Circling
Vultures") the latter dominating the landscape, making this effort a nice
headbanging offering.
"Crawl Among the Filth": the opening death-laced rager "Divine
Isolation" may scare the unprepared, but later on things get back on
track, remaining with the hyper-active parametres for most of the time with
frolic speedsters like "What Was Becomes Undone", and short
blitzkriegers like "Drink the Plague" dominating the landscape, not
leaving much room for moody doomsters like "Contempt Be Thy Faith" to
prosper. Instead, the guys reveal their love for the good old hardcore with
less restrained cuts like "Suffocate and Subjugate" and "Gehenna
Lights Eternal" before flattening the scene with the 2-min of
death-infested fury "Septic Infestation".
"Celestial Rot" again begins with an overtly brutal piece, the
near-grinding outrage "Snake Legion", and later it remains on the
same wild untamed level, "Glorious Devastation" recalling the Finnish
monsters Impaled Nazarene with its unimpeded black metal vehemence, the other
tracks quite close to its aggressive veneer, thrash virtually non-existent for
a large portion of the time, the guys having chosen the violent
grind/black/death way for their current representation.
Destined to Burn EP, 1994
Truth in the Age of Lies Full-length, 1998
For Those Who Were Crucified Full-length, 1998
Condemned to Suffer Full-length, 2003
Assassins in the House of God Full-length, 2007
Into The Killing Fields Full-length, 2010
Give Us Extinction Full-Length, 2017
Crawl Among the Filth Full-length, 2019
Celestial Rot Full-length, 2023
ALL THIS FILTH (AUSTRALIA)
Based on "Tomorrow Will Be Better", this band play modern thrash/post-thrash which has its feet firmly in the groove pond ("Dark Hearts, Dead Minds", "Disconnect"), the short raging "Still Bleeds My Heart" the necessary rude awakening, the other side of this element provided by the very shouty rending vocals. "Exploitation" is another major mosher, its pummeling qualities later picked by the choppier more entangled "Collapsing" and partly by the closing slow-burning drama "Tomorrow Will Be Better?" which features a really captivating melodic tractate.
Misery Season Full-length, 2019
Tomorrow Will Be Better Full-length, 2024
ALL WASTED (SWEDEN)
The more relaxed version of the
Gothenburg school is what's on offer here, feelgood mid-tempo stuff which
seldom generates a lot of drama, but makes up with plenty of melody, the
rending shouty vocals the only truly belligerent ingredient. The title-track moves
up the energy scale with vivid dynamic guitars, but the rest is welcoming
friendly music ala mid-period Dark Tranquillity and more recent Raise Hell.
Burn With Me Full-Length, 2021
ALLAGASH (CANADA)
Based on "Cryptic
Visions", these lads specialize in a fairly good soaring "eagle fly
free" blend of power, speed and thrash which comprises convincing
energetic shredders like "Evil Intent" and "Beware the
Light", the dramatic pounding urgency of "From the Dark" and
"Strange Metal" opposing to those hyper-active propositions.
"Privacy Invaders" is a really cool chapter from 80's speed metal
lore, before "Under Watchful Skies" complicates the environment with
memories of Manticora and Paradox. The closing "Eagle Lake" is a bit
of a letdown, an over 14-min long progressive all-instrumental amalgam which
spends too much time on serene balladic soundscapes. The vocalist is not bad
but his not very attached mid-ranged clean baritone ala Brian Ross (Satan,
Blitzkrieg) fails to match the drama on the musical front at times. Some of the
band members are occupied with the thrash/crossover formation Social Services,
and the retro heavy metallers Emblem.
"Dark Future" is another fairly cool entry, the band speed/thrashing
with brains on the intriguing atmospheric opener "Destroyer of
Dreams", "Hostile Territory" being a short non-fussy speed metal
anthem, and "Intruders" following the same path with vitriolic sharp
riffage. The title-track again raises the speed metal flag sky-high, the
mellower power metal-based "Alien Evasion" a decent respite, before
the rowdy cover of Nuclear Assault's "Critical Mass" from
"Handle with Care" aggravates the setting to sizzling thrash
proportions. The closer "Worlds Unknown" is an excellent way to close
this very good opus, a superb all-instrumental thrashing delight that would
make anyone from Agent Steel to Deathrow proud.
The debut is a brisk speed/thrashing affair, the lads staying quite close to
Angel Dust's mythical first for a lot of the time, including in the raucous
semi-clean declamatory vocal department, the awesome explosive opener
"Taken" taking everyone by storm, including with an alluring quiet
outro. More streamlined speed metal ("Fourth Kind", the short
elevating "Wild Despair") arrives later, "Missing Time"
following the same hyper-active trend, the mellow respite here titled
"Allagash", a friendly heavy/power metal anthem, the soaring briefer
"Back from the Past" assisting the closing "The Truth Is out
There (It's Getting Closer)" in closing the proceedings with the expected
fast-paced panache.
The EP is served with a a slightly more optimistic flair, and although
"Almond Eyes" exacerbates the setting with rowdy belligerent riffs,
"Hybrid Child" is a elevating speed metal winner, and the title-track
is an atmospheric balladic sprawler lasting for over 8-min, a lengthy
all-instrumental piece with soothing introspective arrangements.
Allagash Full-length, 2016
Canadian Encounters EP, 2018
Cryptic Visions Full-length, 2019
Dark Future Full-length, 2022
ALLEGIANCE (AUSTRALIA)
Although nothing spectacular or
groundbreaking, Allegiance's debut is a fair piece of classic thrash metal on
the more aggressive side with good, resembling a rougher version of James
Hetfield, vocals; Vio-Lence is an obvious influence on the band, but more
aggressive death metal-tinged riffage is also present ("Twisted
Minds", "Path of Lies") as well as more melodic, groovy tracks
("One Step Beyond"). There isn't much variety in the proceedings but
the album works fine as a whole. "Skinman" is the band's answer to
modern 90's thrash and isn't as good.
D.e.s.t.i.t.u.t.i.o.n. Full-length,
1994
Skinman Full-length, 1996
ALLIGATOR (INDONESIA)
This is intense ripping classic speed/thrash which can be both playful and memorable ("The Myth of Justice") and uncompromising and aggressive ("Nightwrecker"), the early Metallica tribute "Bajingan Kota" logically leading to the production of the ripping headacher "Torment from the Sky" and the more technical shredder "Hegemony of Destruction", the hoarse hardcore vocalist adding more colour to the hyper-active demeanour of his comrades. Penerus Bangsat Bangsa EP, 2017 ALLIGATOR (ITALY) The band's first two albums are good
competent Bay Area-influenced thrash metal. "Immortal Entity" may be
considered the band's finest hour featuring long, thought-out songs with very
good, sometimes quite fast, sometimes semi-technical guitar work; the last
three tracks go over the limit being more than 7-8min long, but the guys manage
to make them sound interesting and appealing, especially "Bog of
Horror": a great instrumental with a particularly impressive start with
the main theme from the horror film "Halloween" opening with a nice
thrashy edge, followed by stupendous speedy riffs and marvellous solos that
won't let you loose until the very last minute; a truly impressive achievement,
and one of the highlights of the whole Italian thrash metal scene. Immortal Entity Full-length, 1991 ALLIGATOR (UKRAINE) Based on "Direct Heart
Massage", this act serve intriguing modern thrash/post-thrash which can be
alluringly technical ("A Chisel", the sprightly jumpy marvel
"Dying for") on occasion, but for most of the time this is cool heavy
music along the lines of more recent Sepultura. This isn't annoyingly groovy,
and even provides cool speedy outtakes (the title-track) and stylish nods at
Prong (the bouncy "Stereet Guys"). The vocalist is a stable not very
quarrelsome semi-shouter who isn't a stranger to more melodic tirades. Some of
the band members are also involved with the death metallers Bloodshot. The Correct Reaction Full-length,
2016 ALLMADDA (BRAZIL) This outfit serve quite engaging
progressive power/thrash which starts very ambitiously with the 9-min opus
"Within The Nails Of God", a cannonade of sounds and moods which
throws too much at the listener. The following "F.T.S. pt 1_ Walking With
The Dead" is a more accessible technical thrasher, but on the following
parts from this internal quadrology the sound becomes too operatic and less
intense. "Majestic Sound Of The Storm" is an epic creepy
quasi-doomster, and the rest of the cuts follow this trend getting too mild and
balladic with echoes of Pain of Salvation and Evergrey. It's a pity that the
band lost the thrash idea so quickly, but on the pure progressive metal side
this album should work on all counts also thanks to the very good emotional
clean vocals. Majestic Sound Of The Storm
Full-Length, 2015 ALLOMANCER (USA) Based on the full-length, this act
specialize in a modern/classic power/thrash amalgamation which doesn't win too
many points from the abrasive guitar sound, but makes up with an energetic
approach which is quite often ("Crisis Reactor") pure unadulterated
retro thrash. More moderate power metal pounders ("Witch Slayer")
deliver the goods in a less threatening fashion, the progressive balladisms of
"The Pit" influencing a couple of compositions in the second half
which is more on the friendly power metal-ish side. The singer does a decent
job with his levelled, not very adventurous clean timbre and is the only
performer who is not hindered by the noisy production. End Hostilities EP 2017 ALLTHENIKO (ITALY) Speed/thrash of the more melodic
variety; the opener "Thrash All Around", despite its title, is the
most melodic piece here, more in the speed/power metal mould. Later things get
more interesting with the smashing, "Painkiller"-influenced
"Wheel of Fortune" and the brutal, almost death-ish "Dead
Brain". Still, the music is mostly speed metal with a very good melodic
lead work and cool fast tempos, and will please fans of early Helloween,
Scanner, Stormwarrior, the French Killers, above all. The singer has a very
good, high-pitched, Ralf Scheepers-like tember and, of course, suits the music
just perfect. We Will Fight! Full-length, 2006 ALLTORMENT (BRAZIL) A nice short effort serving pounding
modern thrash with angry death metal vocals and several classic shades. There's
a lot of melody as well mostly reflected in the stylish lead guitar work (check
out the cool semi-ballad "Covered Eyes"). "Vengeance" is a smashing
headbanger with proto-death touches which shows another, arguably more
appealing, side to the band's style. The End Of Peace Season EP, 2010 ALLUMINIA (PORTUGAL) This Portuguese outfit specialize in
heavy crunchy modern post-thrash which lacks dynamics and prefers to move
forward in a calm, not very intriguing, manner reminiscent of Flotsam &
Jetsam's 90's period elaborating things quite a bit on the closer "A Tide
Of Thoughts" which lasts for whole 12-min and for at least half the time
is tender balladisms topped by fine proficient leads which are the only saving
grace of this not really memorable release. Power On Self Test Full-Length, 2007 ALMATOR (ECUADOR) This 4-song demo shows an act
circling around the classic power/thrash patterns by displaying more melodic
performance which goes a notch up the aggression scale on the not very
eventful, and kind of monotonous, cover of Sodom's "Remember the
Fallen". At least "Thrasher" justifies its title at the end by
moshing out in a fairly intense fashion spitting fire and venom for just over
2-min. The singer is a mean husker semi-reciting for most of the time, but in
an audible vociferous manner. Infierno Demo, 2012 ALMETAL (ECUADOR) Based on "Headbanger",
this act specializes in the ambitious blend of power, speed and thrash metal
and generally the guys know how to thrash with force (the short hammer
"Faise Fe") helped by the abrasive guitar sound which makes the riffs
sound really heavy and crushing. Some melodic relief is offered mostly by the
short stylish leads and overall the not very clear production doesn't stand too
much on the way of the inspired performance. The two bonus tracks at the end
must have been recorded at an earlier time since they show a bigger fascination
with pure speed metal and overflow with catchy infectious melodies and
sing-along choruses which to some may be the better option. Primer Golpe Full-length, 2008 ALMIGHTY (HUNGARY) An extremely bussy sound quality
leaves much to the listener's imagination who should be able to distinguish
intense thrash which becomes more listenable on the enjoyable thrash/crossover
cut "Pain Games" and on the intense Bay-Areasque
"Transmitigrations" where the not bad semi-clean singer can also be
heard more clearly. The band members later took part in other bands around the
Hungarian underground: Catheter, Atomic, both thrash metal-related; and at
present they practice heavy sludge/doom with Zord. Demo Demo, 1990 ALMOSTRAGE (SLOVENIA) This outfit were earlier operating
under the name The Fifth Season when they only managed one demo in 2006. The
music on offer here is also thrash, but of the modern playful type if we
exclude the descents to doom metal ("The Dark Side") which are quite
appropriate, by the way, and don't ruin the proceedings. More rigorous thrash
arrives with "Immortal Thoughts", but its bright example isn't quite
followed by the following songs the gothic/doomy hints ala Paradise Lost coming
back to rule till the end still entwined with sharp thrashy rhythms, topped by
expressive brutal death metal vocals slightly recalling early Chris Holmes (Paradise
Lost). The guys also have another project running simultaneously, Insanity,
where the style is also retro thrash. Almost There... Full-Length, 2011 ALMOST DEAD (USA) Based on "Lay Me Down to
Waste", these folks provide modern thrash/post-thrash which doesn't lack
intensity as evident from the sharp steam-roller "Shot to the Head",
not to mention the brisk headbanger "Why Am I Alive" which is not
exactly a game-changer as there are also poignant ballads (the really cool
"Alive in You") thrown in alongside stomping Pantera-sque groovers
("Kill or Be Killed"). The vocals are cool intense semi-shouty
fitting into the diverse musical approach. Almost Dead Full-length, 2007 ALMOST IS NOTHING (USA) Based on "Ways to Spend the End
of Days", this act plays run-of-the-mill modern thrash with the staple
energetic pace and the melodic tunes. Professionally executed and all, but
heard so many times before... The final "Solace" is a nice touch,
though, being a nice atmospheric peaceful instrumental. The Long Emergency EP, 2005 ALOOP (DENMARK) Based on "Dead End-New
Deal", this formation pull out intense modern thrash/proto-death with
elements of metalcore. The guys know very well the niche they're aiming at
shredding with understanding of the genre canons, but this leaves a very little
room for improvisation or surprises. This is plastic soulless music all over
which will have no problems satisfying the new metal fans. The closing
"Hell on Earth Part 2" is a cool mid-paced dramatic steam-roller
which is the highlight of this pedestrian offering. Global Crisis Full-length, 2005 ALPHA WARHEAD (PORTUGAL) Heavy thumping old school speed/thrash which isn't devoid of delectable melodic licks, the variegated title-track pouring several intriguing semi-technical decisions as well, the speed metal urgency of "Thunder, Rain and Lightning" leading the pack in the second half, with both "Apollyon" and "Paranoia" adding more to the sizzling furnace-like atmosphere. "Backfire" is a short bursting bullet, challenging a bit the shouty semi-declamatory singer who tires to assist with a higher-pitched timbre on this one. Code Red Full-length, 2023 ALPHAKILL (CANADA)
A promising debut from Canada this
way comes. This formation specializes in intense technical thrash which is
built on a speedy base in a way not far from the Flaming Anger early efforts
and Paradox's "Heresy". The opening "Thrash Eternal"
fulfills the expectations for "eternal thrash" with speed and technicality
ably mixed together. Stylish galloping riffs will overwhelm you later on
"Corrupted Masses" which will remind of both Forbidden's debut and
Helstar's "Nosferatu". The immediacy of the early tracks is abandoned
for the engaging "Unmitigated Disaster" which is intense speedy thrash
for most of the time with several time and tempo-changes. "Threat From
Within" is a puzzling technicaller which is another fast-paced offering
the band seldom relying on other ingredients to spice their elaborate approach.
"Rebellion" could pass for a more relaxed piece with its more direct
riffage, but the final trio goes up the complex scale once again, "The Age
Of The Debt Slaves" being a clever take on more headbanging thrash, and
the closer "Skullcrushery" introducing some effective melodic hooks among
the speed/thrashy "carnage" which comes with impressive lead guitar
work all over. The singer has a forceful, but not very emotional, semi-clean
tember who acquires some shouty tendencies at times. This is a really cool
addition to the trash metal catalogue of recent years showing a band cleverly
blending the more thought-out and the headbanging side of the genre also being
on the way to forge their own face. The guys used to play a softer form of
progressive metal with their older outfit Necrogenesis under which name they
released two demos in 2003. Unmitigated Disaster Full-length,
2012 ALTAR (HOLLAND) Based on "Red Harvest",
these guys play pretty decent modern thrash/death, not too far from acts like
Dew-Scented and Carnal Forge. The tempo is mostly energetic and fast, seldom
reaching for the ultra-brutal death metal sound: the beginning of "On The
Throne", and the following death metal-ish "The Unbeliever".
Some melancholic, gothic-tinged tracks are also present (To My Friends"),
as well as some which sound surprisingly classic (the closing "Punishment
For Decency"). Youth Against Christ Full-length,
1994 ALTAR (ROMANIA) Based on "Respect", this
is minimalistic modern groovy post-thrash with hardcore touches. "Born
Again" tones down the heaviness opting for a sound not far removed from
The Black Album, but the approach is too melodic exiting the post-thrash fields
on a few times, trying its hands on a couple of ballads/semi-ballads, among
which "Freedom" is a nice piece with good melodic leads. The singer
is close to James Hetfield, but comes softer on the balladic numbers. The Last Warning Full-length, 1993 ALTAR OF DAGON (USA) A diverse interesting mix of doom
and thrash metal; both styles are given an equal room with doom metal probably
covered a bit more widely. Still, when the guys thrash, they can rank among the
best in the field: the heavy steam-rollers "Hell City" and "It's
Alive"; the raging proto-deathster "Dead Man's Eyes"; the
technical chaotic "Murders in the Dark"; the galloping power/thrasher
"Plague Called Man". The closer "Names of the Dead" is a
compelling 8-min opus mixing the two trends into one adding a couple of furious
death metal sections to increase the already wider appeal. The guys have done a
good job blending two contrasting genres coming up with an effort which will
please fans of both styles. Scriptures For This Dead Earth
Full-length, 2010 ALTAR OF FLESH (USA) Based on "The God
Standard", this band offer modern thrash/death metal which is a total Bolt
Thrower worship on the heavier, slower moments. On the speedier escapades
("War of Ages") the guys come up with a style of their own which is
built around more technical arrangements. Both sides aren't mixed very well
together as the faster-paced one is better presented in the second half where
more interesting things occur although the sloppy sound quality ruins the
impression to an extent. Raw Mea tEP, 2006 ALTAR OF SIN (SPAIN) Based on the debut demo, these guys
pull out brutal merciless old school death/thrash metal, constantly fast and
bashing, not devoid of several blast-beats, but with a clearly audible guitar
sound. The vocalist is a real violent death growler, but his style suits the
relentless aural assault, except on the Exorcist cover at the end "Black
Mass" where the pace nicely changes into more controlled speed/thrash. Altar of Sin EP, 2006 ALTAR OF THE KING (USA) A decent album of modern/classic
power/thrash metal of the more melodic variety; "Fire" opens it in an
energetic headbanging manner, but later on the sound gets slower, with doomy
overtones ("Burn To The End", "Undertaker") even, which is
not too bad, but songs like the very toothless heavy metal anthem "You
Broke The Rules" would hardly make the thrash metal fan jump with joy.
"The King Is Coming" captures the lost inertia with sharp faster
riffage, but with also badly distorted synthesized vocals. "Outta Sight"
is horrible jazzy pop with no shades of metal at all, and here I can see quite
a few listeners losing their patience. Then the guys move to semi-doom tracks
before the fierce "Glass Kingdom" explodes, but too late to save the
day. Sadly, the end is preserved for another hard'n heavy experience: "Say
Goodbye", which would please fans of Ratt or Bonfire, rather than the more
hard-boiled metal ones. Altar of the King Full-length, 1995 ALTARED STATES (USA) This outfit paraded for a while as
Hurricane Rachael in the early-90's, the style being classic heavy metal. The
music on display here is abrasive noisy retro power/thrash which wins points
from the expressive bass; otherwise this is steady mid-tempo stuff spearheaded
by cool clean, not excessively emotional vocals which are helped by the other
musicians on quite a few memorable choruses. "Hymns of Victory" is a
cool epic hymn, and "Star Bound" is an uplifting speedy walkabout.
Some of the band members also play with the heavy metal outfit Sheer Greed. March to the Altar EP, 2020 ALTARS OF ANNIHILATION (ARGENTINA) Guillermo M Nudel is the name of the
man who handles all the instruments here to release this cool tribute to the
old school which starts ripping you apart from the very opening "War
Crimes", but shows some mercy later on on the more officiant "Apostles
of Doom" which tries to deserve its title with morose, slower riffs.
"Natural Laws" is the other place where the man slows down a bit, but
the title-track is an awesome headbanger with pounding rhythms its rigorous
nature partly cancelled by the balladic lead-driven instrumental "The
Bavarian Illumination". The closing "Fall" is a nice diverse
composition, but the quiet balladic passage is too long for it to be a
distinctive epitaph to this decent effort. Illuminate, Eliminate Full-Length,
2016 ALTARS OF NOCTURNAL ARMAGEDDON
(CANADA) Death/thrash of the old school
supervised by overshouty confrontational death metal vocals; the delivery is
mostly mid-tempo, recalling Acheron at times, well exemplified by the
doom-laden march "Spiritual Doom", the more playful rhythms on
"Darkside" creating a more festive atmosphere for a while,
"Demon's Rage (Law of the Burning)" at the end providing the obligatory
speedy gust. Demo Demo, 1989 ALTER (USA) Based on "Mirrored
Thoughts", this obscure act pulls out a more intriguing version of the
90's thrash trends coming up with a very heavy abrasive guitar sound which
shares some of the dark complexity of Nevermore and the Germans Couragous, but
also has a sound of its own which is more aggressive, spiced with a cool
keyboard background. The album starts with two brooding proto-doomy
progressivers, but the heavy riffage kind of steps aside for
"Purgatory", a good semi-ballad with excellent leads. "The
Burning" is a dramatic steam-roller, a bit faster than the preceding song,
but at this point the listener is already aware that this is not going to be
the fastest release in the world, and has probably adapted to this moderately
elaborate heavy affair which livens up at the end for the more energetic
closing title-track which thrashes more intensely, with a contrasting quiet
lead-driven break in the middle. This is not bad at all in consideration of the
fashionalbe at the time musical tastes, albeit somewhat samey and not very
diverse, with the crushing riffs not carrying a lot of melody, despite the
compensation offered by the lead guitarist who is truly the star of the show.
The singer is a hoarse semi-cleaner, at times more passionate, at others more
indifferent, but always on par with the somber musical approach. The guys tried
more melodic progressive metal with their other band The Odyssey Project, with
one demo recorded in 2008. Half in Shadows Full-length, 1994 ALTER SELF (GREECE) The guitarist/vocalist Andrew Geo
from the technical death/thrashers Raw in Sect takes part here for the release
of another technically-minded stuff not far from the music offered on the other
band's demo. The guitar work is equally as complex, but the pace varies more,
from mid to up, with a more frequent inclusion of melodic hooks which starkly
contrast with the brutal low-tuned vocals. Ashes over Eden Demo, 2009 ALTERA (RUSSIA) This recording is a typical product
of its time, modern jumpy post-thrash with a few curious Oriental motifs which
intertwine with much less interesting groovy rhythms the latter recalling
Helmet and Biohazard ("Cold Reality") at times. The vocalist rends
his throat trying to sound more melodic at times, but the nature of the music
hardly needs a more capable singer. Pressure Demo, 1996 ALTERED AEON (SWEDEN) This band features Kjell Andersson,
the singer of the progressive thrashers Azotic Reign. This is excellent
technical thrash which has something in common with Azotic Reign, but takes the
music on a higher level with longer, more thought-out compositions and more
intricate, more labyrinthine guitar work. The sound is more on the modern side,
quite intense and lashing with dark atmospheric overtones, coming at times as a
more aggressive version of Scariot, Nevermore, and Azotic Reign again. Such
mind-blowing technical riffs have not been heard for quite a while. At the end
there is a bonus track: a very good cover of King Diamond's "Welcome
Home". Dispiritism Full-length, 2004 ALTERED DOMINANCE (USA) This is a project of Mike Hickey,
the guitar player who took part in both Venom and Cronos earlier in the
late-80's/early-90's, and is presently operating under the name Goatreign
playing classic heavy metal. This 3-track demo is hardly his highest achievement
showing the guy "enamored" with the groovy post-thrash sound of the
time, producing bland dragging stuff with also bluesy and stoner overtones.
Mike sings in a drunken gruff manner with the casual more emotional
higher-pitched tone. Demo Demo, 1995 ALTERED EXISTENCE (USA) Based on the demo, this act pull out
devious semi-technical death/thrash which throws quite a bit of stylized chaos
at the audience with "Box of Evils" before "Escape" takes
care of business with a more aggressive, equally as intricate, death metal
delivery. "Soul Snatchers" focuses on thrash more for a thrilling
bumpy ride, and "Ever So Alone" is a more epic, less frenetic take on
the same genre. Belligerent restless riffs pour out of "Relentless
Fear" and "Scars of Time", but "Descending to Madness"
shoots a fountain of more technical guitars which grow into the galloping
shredder "Forgotten Prisoner". More irregular rhythmic niceties with
"Mirror Image", a stomping battle-like march aptly guided by the
forceful intimidating deathy vocals. ...to Darkened Depths of Imagination
Demo 1995 ALTERED MOVES TWO (HOLLAND) Standout progressive thrash metal
combining the manic hectic patterns of Realm and Sieges Even with the elaborate
arrangements of Toxik's "Think This". So this is both energetic and
thought-out music which already sounds ambitious enough on the engaging
menacing opener "Fear`s the Conductor" which twists and turns into
many directions blending fast headbanging (short, though) with puzzling
structures, a couple of interesting discordant moments, and weird spacey
soloing. "Shifter of Minds" will try to "shift your mind"
with another demanding mix of speed/thrash and complex progressive, the latter
being more melodic this time, although the fast blitzkrieg passages will try to
compensate for them big time. "Rammstein (Murderous Rashness)" (could
have influenced the German industrial metallers for the name) is built around
heavy pounding riffage with an American power metal flavour, but the
technicality doesn't drop much, only that the speed disappears almost
completely. "Action Speaks (Louder Than Words)" will overwhelm you
with edgy galloping riffs which will grow into several raging sections in the
middle; the technical performance goes off a little on this one, the guys
bashing more directly also adding a cool chorus reminiscent of Skyclad's
"Men of Straw" from "A Burnt Offering for the Bone Idol".
"La Villa Strangiato" is a virtuoso instrumental, a meandering piece
of the calmer type, even with adherences to blues, but done tastefully with the
obligatory frantic speedy moments, among other gimmicks (proto-jazzy breaks,
spacey hooks ala Spastik Inc, etc.). This is actually the closer to this
obscure gem which rings truer than same year's Donor's "Triangle of the Lost",
and even Deathrow's "Life Beyond", and could have been a fitting
addition to the progressive/technical thrash metal wave in Germany which
started around the same time. Shifter of Minds Full-length, 1992 ALTERED SAINTS (VENEZUELA) The "Santos Y Prejuicios"
single is just one song, the title-one, of course, which shows the band fond of
classic-sounding thrash/death metal with a cool progressive edge ala
Misanthrope and Nocturnus. The guys blast at times, but in a good technical
way, playing in fast pace with interesting stylish hooks, the singer being a
low-tuned death metal growler. Ritos De La Noche Single, 1999 ALTERED SHADE (FRANCE) This French outfit pull out abrasive
modern thrash/death which seldom leaves the Gothenburg canons on which it has
been modeled. The guys thrash with vigour as evident from the mosh favourite
"The Last Door", and even blast-beat more erratically on the wild
"The Engraved Path". Moments of respite are inevitably provided (the
heavy balladic stomper "Meanders"), but the harsh semi-shouty death
metal vocals don't suit them that well. The Path Of Souls Full-Length, 2016 ALTERED STATE (USA) There is only one person known from
this band's line-up, and this is the legendary Ski: the Deadly Blessing singer
who later took part in less known acts like Obliterator and Faith Factor. This
demo is his first venture after his exit from Deadly Blessing, and is quite a
good slab of technically-minded power/thrash, slower and more complex than the
style of his other band. "Minds Realm" is a twisting mazey number
with time and tempo changes aplenty, but enters "Off with His Head",
and things get more straight-forward in a vigorous galloping manner; this one
is vintage late 80's Helstar. "Judge for Yourself" is a nice ballad
with great leads, canceled by another brisk track, "Leading Me Blindly"
(not "Killing Me Softly"- ha ha!) which lashes in a heavy pounding
fashion, but delivers with sharp riffs and clever technical decisions.
"Winter Warlock" is more ordinary American power metal with a catchy
memorable chorus, a tendency continued on the final "Mental Rage"
which is a bit more aggressive again recalling Helstar, but their early years.
Ski traditionally pulls out standout performance with his versatile timbre
covering all pitches with ease and confidence constantly switching from one to
another. Less than a year later the band was no more, and Ski was seen in the
power/thrash metallers Obliterator for another very good demo in a similar
vein. Demo Demo, 1991 ALTERED STATES (CHILE) Heavy bass-dominated thrash metal
having already acquired a few heavier modern shades. The guys excel in the
instrumental part, not giving too many chances to the bland semi-shouty singer
to perform, with the excellent "Punto Muerto" which, despite the
fuzzy guitars, is a convincing piece in up-pace with a nice balladic mid-break.
The other songs are longer without offering anything too interesting the bass
overshadowing the other instruments almost completely adding a cool funky/jazzy
vibe on the final "Get Ready". Punto Muerto Demo, 1991 ALTERED VISION (ITALY) Based on the demo, these Italianos
provide dark atmospheric death/thrash which doesn't win too many points from
the guttural not very expressive death metal vocals. Enchanting melodies
("Corrupt Religious Faith") take turns with keyboard-driven
brutalities, the lofty bassisms and the steel gallops on "Strong
Feelings" giving this recording a more complex progressive colouring. Demo Demo, 1993 ALTERNATIVE ATTACK (UK) This act features Spike T. Smith,
the drummer who hit in the beginning for Sacrilege. His next very short-lived
project pulls out good dynamic speed/thrash metal along the lines of Toxic
Shock and early Exumer. "Wheels Wheels" at the end takes a jollier
crossover direction ala Suicidal Tendencies. The band changed their name later
to Destroy Babylon, but there's no information as to what musical direction
they took. No Turnin' Back EP, 1987 ALTHAR (BRAZIL) Weird choppy thrash reflected in
just two tracks with rending shouty deathly vocals; the semi-technical riffage
never leaves the mid-paced confines, but the guitar virtuosity on
"Together Feet Land" is enough to compensate for any laps in the
other departments. Demo Demo, 1989 ALTHARIA Groovy noisy industrialized
post-thrash with brutal death metal vocals; heavy mid-paced stuff with a few
faster surprises and sparse shades of gothic ("Fill the Silence"). Brainsexxx EP, 2010 ALTHOTAS (CANADA) This is atmospheric thrash/black
which is reflected in long pensive compositions intercepted by sudden blasting
moments the latter never a distraction, but a needed deviation from the
officiant macabre background. The singer also adds to the sinister settings
with his witch-like semi-whispered delivery. The overall approach may remind of
mid/late-80's Bathory with a shade of Burzum on those faster sections. Haunted Forest Full-length, 2001 ALTUS MORTEM (DOMINICAN REPUBLIC) Based on "Sentenced Era",
this band offers a dark blend of classic and modern thrash metal with brutal
death metal growls. The music has its progressive leanings, and is relatively
complex trying to mix fast and slow sections the latter clearly predominating
coming close to the dreamy landscapes of Opeth on the longer compositions (the
ambitious closer "Dust Becomes Hope"). There are a few clever
technical riffs to be heard here and there, and they should be given more space
for the future, for the sake of the overlong more quiet progressive passages. METAi Full-length, 2004 ALUCARD (USA) Based on the "The Way of All
Flesh" demo, this act serve energetic semi-technical retro thrash which
manages to capture the entangled nuances of Possessed's "The Eyes of
Horror" on the longer, more complex ("Reflection of a Past
Life") material. "Extending Into Infinity" is a superb exercise
in progressive thrash, an all-instrumental roller-coaster that keeps the
up-tempo throughout, flowing into the equally as effective Destruction-esque
speedy shredder "Unimaginable Travels" that one is graced by muffled
semi-declamatory death metal vocals which participation is minimal all over,
the guys obviously fonder of the musical side of our favourite metal. Untitled Demo Demo, 1990 ALUCARDA (DENMARK) Doomy/stoner post-thrash with a
hardcore edge; amateurish stuff as a whole with hysterical shouty vocals and
distorted very noisy guitars. It has this catchy drunken, merry atmosphere, but
somehow the delivery is just too loose and careless for this effort to really
make an impact. Raw Howls Full-Length, 2015 ALWAYS AT WAR (USA) This new formation have thrown an
"f bomb" over us the latter consisting of choppy modern guitars and a
few more intriguing semi-technical decisions in the vein of Annihilator. One
has to listen with care, though, since later on the band shred quite cleverly
on the excellent puzzler "Faceplant". Still, once the groove enters,
it starts eating the music away and it's not very long before the guys
surrender to the trite 90's formulas the only more convincing number being the
cool atmospheric doomy closer "Rebellion Rising", a spacey opus with
Pink Floyd-esque abstractisms, the shouty quarrelsome main vocalist aptly
replaced by a more attached cleaner one. The F Bomb Full-Length, 2014 ALWAYS FALLEN (BELGIUM) Modern thrash metal of the
energetic, but also generic, type mixing melodic with more aggressive faster
riffs, the latter delivering in a better way (the cool headbangers
"Prophecy" and "Morality"), although "Back Where I
Belong" is not bad, either, a cool semi-balladic pounder; neither is the
closing "Ra'ad", an atmospheric doomy Oriental composition. The music
packs a punch, and although it brings nothing new to the already overfull
table, will please fans of both the harder and the more lyrical side of the
genre. Reflection Full-length, 2009 ALYANZA (SPAIN) This Spanish outfit plays fairly
good classic thrash which is characterized by a rich dark sound and sharp
smashing riffs accentuated by a heavy rhythm-section. The music is mid to
up-tempo with a frequent alternation of pace. "Bitterness Of Hate" is
a raging speedster ala Paradox and Toxic Shock with a short blasting section
included. "Lost Behind The Silence (1975-1996)" is a surprisingly
lyrical semi-ballad with a more updated modern-ish sound, recalling Kreator's
"Outcast". Mentioning Kreator, there are strong similarities in the
vocal department with the German act as the singer here epitomizes Mille's
early vicious snarl quite well. The hard thrashing carries on after that with
"No Human", but "Future" is another stop from the "train"
being a mild power/thrasher, and "Show Me All Your Fears" is a
diverse piece mixing fierce riffage with more quiet balladic passages. The
closing "Spiral Vortex" is an intense shredding instrumental with a
beautiful melodic lead-driven break; a fitting epitaph to this intriguing album
which shows a new act with a vision and an individual take on the good old
ideas. Mind Control Full-length, 2011 ALYIS (USA) The debut is a raging thrashing demo
which easily surpasses most of the official releases at the same time in terms
of aggression. Dark Angels "Darkness Descends" and the works of
Wehrmacht are an obvious influence; there are proto-death ts, too, but the music
is pretty much very aggressive thrash with short, 1.5-2.5min long tracks;
definitely not for the faint-hearted. Demo Demo, 1989 AM I BLOOD (FINLAND) There have been quite a few bands from
Finland recently, who have tried to walk in Metallica's shoes. Apparently
Metallica's size fits this band best; all their works stick to the post-thrash
style of the Black Album. At times the music leaves the thrash metal realm and
wades into other (classic heavy or power metal) territories but then safely
returns to the established formula. For fans of the Black Album this band are a
must, but fans of the more hardened side of the good old thrash should look
elsewhere. The guys were previously known as St. Mucus under which name they
released two full-lengths and one EP in the mid-90's, the style pretty much the
same. Am I Blood Full-length, 1997 AMAGON (AUSTRALIA) This band play quite standard modern
Swedish thrash/death which tries to be more stomping than fast-paced, but the
guys don't have the ideas to liven such a delivery, and overall this is quite
repetitive saved by the more lyrical, melodic passages: the "devil-ish"
Oriental motifs on "Devil Spawn", the excellent virtuoso leads on
"Hypocrisy", the laid-back doominess of "The Web", etc. The
singer doesn't energize the musical approach a lot due to his low-tuned
growling which distantly resembles the one of Karl Willets (Bolt Thrower). Cremated Enemy Demo, 2012 AMAK KUOK (MEXICO) If it wasn't for the messy sound
quality, the listener could have enjoyed this quite cool concoction of speed,
thrash and power metal with an interesting edge, reminiscent of Aftermath and
early Attacker. The singer is an acquired taste with his very dramatic and very
high-pitched tone, not too far from King Diamond himself, which he mixes with
more straight singing from time to time. Nevertheless, the thin leads and the
drums, which are put too up front in the mix, leave a lot to be desired
although some noteworthy speed killers ("Holocausto") and heavy more
complex power/thrashers ("Templos Caidos") will make you listen with
care. Despertar del Guerrero Demo, 2007 AMALGAMA (USA) Based on the full-length, this
formation pull out edgy crispy power/thrash with a classic echo which is seldom
betrayed by more modern arrangements. The music packs a punch (check out the
merciless piece "Slip Into Darkness" and the speed/thrashing delight
"The Blackest Day") with fast'n tight rhythms covering most of the
space here replaced by the casual heavy stomping number which are the
"bringers" of the modern "winds". The singer is quite good
as well with his dramatic versatile performance covering a wide gamut of moods
without pitching it too much. Stainless EP, 2007 AMARAN (SWEDEN) An excellent outfit fronted by the
cute Johanna DePierre whose voice resembles the one of Santis (Crushing Blow).
Her composed, not very adventurous mid-ranged croon accompanies very well
executed modern power/thrash, one that isn't far from the works of Arch Enemy
from around the same time (think "Anthems of Rebellion",
"Doomsday Machine") with equally as flashy guitar work. The debut
contains the softer material where also shades of gothic and doom can be felt
("Imperfect"; the brilliant semi-ballad "Little Victory";
the atmospheric closer "Void") among the crunchy heavy riffage. "Lullaby"
is a very good dramatic thrasher with the more intense shredder "Received
A Kiss" coming close with its consistent semi-technical rhythms. A World Depraved Full-length, 2002 AMAXEZ (ISRAEL) This act is famous for giving
"shelter" to the Kreator guys during the Germans' visit to Israel,
and their controversial stance against the obligatory military service in their
homeland. Music-wise the band are not very close to Kreator, offering a more serious,
albeit more flawed, delivery crossing thrash, power and progressive metal in
the not very best way. The music has its merits, but the mix is a bit awkward
on the longer compositions whereas on the shorter ones ("My Powerful
Shade") the thrash attack is well achieved. "Memorialist" is an
overlong ballad, but its clumsiness is compensated right after with the cool
dramatic thrasher "Hell Raiser". No such highlights later on, the
guys producing another mess at the end, with the 9-min opus "Grimy Formula"
which has doom, thrash, and death metal all thrown chaotically on top of each
other to not very impressive results. The vocalist is more on the death metal
side, semi-reciting with no shade of attachment for most of the time, coming
close at times to the early delivery of Daniel Brennare (Lake of Tears). Absolute Egoism Demo, 1992 AMAZARAK (BRAZIL) Black/thrash of the old school
sounding close to early Bathory, and early Whiplash on the more
"stylish" moments ("Ascens'eo Do Anticristo"); fast
simplistic music with raspy vocals occasionally blasting in a less controlled
modern black metal fashion ("Sob O Sinal De L'facifer").
"Sovereign And Proud" is a nice mid-paced pounder, but expect heads
to fall on the next smashing "Lendelrios Batedores De Cabe'eza" and
on the total nod to the early speed metal school "The Horsemen Of The
Black Circle". Do Anticristo Full-length, 2009 AMAZING GRACE (USA) Punky sincere thrash/crossover ala
Broken Bones with references to Motorhead ("No Solution") as well,
with memorable shouty choruses and naive, but charming semi-declamatory,
punkish vocals which sound better on the softer, more heavy metal-based
material ("The Day"). Entities Full-Length, 1986 AMBALAT (INDONESIA) With an album-title like this one
can't be guessing which way the delivery would swing, and the lads pull out
energetic old school thrash with an overt speed metal-ish vibe on "Okem's
80's" and a hefty Bay-Areasque current on the title-track, the short
explosive character of "Brain Damage" a pure thrash/crossover parade
the latter prolonged by the frolic sing-alonger "Agresi Militer" and
the more intense "Mulut Mulut Busuk". The vocalist is a hoarse
semi-cleaner who tries to stick to the more melodic side of the singing spectre
to mixed results. Thrash Metal 48 Full-Length, 2019 AMBIVALENZ (GERMANY) This 3-songer is a very capable
rendition of the retro thrash/death hybrid, the guys moshing in a vehememt
death-esque fashion on the complex "Pain and Anger", before switching
on Sadus (the debut) mode with the vitriolic violent bash "Slave of the
Universe". "The Origin of Life" stays on the same brutal ground,
a ripping headacher supported by the semi-shouty/semi-death singer who assists
the hyper-active musical proceedings with with his authoritative semi-recitals.
Some of the band members also played with the old school thrashers Bloody
Flesh. Promo Tape Demo, 1992 AMBOOG-A-LARD (USA) The band's demos, the second
containing the material from the first one, offer really good energetic
classic, often quite progressive and technical, Bay Area-fixated thrash (think
Metallica, Testament, above all) which wouldn't leave your CD player for a long
time although the odd exotic name might have pulled back quite a few fans back
in those days. The sprightly vigorous gallops of "Balance of Power"
will also remind of Heathen's debut, but it's darker more brooding music that
is introduced later with the more intense and more complex "Edge of Darkness"
and the riff-dense, more technical shredder "Picture Perfect" which
nervy staccato rhythm-section will also recall the Norwegian progressive thrash
wizards Equinox. "Thou Shalt Not Kill" is a more optimistic, more
linear headbanger, and "Winds of Change" is, of course, a cover of
the Scorpions megahit... kidding here, but this cut is also a ballad or rather
a semi-ballad, trying to stay close to Metallica's lofty models in the trend
("Sanitarium", "One") the guys admirably speeding up
towards the end. "Overthrown" also treads less dynamic semi-balladic
waters for a bit, but comes "Take the Pain" and the headbanging
atmosphere is brought back with full force only to be lost on another balladic
proposition, the closing "Meaning of Mind". The over-reliance on the
quieter side of the metal spectre in the second half may be considered a
relative drawback, but these were cool slabs of old school metal glory at a
time when the latter current was gradually becoming obsolete. Demo Demo, 1990 AMBULANCE (SWEDEN) This is intense crusty thrashcore
which has a characteristic surreal sound with a shade of black metal despite
the dominant bashing approach which is on the listenable side producing a
couple of weird spacey riffs those way better than the strained shouty vocals.
"Programmed to Receive" is an atmospheric post-blacky,
all-instrumental, number contrasting with the other no-bars-held material. The End Of Our Time Full-Length,
2004 AMBUSH (SERBIA) This promo comes with a very good
sound quality the guys dividing their delivery between the two camps: one half
of the songs are sheer speedy delights, the other one is aggro-thrashy,
expressed in longer less immediate tracks. Both approaches alternate throughout
as the effort opens and closes with the fastest tracks, the closing
"Lizards In Democracy" being an industrialized hardcore-ish raver to
which the hoarse semi-death metal vocals are a perfect match. The guys mix
thrash and groove on their other project CounterIgnition, and some of them go
straight into a metalcore territory with another outfit, StrikeBack. Promo Demo, 2003 AMBRYO (FRANCE) A modern mixture of thrash and death
metal in various tempos and a touch of industrial, but nothing really
extraordinary, despite some not very successful attempts at a more atmospheric
technical play ala Obliveon and Baghead. aMbryO Full-length, 2005 AMEBA SUICIDA (BRAZIL) Based on the "Hard, Hard,
Hard..." demo, this act deliver rough unrehearsed classic thrash which on
top of that is served in long compositions where some sloppy fast-paced
thrashing can be caught. "Our Days" is a more comprehensive
speed/thrasher where the vocals can also be heard more clearly being mid-ranged
semi-clean with a drunken timbre. The rest is amateurish mess well deserving
the awfully sloppy sound quality. Intro the Mc Humba Demo, 1989 AMEBIX (UK) This band are important to many
metal sub-genres, but their involvement with thrash is not very big, and it
includes the two full-lengths. The music is very psychedelic, crusty, doomy,
progressive and even industrial. Venom is an obvious influence, but these guys
do a lot more using this base. A cult band whose shadow would later be seen in
bands like Godflesh, Neurosis, Cult of Luna, etc. No Sanctuary EP, 1983 AMELIORATE (BULGARIA) This is decent retro power/thrash which is performed by just one musician, the name Borislav Zahariev, who moshes with not much restraint ("Walking Dead", "Deceived") for at least half the time, his other side reflected in more moderate mid-tempo chuggers (the title-track, "Hear Me!"), Zahariev's hoarse semi-clean timbre contaning enough passion to put the more complex "Demon" on a higher pedestal, but not possessing the requisite emotion to make the balladic "I Say" a true winner. Master, Master! Full-length, 2023 AMEN (CROATIA) The debut: capable retro thrash with
very brutal low-tuned death metal vocals; the approach is dynamic with more
prevalent mid-paced qualities, although almost every song has a faster moment.
"Dead Dream" is a nice technical up-tempo thrasher, and "Face
the God" is a short hardcore outburst. From this moment on the sound
acquires more brutal dimensions reaching for blasting death metal on
"Jesus", before calming down near the end on the creepy semi-technical
"L.S.D.", and the final "Monument of Blood", which is a
morose doomster with dark funeral overtones. This is quite a diverse offering
spreading far'n wide, in the second half mostly, but manages to sound appealing
for most of the time. The Eyes of Truth Are Always
Watching You Full-length, 2005 AMEN CORNER (BRAZIL) Based on "Leviathan
Destroyer", this act plays moody dark thrash metal with black and doom
touches, and an overall approach not far from the Finns Barathrum. More dynamic
moments are included (cool galloping rhythms, etc.) as well resulting in a
fairly good, albeit a bit depressing, listen. The singer is a mean black-ish
rasper, but pretty intelligible, and very fitting to the minimalistic musical
approach. Fall, Ascension, Domination
Full-length, 1993 AMENAZA (CHILE) These young Chileans offer rippping,
energetic old school thrash which moves along the lines of early Exodus and
Vio-Lence's "Eternal Nightmare". The opening "En Pie de
Guerra" is already an accomplished headbanger with the fiery riffs, the
short screamy leads, and the shouty choruses. "Al Margen de la
Sociedad" is a nice reminder of Exodus' debut with the proto-gallops and
the speedy crescendos; and "Testigos de la AniquilaciOn" is a slower,
stomping track with heavy, pounding riffage. "Violenciadicto" is a
short bursting cut thrashing far'n wide, and the closing "Al ParedOn"
exits this fairly entertaining effort with more stylish, semi-technical guitar
work and more varied arrangements by still keeping the high dynamics. The
singer is a dramatic semi-clean/semi-shouter whose declamatory antics are a
good match to the intense musical landscape. EP EP, 2016 AMENDFOIL (FINLAND) The EP: peaceful
progressively-inclined thrash/death metal not far from Opeth, but without the
too sprawling quiet interludes. The riffs are melodic bursting into a few
aggressive passages, but most of the time the music is mid-tempo supported by
decent hoarse semi-clean vocals which become both more melodic and more brutal
on occasion. Act Of Grace EP, 2009 AMENIZE (BRAZIL) Old school power/thrash full of
heavy ironclad riffs and fist-pumping anthems which indelibly show their bigger
bonds with the power metal fraternity with a couple of more intriguing
progressive decorations ("Rivals") showing up from time to time.
"Black Sky" is a more intriguing technical doomster almost reaching
Confessor-like heights, but "T-Rex" is a more energetic
power/thrasher with crisp edgy riffs and a few more technical decisions again.
The singer is a cool dramatic throat staying within the mid-parametres. Black Sky Full-Length, 2015 AMENTI (UK) A good attempt at classic thrash
with modern updates; an approach similar to Exodus' and Onslaught's recent
efforts. The style is actually not too different from the last three Exodus
works; most of the tracks are in an energetic tempo with several exceptions:
the stomping instrumental with the strange title "Nibiru", and the
8-min opus "Mother Terra" which betrays the classic sound and goes
into modern thrash metal territory. Under the Dying Sun Full-length,
2007 AMENTIA (SWEDEN) This is a remnant from the dying
classic thrash/death metal movement providing a capable mix of the two styles
not far from early Pestilence, but without any technical pretenses; pretty
straight stuff with very good leads, gruff death-y vocals, and dynamic
up-tempos. Demo Demo, 1992 AMERICAN DEATHWISH (USA) Based on the full-length, this band
offer pounding modern/classic thrash with expressive shouty vocals recalling
early Peter Steele (R.I.P.), his exploits on the Carnivore albums. The guys
aren't very fond of the fast play the squashing steam-roller nature of their
music tiring at times although the semi-balladic closer "Tragedy of a
Gunslinger" isn't bad at all. The guys were previously known as Into the
Void when they released two full-lengths and an EP. American Deathwish Full-length, 2012 AMESSION (FINLAND) Modern thrash with gothic elements;
there is a punk-ish attitude in the song-writing (the demo "Fuck the
Authority, Rape the System"), too. Throughout their works the guys
experiment with the use of different vocal styles, including female ones. The
"Redemption: No Way Out" EP boasts better production, and the style
is more consistent, featuring a couple of quality thrashers. Some of the guys
are also active in the thrash/death metal outfit Scarcyde. Frozen Grave Demo, 2002 AMETHYST (ITALY) Another cool addition to the
flourishing Italian thrash metal scene; these guys offer decently executed
retro thrash spiced with quite a few melodic licks some of them having an
intriguing Oriental flavour ("Entrapped"). The "aggression"
should have been more, though: "Attitude to Aggression" is such a cut
with the cheesy-titled "Explosive Metal Night" a close second; but
the rest is not as intense if we exclude the shocking deathly section on the
closing "Welcome to Hell" which is not a Venom cover. The singer is a
mid-ranged semi-cleaner whose declamatory antics lack emotion and depth. Time of Slaughters Full-length, 2011 AMETHYST (UK) Intense old school thrash with crisp
sharp production and forceful death metal vocals; the music shifts from one
tempo to another, and there's some progressive fibre running through the
recording reflected in longer numbers ("One More Day",
"Retribution") with more complex riff-patterns. Another example of
the latter is the carefully constructed "Vile & Corrupted" which
covers a wide array of moods and developments, standing for the highlight. From the Fire Full-length, 2017 AMETHYST (USA) Based on "Back from the
Dead", this act serve old school heavy/power/proto-thrash which sometimes
acquires heavier tendencies (the formidable doomy "The Curse Within",
"Out of Time"), but largely this is light-hearted stuff the guys
spending too much time on the catchy song-along side of the spectre, providing
commercial hits like "Rise Again" and the poppy "Awake and
Breathe", the more sinister pounder "Hypocritical Condition!"
scaring away the posers for a bit, but that rarely happens here, especially
with poignant romantic ballads like "Forever" insistently roaming
around. Hypocritical Condition EP 1999 AMID THE BARREN AND LOST (UK) Modern thrash/death which is clearly
on the hyper-active side with constantly jumping rhythms, the heavy stomps
("Exiled from the Sun") more than welcome when provided. There's a
covert element of technicality ("Embers of the Desolate") exercised,
but it hasn't been developed fully due to the dominant fast-paced motifs which
arrive in quick succession accompanied by rough shouty death metal vocals. Shadow Self Psalms Full-Length, 2018 AMIDST THE CHAOS (INDIA) Two songs of jumpy
post-thrash/metalcore which rely on sharp guitars and hectic paces that are
nothing exceptional, and would by all means wear out on a full-length if
offered without any deviations; neither are the gruff vociferous death metal vocals. The
guys offer something similar with their other act Bhayanak Maut. Catharsis EP, 2006 AMKEN (GREECE) Based on the EP: this new formation
specialize in splitting retro thrash with a strong Germanic flavour in the vein
of Necronomicon and empty... sorry, early Tankard. The pace is up with a few
more lyrical deviations thrown in on the longer "God's Asleep" which
also features a very cool lead section along with a more thought-out
progressive structure. The singer has a mean high-strung timbre sitting between
early Mille and Schmier, maybe with a more expressive death metal-ish edge. Adrenaline Shot EP, 2014 AMMENTIA (ARGENTINA) A really promising demo of
aggressive fast-paced thrash metal performed by just one person: Alejandro, who
also plays in four other acts from different walks of metal (black, death, doom,
folk, etc.) No traces of those other styles on this one: four songs of straight
headbanging thrash with occasional stylish semi-technical implements ("Y
la Tierra Bebi Sangre..."). "In the Night of Desperation" is
a fine turn to mid-paced crushing thrash with heavy sharp riffs and genuine
dark atmosphere. Alejandro has a sinister black-ish rasp which suits well the
intense musical approach. Old Skull Demo, 2008 AMMIT (CHILE) A direct take on the very early days
of black/thrash metal: think early Sodom, Bathory, Hellhammer, with the typical
for the time dirty fuzzy guitar sound and raspy vocals. "Armageddon
Cobra" fits the above description just perfect and this time a strong
Venom aesthetics can also be felt. The sound has become a bit carefree, and
overall more speedy. "Don Death" is a curious exercise in sinister
doom, and "Inside the Electric Circus" is, of course, a W.A.S.P.
cover, done in quite a cool black-ish Venom-esque manner, and if you don't
follow the lyrics you may not be able to recognize it easily. Steel Inferno Full-length, 1998 AMMUNITION (MEXICO) Three songs of cool varied retro
thrash which alternate between heavy and more dynamic passages, this marriage
bearing nice diverse cuts with a lot of ripping guitars and a few
semi-technical moments. The compositions are not very short (4-6min), and there
are plenty of interesting parts for the listener to enjoy those helped by the
crisp production and the good attached semi-declamatory vocals. The influence
of the Bay-Area is obvious, especially the one of Forbidden (both the debut and
"Twisted into Form"), and it would be interesting to see how these influences
could be delivered in a full-length format. Demo Demo, 2011 AMMUNITION (PHILIPPINES) A not very convincing mix between
modern post-thrash and the classic thrash/crossover sound; the problem is that
the music is soft with not many sharp headbanging riffs evolving in an
uneventful mid-tempo without any highlights; the same can be said about the
vocals which are of the harsh slightly hysterical type with an annoying
synthesized blend. Final Rage Full-length, 2007 AMNESIA (MEXICO) Based on the self-titled, this act
provide heavy steam-roller 90's post-thrash which straddles between more
playful quasi-doomsters ("Donde la Muerte Camina") and short
semi-technical shredders ("Muertosamentes"), the latter side by all
means the more attractive one, the lyrical balladic "Abismo" a
somewhat debatable presence, unlike the fitting shouty hardcore vocals which
try to be a tad more tranquil on the mentioned quiet moment. Amnesia Demo, 1993 AMNESIA (SERBIA) This was a very short-lived project
of members from Rapidforce and Heller. The demo contains five tracks (the first
one is an intro) of vigorous speed/thrash metal of the German school not far
from the other two acts, maybe faster and more direct. The guitars lash without
any compromises in a stripped-down manner providing very short lead sections
and even shorter slower mid-paced breaks. Demo Demo, 1988 AMNESIA (UK) This is 80's thrash more on the
melodic side calling to mind Flotsam & Jetsam (in its more straight
approach) and Megadeth (when it gets more technical). The music is actually
quite hard-hitting at times, but the clean, melodic vocals decrease the impact
a bit. Like with many other bands, the guys were not brave enough to enter
fully into a technical thrash territory and despite its quite a few good
moments this album leaves something to be desired. Something Wicked Demo, 1988 AMNESSIA ETERNA (CHILE) Based on "Malditos", this
band exercise crisp old school power/speed/thrash which straddles between
steady mid-pacers ("Lujuria") and energetic speedsters (the
title-track), the latter clearly the less widely covered side, the lyrical
balladic/semi-balladic ornaments on the all-instrumental "Initium"
and the heavy soporific "Tan Solo" somewhat debatable insertions. Amnessia Eterna Full-length, 2020 AMNESTY (BOSNIA)
Four tracks of heavy classic thrash which possesses both melodic lead segments (the title-track) and unmitigated quasi-groovy aura ("Between the Eyes"). "Coma" is a decent soulful ballad, aptly pulled by the passable mid-ranged semi-clean vocals, and "Stand by Me" is a goofy frivolous cover of the hit from the 1988 cinematic hit, deftly ruined by the singer who in this case epitomizes a very guttural death metal croon.
Where Is My Home Demo, 1994
AMNESTY (CANADA) Based on the debut, this band offer
dark brooding retro thrash which recalls Infernal Majesty quite a bit if we
exclude the crisp, and a bit noisy, modern production. The guys here are
perhaps less adventurous thrashing in a more straight-forward manner unleashing
several furious pieces like "Severe Torture" and the
"addictive" "Addicted to Violence". A few more stylish
semi-technical shreds (the closing "Blasphemous Behaviour") can be
come across, but the braver performance may have been left for the follow-up...
Some of the band musicians also play in the brutal death metal outfit Gruesome
Feast. Demolition of the Infected
Full-length, 2006 AMNIJA (USA) Intense dynamic modern thrash/death
with a hefty technical sting; some of the tracks go into a not very desirable
metalcore direction ruining the initial positive impression in the second half
although "Conrado's Vegetable Garden" near the end restores some
faith with its clever overlapping rhythms, the latter receiving a more brutal,
death metal-ish decoration on the following "Compost The Excess Waste".
The vocal delivery is all over the place stretching from deathly ultra-shouts to
clean emotional tirades. The Garden Full-Length, 2015 AMNIVOR (USA) Crusty classic-sounding
speed/proto-thrash that is surprisingly reflected in longer for the style numbers.
"Into Darkness" is a cool doom-measured cut opposing to the majority of
energetic abrasers among which another more moderate mid-pacer appears:
"5th Cycle", a rousing power metal hymn with battle-like qualities.
The vocalist has a suitable rough semi-death metalish baritone which he can
adjust to more melodic parametres on demand. Forty Days Full-Length, 2015 AMOK (UK) The debut: quite good retro thrash
with a sharp edge recalling Anthrax and some Bay-Area acts; the tempo is
energetic with the obligatory mid-tempo stomping parts. "Global
Hangover" adds nice melodic Oriental hooks and is a great combination of
hard-hitting riffs and more laid-back lines. It's really hard to beat such a
fine thrasher after that, but the level remains high on compositions like the
smashing killer "Downhill without Brakes", the mid-paced steam-roller
"Thrash Island", or the speed/thrashing delight at the end "Kill
the Gestapo". The singer does a very good job with his excellent
semi-clean delivery which has both emotion and an edge, and will remind you of
quite a few veteran singers from the 80-s: Chris Astley (Xentrix), Bob Mayo
(Wargasm), Mike Munro (Meliah Rage), etc. Downhill Without Brakes Full-length,
2008 AMONG THE MISSING (UK) Add this act "among the
missing" ones. Based on "Disorder of the Templar", these guys
pull out a chaotic frenetic mix of modern thrash/hardcore and sludge/doom. Both
tendencies are mixed together on most songs as the balance is well found the
music sitting somewhere between EyeHateGod and Pro-Pain. The vocal variety is
big, but neither style delivers all being of the hysterical shouty hardcore
type. Disorder of the Templar Full-length,
2005 AMONG THESE ASHES (UK) A mixture of speed, thrash and a bit
of death metal which comes served with a nice sense of melody as well, the
rowdy epicers "Dominion Enthroned" and "Anthem of Defiance"
also relying on mechanical dry riff-patterns to propel their message.
"From Ashes unto Stone" is calm lengthy saga, and "A Veil of
Black" is a heroic classic power metal hymn, the significance of thrash
disappearing towards the end, the clean attached mid-ranged vocalist also
facilitating this music trend. Some of the musicians are also busy with the
metalcore outfit Battlecross, and the power metallers Shadowself. Dominion Enthroned Full-length, 2022 AMOR COMMITTED SUICIDE (FINLAND) A good mixture of old school death
metal and thrash with nice melodic twists calling to mind early 90's Messiah,
but a bit slower and less technical. Upavitika EP, 1995 AMORAL (FINLAND) This band came on the scene with
"Wound Creations" which was a fairly good slab of technical
thrash/death (more thrash than death) metal, mostly mid-paced, occasionally
more up-tempo (the pulverizing opener "Atrocity Evolution"), with
clever tempo-changes, fine not very sharp riffage, numerous melodic hooks,
including the excellent unobtrusive leads, and very brutal low-tuned death
metal vocals. It's hard to cite an exact soundalike, maybe early Obliveon,
crossed with the Czechs Scenery; the Finns share the same tendency towards
dreamy romantic sections (check out the dreamy doom-laden odyssey "Noting
Daunted (Gallows Pole)" but aren't as original and at times fall for the
traps of the modern thrash/death metal movement when they start sounding more
conventional (the more pedestrian mid-pacer "Solvent"). Wound Creations Full-length, 2004 AMORDAZADOS (VENEZUELA) Intense modern thrash that acquires
more tasteful classic colours at times ("No Basta Crecer") with a
semi-technical edge which turns to stripped-down Slayer-esque aggression on the
ripping "Tres Cero Uno". The energy is fairly high and a
"bullet" after "bullet" is shot with the utmost precision:
the title-track, "Sintiendose Muerto", etc. "Juzgando en
Silencio" is a nice more restrained speed/thrasher coupling with the Outro
for an attractive roller-coaster epitaph on a more melodic base. The singer
isn't on par with the good music singing in a hushed, gruff death metal manner. Nuestro Odio Full-Length, 2016 AMOREEN (GERMANY) Very good thrash reminding of
Wargasm's "Why Play Around", maybe a bit more melodic, with an
impressive guitar work, especially in the lead section, and powerful clean
vocals. The demo comes with a decidedly more modern sound, and again follows on
the steps of Wargasm, this time "Ugly", mixed with the sound of
Flotsam & Jetsam's "Quatro", and several balladic sections. The guys
have the talent to write catchy, memorable songs: "Ten Days", which
despite its melodic nature, is a great number. Welcome, My Name is... Full-length,
1990 AMORICIDE (GERMANY) Based on the debut, this German trio
pulls out energetic retro thrash with sce death metal sections
("Enslaved"). Seldom does the music stretch into longer pounding
thrashers ("Flood of Sand"), but rest assured that there will be no
moments of peace on equally as long, but much more aggressive, offerings: the
death/thrashing madness "Impending Devastation". Atmospheric abstract
elements sneak on "Skull Island" which is a stylish piece with a
shade of early Voivod. "Unmarked Grave" moves up the speed scale with
heavy galloping riffs, but it gets lost once again on the mid-tempo stomping
"When the First of Many Falls". Still, there would be no complaints
on the fast-paced closer "Kill Again" which is vintage early Death. The Essence of Evil Full-length,
2004 AMORIST (USA) A two-tracker which is quite good,
by the way, the guys playing nice semi-progressive old school thrash assisted
by decent mean semi-clean vocals. "Learned on the Way" is a creepy
atmospheric mid-pacer recalling the Brits Deathwish with a fine speed galloping
section in the second half; and "Rush" justifies its title with fast
sweeping riffs and steel technical developments. Demo Demo, 1992 AMORPHEAD (ITALY) Based on the "Chaos
Expression" EP, these guys serve modern post-thrash with the staple heavy
riffage and angry semi-death metal vocals. There are a few more atmospheric
moments ("Holes") with a melo-death shade as well as longer, more
serious experiments ("Chaos Expression"). Psychotic EP, 2009 1 AMORPHIA (INDIA) The debut: this Indian outfit
indulge in speedy blitzkrieg old school thrash with echoes of proto-death/death
metal; the overall approach resembles Morbid Saint and early Necrodeath the
guys trying to break the sound barrier on the hyper-active "Camp 22",
the venomous spiteful semi-shouty vocals doing their best on the side to assist
the no-bars-held delivery. "Nuclear Warfare" attempts something more
elaborate as a diversion gesture, a tendency partially developed by the
brooding minimalistic late-80's Slayer-esque closer "The Lieber
Code". Arms to Death Full-length, 2018 AMPORA (USA) Laid-back melodic modern
thrash/death metal of the metalcore type; fast ripping riffs alternate with
soaring melodic leads to predictable results. Still, the clean vocals are not
bad... Last Chance EP, 2011 AMPUTATION (NORWAY) Probably the first thrash/death
metal band from Norway with a dark heavy sound reminiscent of Possessed's
"Seven Churches" and Slaughter's "Strappado", but more
aggressive with more brutal faster moments, closer to the death metal field.
The band members later took an active part in the formation of the Norwegian black
metal scene founding bands like Hades Almighty, Immortal, Old Funeral, etc. Achieve The Mutilation Demo, 1989 AMPUTIST (USA) An intense brutal blend of thrash
and death metal, very retro-sounding with more adherence to death metal
including in the vocal department where one will hear some of the most
low-tuned growls on the scene ever. The guys mix fast with slower tracks the
latter the more appealing side with "Aborted Buffet" hitting the top
being an awesome death/doomster with twisted riffage. On the other opposite we
have pure "outbreaks of evil" aggression, blast-beating exercises
with a pinch of technicality ala Morbid Angel who are the main target for
worship. Some of the band members were later seen in the death/thrash metal
formation Apostle of Perversion and the immediate continuation of that act
Ungodly where the style is pretty much the same. Amputist Demo, 1995 AMUK (MALAISIA) Based on "Akar Dan Bumi",
this very productive Malaysian band serve pleasant, feelgood power/thrash metal
with both modern and classic tendencies. So expect mostly mid-paced music with
plenty of melodic hooks, more or less predictable, assisted by clean mid-ranged
vocals with a slight drunken shade. Tanpa Prejudis Full-length, 1998 AMULANCE (USA) Good power/speed/thrash metal akin
to early Overkill and Helstar; the band mix all the three styles within one
song, some of which are more focused on speed ("Death Wish",
"Feel the Pain", and especially the raging "Holocaust"),
and are the better ones. The more melodic power metal-based side of the music
is also presented ("Schizophrenia", "Witch's Sin"). The
singer has this high tember with a slight snarly touch similar to Kai Hansen
and Dirk Schroder (Iron Angel). Feel the pain Full-length, 1989 Copyright (c) 2007-2024 THE THRASH METAL
GUIDE
The Myth of Justice Full-length, 2023
It's 1994, and the band are back, showing total disregard towards what was
going on the scene at the time, lashing out excellent retro thrash, this time
maybe less striking and slower. The guys waste no time, starting thrashing with
full force from the opening title-track which shows more respect towards
mid-period Sepultura rather than the Bay-Area with an atmospheric technical
twist. "The Cage" continues in the same vein being a fast aggressive
thrasher with great leads. "Decimator" is a cool technical piece
mixing more intriguing elements with furious thrash. Then comes an interesting
merry thrash/crossover version of the The Beatles' big hit "Help",
which may take a few listens before one recognizes it although the soft
mid-break, which may have been taken directly from the original, will
"help". No more romantic deviations, and with "Lullaby For The
Unborn" the album enters its most interesting part: the longer more
technical songs; the latter is a puzzling slower composition bordering on
doom/death with clever technical riffs and a weird balladic/funky exit.
"Skeletons' Beach" begins like a punk/crossover number, but the
aggression picks up soon, although the slower atmospheric moments here dominate
again. All is forgiven after one hears the opening brutal grinding minutes of
the 8-min "Tarantula" which certainly finds time for more elaborate
sections, staying in the mid-tempo sector for most of the time. The band's
"flirtation" with punk and funk finally finds full realisation, on
the 40-sec joke song "Drinking Milk From My Knees", after which comes
another slow heavy piece: "Fetching Fear". One may wish to hear
something to bang his head on, and his wishes will come true on the final
"Natural Victims" which excels in brutality, boldly jumping on the
extreme death metal wagon, a situation saved by the peaceful mid-section; the
end is again sustained in a fast aggressive thrash fashion with a hardcore
tinge, coming mostly from the shouty group chorus.
In case of you wonder whether the band managed to stay clear off the modern
trends, give a listen to their "Rules" where you'll see that they
have become another "prey" to the groove ("get into the
groove...", like Madonna used to sing) although this effort is quite heavy
and intense, not far from the best Pantera works.
Cerebral Implosion Full-length, 1994
Rules Full-length, 1996
In own space Full-length, 2017
In Own Space EP, 2018
Direct Heart Massage Full-length, 2020
Polarizer Full-length 2019
"Devasterpiece" is an obvious improvement over the debut starting
energetically with the up-tempo "Erased". "The Evil Forces"
is slower, but the heavy smashing riffage makes it even more satisfying than
the opener. "Thunder And Steel" is a nice galloping power/thrasher,
followed by the similar "Law Of The Stronger", which
"surrenders" the album to the power/speed metal field. "Metal
Unchained" carries on in the same vein: a speed metal winner ala Gamma Ray
and Hammerfall, with the singer screaming his lungs out no worse than Rob Halford
himself. "Rise And Fall" is not a Helloween cover (thank god- this is
probably the worst Helloween song ever), but deepens further into speed metal
territory, with no hints at thrash. "I'm A Fuckin' Zombie" is an
instant speed metal classic, the best song here, paving the way for another
cool speed metal winner: "Feel The Power". "When This Demon's
Coming" returns to thrash metal territory, retaining the power metal
elements, and this is quite good crunchy power/thrash ala Eidolon and Morgana
Lefay. The closer "The Godfather" is very close in spirit to its
predecessor: pounding heavy riffs attack you from all sides, but like every
good closer, tries to sum up the whole album, adding the necessary amount of
speed metal hooks, making this effort one of the better ones from this side of
the spectre, but... thrash metal fans, there's enough here to keep you on the
alert, so don't ignore this entertaining slab of pure old school metal.
Well you may have to ignore their "Millennium Re-Burn", though, since
it strays further away from the thrash metal idea now a full-blooded
power/speed metal affair, and quite good for what it is, still having quite a
bit of energy within, but belonging to an entirely different field.
"Back in 2066 (Three Head Mutant Chronicles": back in the future with
this new album which is again more in the speed/power metal camp without too
many references to thrash. This is catchy melodic music reducing the speed even
further with only "2006" coming out with all the guns blazing moshing
out less controlledly; with the soaring speedy opener "Back from the Other
Side" a close second. Fans of the 90's speed/power metal, and even the
80's classic heavy metal movements will be all over this effort.
"Fast and Glorious" is "fast'n glorious" speed/proto-thrash
which lashes impetuous riffs to no end the delivery now recalling early Rage
quite a bit if we exclude the several happy sing-along choruses.
"KaiserSteel" is a smashing speed/thrasher, a brutalizer second to
none which may scare the unprepared with its proto-blasting tendencies. Then
comes the infectious galloper "Holy War, Holy Fighters" followed by a
couple of merry power/speedsters "Power To Rebel" ruining the
intentions a bit with its mellower epic references, but perfectly setting the
tone for the closer which is a cover version of Saxon's "Power and the
Glory I.U.W.S.". This isn't a bad effort at all, and could even be viewed
as the band's finest achievement so far.
Devasterpiece Full-length, 2008
Millennium Re-Burn Full-length, 2011
Back in 2066 (Three Head Mutant Chronicles) Full-Length, 2012
Fast and Glorious Full-Length, 2014
Headbanger Full-length, 2012
"Brutal Onslaught" is sustained in the same vein, a pounding heavy
affair which sometimes flirts with the Swedish melo-death canons ("Leave
the Weak"), at others it offers something semi-technical ("Last
Rites"), at others it comes trampling in an assaulting quasi-hardcore fashion
("Downfall"). "Amaurosis" adds fuel into the fire with a
rude brutal deathly strokes, but such overt aggression isn't such a frequent
occurrence if we also exclude the headbanging proclivities on "Masked
Pain".
“Destruction Is All We Know” acquires a more militant stance as evident from the dramatic hyper-active opener “Warheads in the Sky”, the Gothenburg school worship “Commandments of Coercion” setting the tone for faster-paced execution, the latter mortified by the thick elephantine rhythms of “Nightmare Coming” and the impenetrable heavy grooves of “Agent of Chaos”, but both “Within the Ashes” and the closing hurricane “Where Sinners Cry” retain the speedy intrigue with fiery vehement riffs galore.
EditInternal Chaos Full-length, 2008
Mindfucked Full-length, 2012
Lay Me Down to Waste Full-length, 2018
Brutal Onslaught Full-length, 2021
Destruction Is All We Know Full-length, 2024
Ways to Spend the End of Days Full-length, 2007
Wings of Deliverance Full-length, 2008
Almost Is Nothing EP, 2009
Scavengers Remain EP, 2010
Dead End-New Deal Full-length, 2012
"Degrees of Manipulation": the lofty intricate thrashisms carry on on
full-throttle here the guys putting the more orthodox blitzkrieg riffage
forward on the feverish hectic "Deadly Inaction" before "Insomnia"
arrives with all the technical splendour and the overlapping spinning rhythms
the band retaining the speedy layout with ease, including on the more complex
roller-coaster "Morality Blurred", a standout dramatic shredder
covering a wide gamut of nuances, from less controlled deathly outbursts to
virtuoso classical pirouettes. "Thrashbringer" certainly tries to
justify its title with a portion of more immediate fast-paced skirmishes, but
expect a couple of stomping accumulations as well on top of infectious melodic
walkabouts, the same cocktail stirred on the equally as effective "Bow to
No Man", a semi-galloping proposition with an interesting spacey clout
recalling the guys' compatriots Voivod. A second strong offering in a row, the
band need one more effort of the kind to be considered leaders...
Degrees of Manipulation Full-length, 2018
"In the Name of the Father" is a much better work; it's more brutal
and faster with more nods to death metal with great headbanging riffs. There
are certainly pure thrashers present, but the more aggressive death metal
numbers also work very well with respect shown towards the Floridian scene.
"Our Dominion" is the odd lighter track, slower and atmospheric, with
a certain gothic edge, recalling the Greeks Septic Flesh. The last song is a
cool, and a faithful cover version (if we exclude the brutal vocals, of course)
of Iron Maiden's "The Trooper" with the staple dual guitar melodies,
typical for the Brits, well performed.
Ego Art Full-length, 1996
Provoke Full-length, 1998
In the Name of the Father Full-length, 1999
Until Heaven Forbids Best of/Compilation, 2000
Red Harvest Full-length, 2001
Respect Full-length, 1995
Born Again Full-length, 1998
Atitudine Full-length, 2006
Vilified Full-length, 2009
The God Standard Full-length, 2017
"The Damned Dogs from Hell" offers a more moderate delivery still
built around the classic thrash/death patterns, but more varied and not that
fast. A shade of technicality sneaks on the slower compositions ("Metal
Massacre", the frantic tempo-changes on "Predator"), but the
real revelation would be the 7-min of constant speedy thrash/deathing
"Looking at the Eyes of the Beast" which is a nice eventful cut the
immediate follower "Slave" being the ultimate headbanger for the new
generation. The violent vocals remain as well as the crystal clear guitars.
"Tales of Carnage First Class" is a much faster effort. The guys
thrash with conviction often rubbing shoulders with pure death metal also
inserting the odd grindy section ("Tales of Carnage") at times. The
overall approach now resembles early Unleashed with more emphasis on thrash.
There's no variety in the delivery which may be a slight pullback, but this
short effort hits you like a hammer in the face the way not many contemporary
works would be able to.
Praising Evil EP, 2008
The Damned Dogs from Hell Full-length, 2010
Tales of Carnage First Class Full-length, 2012
"Half in Shadows" is more deeply immersed in doom, thrash metal now
only slightly hinted at. Still, this remains pretty good music with heavy
crushing guitars and a vague keyboard background. The vocalist (if it's the
same one) pulls out standout performance with his attached dramatic delivery
summing the best from Buddy Lackey (Psychotic Waltz) and Michael Coons (Laaz
Rockit). "Rest In Pieces" is a good dynamic power/thrasher, but the
rest is more of the dark brooding variety also eliciting a lot of atmosphere:
check out the diverse closing instrumental "Daybreak In Hades" which
concentrates on the virtuoso lead guitar work.
The demo clings more towards the doom metal side, the enormous 9-min behemoth
"Purgatory" stirring a dark brooding fiesta, the flashy virtuoso lead
guitar work carving strokes of extravagance in a largely pensive, tenebrous
canvas. "Let Me in" is a more light-hearted proposition, but the
layout is comparable albeit a tad livelier. "Unwind" is jumpier and
more technical, but again nothing develops beyond the seismic mid-pace, the
stylish jazzy nervousness of "Mosh It up" not receiving much support
from the terrible synthesized vocals (on this particular track) although the
rhythm-section becomes nicely busier at some stage, with contrived riffs
restlessly tussling for a place under the sun.
Skrank Demo, 1995
Mirrored Thoughts Full-length, 1998
The Promo is just three tracks which sees the guys moshing out in a fast
intelligent manner with clever technical riffs, sudden semi-blasting
explosions, and a very strong bass bottom. The leads are also worth mentioning
being short and melodic, and at times form a nice duel with the ever present
bass (check out "Fovea"). "Separation from God" is a nice
speedster where the main rough death metal vocals are intercepted by
semi-whispered declamatory ones. This is a good effort which could serve as the
backbone for a full-length finally. The guys have already tested the soil
well...
... and indeed they're here again with their full-length effort although it's
hardly the best one they're capable of. The three tracks form the previous demo
are present assisted by good crispy riffs on every other piece where the flag
of modern thrash is raised quite high mostly sustained in dramatic mid-tempos
the more technical leanings again only hinted at (check out "Separation
From God" again) with a more serious song-writing also evident on the
longer "Flesh Sculpture" and the pensive proto-doomy closer
"Reverie". The guys spare themselves walking well-trodden paths with
not much excitement generated in the process.
"Frost" marches onward with both heavy militant riffs ("Inside
They Crawl") and energetic semi-technical arrangements ("Blood
Axiom"), the stylish progressive shenanigans of "Breathing with
Shadows (A Sane End)" a possible highlight, the nice female vocals on
"A Dream Within a Nightmare" a sure atmosphere enhancer. The second
half loses the intensity somewhere, the band hitting the more entangled
parametres again on the vivid closer "If the Dead Could Speak".
Promo Demo, 2012
Seven Deadly Blessings Full-Length, 2013
Frost Full-length, 2018
"Reborn as Gods" comes after a 3-year break, and although the
audience expected another full-length, the guys for the moment are taking it
easy with only four tracks recorded at this stage, all of them short blistering
technical thrashers, pretty much in the vein of the debut. This is great music
with some of the songs being exuberant furious riff-fests: "Vortex",
others have this dark, brooding Nevermore vibe ("Darkness Profound"),
but this one provides a whirlwind of superb technical riffs that perennially
spiral in and out of existence. Hopefully this is a rehearsal for the new
album, and judging by it, the band are more than ready to strike again with
full force...
Reborn as Gods Demo, 2007
Created to Suffer EP, 2007
Dead Art EP, 2009
Something Unknown EP, 2011
Eye-conic Full-length, 2014
Santos Y Prejuicios Single, 2004
The compilation features all the songs from the demo plus four new cuts the
last of which is just an outro. The new additions are not that striking being
heroic power metal ala Attacker's debut and Griffin seldom pulling anything
memorable, with only Ski performing on a high level with his staple high-strung
antics.
Winter Warlock Compilation, 2012
Putrefy/Altered Vision Split, 1994
Fantàsia Full-length, 1996
Sentenced Era Full-length, 2005
The Way of All Flesh Demo, 1992
What Lurks in the Dark Demo, 1993
"A New Beginning" is indeed "a new beginning" for the band,
and not a very good one. The band have modernized their sound quite a bit, but
fortunately there are "saviours" along the way: the short bombastic
semi-technicaller "Suicide", the speed/thrashing bomb
"Immortal". Still, the fans would hardly feel extremely happy on the
tender ballad "This Moment", or on unexciting mid-pacers like
"Soul Wandering" & "My Ashes Reborn" which strongly
remind of Kreator's "Outcast" again, hardly the best album in the
Germans' catalogue. The final "We Are Dead" is a sad nostalgic echo
of the classic times thrashing hard again for a "good-bye", but this
effort is just not good the band having ruined their impressive individual
delivery for the sake of a much more ordinary modern style.
A New Beginning Full-Length, 2012
The "Suffer At Birth" demo is whole 11 songs long and shows the guys
trying to adjust to the growing death metal fashion. The adjustment is still
pretty thrashy, though, coming in the form of a not very even blend of fast
proto-death sections and heavy, almost doom/deathy, ones topped by the brutal
death metal vocals which are surprisingly expressive and intelligible despite
the bad underground sound quality. This is aggressive stuff again, showing a
band on the way to transforming into a full-fledged death metal outfit if
having lasted longer.
Suffer At Birth Demo, 1991
Wow, these guys are still alive, which is pretty surprising provided that they
have remained silent for over ten years. Despite the big hiatus don't expect
any surprises on "Existence of Trauma", though: there's no change of
style the band sticking to the familiar post-thrash style already well familiar
from their early output. The problem is that this new offering is hardly an
improvement over their last effort, reducing the edgy riffage for the sake of a
more polished, even grungy at times, guitar sound which lacks
"teeth", only thrashing harder on occasion ("The Dawn Became
Their Pride"), leaving the album hanging outside the thrashy fields for at
least half the time. Modern metal hasn't said its final word yet, but these
Finns will have to put more effort in the future in order to keep their boat
floating, especially after their presence on the scene isn't very frequent at
all.
Agitation Full-length, 1998
Gone With You EP, 2000
The Truth Inside The Dying Sun Full-length, 2001
Existence of Trauma Full-length, 2011
When the Dust Settles Full-length, 2008
Heed the Horns: Still Alive from WRPI EP, 2009
Amethyst EP, 2010
"Pristine in Bondage" is a more aggressive affair starting with the
thundering "Atropine" which sets the tone for this almost purely
thrashy effort which gets more aggressive on the following "Revolution
Without Arms", an intense headbanger, also recalling the early works of
the French Carcariass. Catchy melodic licks ala The Amott brothers will one
enjoy on the galloping speedster "Coming Home", sustained in the best
vein of the Canadian one-album-wonder Messiah Force. "Inflict" is an
ultra-heavy shredder with doomy overtones, but there will be "back on the
horses' back" on "Without Stains" which is a nice mixture of
fast and heavy riffs. Guitar virtuoso parts await you later on, on a string of
more temperate mid-paced numbers before the seismic "Crow Me" comes
crashing down with another portion of hammering riffs of the doom-laden type.
The closing "Primal Nature" sums up the album with sweeping melodies,
galloping rhythms, and hard crunchy riffs, remaining the last song composed by
the band, who scattered in various directions after that: the drummer Robin
Bergh joined the reformed doom/deathsters October Tide, while DePierre
disappeared without a trace, to the metal world's utter chagrin; unlike the
bass player Ronnie Bergerstahl, who keeps himself busy with quite a few acts
around the Swedish metal circuit: the legends Grave, the doom metal heroes
World Below, etc.
Pristine in Bondage Full-length, 2004
That's why their debut (although it brings a "new hope") comes as a
surprise being a less intense barnd of progressive power/post-thrash metal,
quite complex, meandering and not very easy to swallow even after a few
repeated listens; on top of that the modern trends have taken a considerable
part of the band's potent sound, think mostly Metallica's Black Album, but here
the music is even more modern-sounding, especially on the longer songs
("New Hope", "Medicine Man"). There's, of course, the
obligatory ballad which, unfortunately, is miles away from the Metallica
achievements that it tries to imitate. Not a completely bad album, but the guys
would have been perfectly well off carrying on with their much more potent old
school sound.
Demo Demo, 1991
A New Hope Full-length, 1993
Faith in Chaos 2001 Full-length, 2001
Faith in Chaos 2003 Full-length, 2003
Hard, Hard, Hard... Demo, 1991
Rock & Roll De Lo Tercero Mundo Demo, 1992
The legends of the crusty idea are back after a long absence to pour more life
into the reunion mania. "Sonic Mass" starts in a fairly subdued
manner with the new wave cut "Days", and the fans will immediately
get terrified. But enters the heavy, abrasive guitar wall of sound on
"Shield Wall" and everything is back to normal the guys switching
onto their staple moody, psychedelic, industrialized, one-of-a-kind style which
sounds like the perfect blend of mid-period Prong, Treponem Pal, and Godflesh.
The sterile, machine-like delivery will be interrupted by another romantic,
balladic moment ("Sonic Mass Part 1") in the middle, but "Sonic
Mass Part 2" will bury you under galvanizing dispassionate riffs topped by
some of the driest shouty vocals on the field... ever. "Here Come The
Wolf" features cool melodic cuts amidst the robotic guitars, and the
remaining two tracks show a more serious approach with longer song-structures
and less abstract riffage, the closing "Knights Of The Black Sun"
being a nice grungy take on the ballad, a worthy finish to this really good
comeback effort which will serve its purpose both ways: fans of the band will
be happy all over, their heroes having not lost their penchant for puzzling,
head-scratching, music whereas the hard-core thrash metal audience will
probably use this album as a needed change from their intense headbanging
schedule.
Arise! Full-length, 1985
Monolith Full-length, 1987
Redux EP, 2010
Sonic Mass Full-length, 2011
"Repent" starts in a late-80's Slayer fashion with the dark pounding
title-track, but when "Return Of The Stormrider" delivers exactly the
same seismic steam-roller sound, one has to adjust his senses a bit because
this is the prevalent approach on this short 7-song effort which still has
surprises for the headbangers: "Sign of God", the short bursting
"Salvation". "Ironcross" is a pure epic heavy metal hymn
with modern tendencies, and "Defenders of Faith" (no relation to Judas
Priest music-wise) is a moody mid-paced power/thrasher ruined by the guttural
death metal vocals which are not really a match, for most of the time, to this
frankly laid-back stuff.
"Alpha & Omega" brings you the "alpha & omega" of
thrash metal. Kidding, of course, but this effort is way better than their
first two, and tracks like "Sacred Heart of Jesus" will make you
cringe with their brutal razor-sharp riffage. Later on there are a few sleepers
with a doomy vibe (the excellent imposing title-track, the closing epicer
"Return of the King"), but the overall tone is less friendly although
again to talk about full-blooded thrash here is a bit farfetched. The brutal
death metal vocals are now more suitable having in mind the angrier tone of the
music.
Repent Full-Length, 2011
Alpha & Omega Full-Length, 2013
The debut is mostly doom/death (much more doom than death) with thrash and
black metal references. As such it's a fairly moody listen lacking dynamics,
but making up with a lot of atmosphere, again pretty depressing at times, but
many of you will jump around on the speedy passages on "The Infinite
Empire Of Satanaz" and the raging speedy beginning of "The Crossing
Of Souls".
"Jachol Ve Tehila" is a very good exercise in elegiac semi-epic doom
metal without many thrashy/deathy/blacky distractions; slow atmospheric music
at its best.
The band's works of the 90's were quite immersed in doom, but with
"Lucification" things have changed towards faster more energetic
rhythms on occasion. The approach now contains thrash, even power/speed metal
on the more optimistic material; run for cover on the hyper-blasts on "The
Lord Of The Inner Circle" although you will have plenty of time to recover
afterwards since the dominant tone is again quite doomy and moody with
outbreaks of energy here and there, the latter tendencies more fully applied on
the follow-up. The band members are also involved in the black metal outfits
Aqueronte and Pillars of Empire.
The Final Celebration EP, 1994
Jachol Ve Tehila Full-length, 1995
Darken in Quir Haresete EP, 1999
Lucification Full-length, 2007
Leviathan Destroyer Full-length, 2010
"EON" is not a distant departure from the meditative pensive mood of
the EP providing peaceful stuff which shifts into melodic progressive waters
more often than the good taste allows, but surprisingly pulling it out on the
more melancholic sections which are vintage later-period Katatonia. The singer
is not bad with his mid-ranged clean timbre which carries quite a bit of
emotion in a way not far from Anders "Blakkheim" Nystrom (Katatonia
again).
EON Full-length, 2011
6 Degrees of Hillbilly Rejects EP, 2012
"Thorns Within" is in a very similar vein, leaning more towards the
post-thrash side, which in its turn is ruined by the rough deathly vocals. The
guitar work is melodic recalling both mid-period Sentenced and Cemetary, so
again expect gothic passages with plenty of infectious melodic hooks.
Heart Of Darkness Demo, 2003
Fuck The Authority Rape The System Demo, 2004
Redemption: No Way Out EP, 2005
Thorns Within EP, 2007
Amethyst Full-length, 2005
Back from the Dead Full-length, 2015
The full-length carries on in the same vein as the EP so the fans should expect
classic roller-coaster thrash all the way to the end, and rigorous
speed/thrashers like "Obedient Dogs" and the wild ripper
"Wired" shouldn't leave anyone indifferent; neither should
"Soul's Crypt" with its intricate more technical riffage. The
vocalist shouts more this time, but his dramatic antics are spot-on for most of
the time.
"Passive Aggression" is easily the guys' finest hour so far, a
blistering affair of old school thrashisms which spits fire and venom from the
get-go with "The Underdogs", the speedy fanfares unleashed on that
cut mortified by the serious academic clout of the dark shredder "I Am The
One". "Dead Man's Land" is another brooding creeper, but
"The Li(f)e We Lead" will make you run for cover with its hyper-active
delivery. More no-bars-held attitude with the title-track and the short brisk
"Bliss", "We Came From Nothing" even serving a small
portion of brutal hyper-blasts, before the closing "Somewhere Past the
Burning Sun" provides a fitting fast-paced closure to this commendable
pulverizing slab.
Theater of the Absurd Full-length, 2017
Passive Aggression Full-length, 2022
The single is just two songs which further show the guy's skills to provide
intense, at times more intriguing, old school stuff for the hungry thrash metal
masses. The sound quality is a bit noisy boosting the guitars too much, but the
headbanging would hardly stop here especially on the bashing hardcore-tinged
"La Ultima Horda".
The Hungry Dead Single, 2012
"Extreme Speed Satan" is an "extreme" affair in the first
half, mostly fast blasting black metal with just a little bit of thrash, but
the second one slows down to introduce more laid-back, even playful ("Pact
with the Devil") stuff which clings somewhere between early Venom and
Celtic Frost. The musicianship is really amateurish, though, with a very fuzzy
guitar sound and rough declamatory vocals which mostly chant without any real
singing. It has its raw charm recreating the early underground sound quite
well, but at the same time we have heard more "extreme speed satans",
before and after... anyway, the guys are pretty busy with half the acts around
Chile at the moment: some of them take part in the death/thrashers Teofobia,
some play more intense black/death metal in Gneneshen and Senderos del Mal,
while others devote their souls to black metal exclusively with Kratherion.
Mass Suicide Full-length, 2000
Extreme Speed Satan Full-length, 2003
Hammer of Darkness Full-length, 2005
Armageddon Cobra Full-length, 2009
Before Demo, 1996
The "The Final Revelation " demo is another capable offering the guys
now turning towards the Bay-Area for inspiration producing hard-hitting
semi-technical thrash which can be quite intense ("No More
Tomorrow"), but also more serious and thought-out ("Death In The
City"), sounding like a good set-up for an eventual follow-up which sadly
never materialized.
The debut demo is four songs that show the band's calmer side being mid-paced
and more prone to power metal graced by fine melodic leads. "Insane
Dream" is a wild thrasher with vicious cutting riffs which try to
compensate for the relatively sleepy nature of the preceding numbers.
Unknown Entity Full-length, 1991
The Final Revelation Demo, 1992
Malditos Full-length, 2021
"Compelled to Kill" is a more aggressive effort the band adding more
death metal to the mix, but that same mix works just fine and few would be
those to complain about this sincere brutal downpour which again recalls
Infernal Majesty with a twist. "Ashes of the Enemy" is a great short
chaotic technical piece in the best spirit of Hellwitch; the technical flair is
finely preserved for a string of quite short (1-2min) pieces towards the end
which surprisingly show the guys at their finest and more proficient, shredding
with passion to spare, also winking at mid-period Death with the cool closer
"Amnesty".
Compelled to Kill Full-length, 2008
"Somewhere in the West": some not very convincing thrash has being
cooked; the band spice their more straight-forward approach with melodic breaks
(the opening title-track) which have a strictly modern flavour and may make the
fan frown a bit. The album accumulates inertia bit by bit, but mild rock-ish
tracks like "Lawbreakers" do nothing to move it high up the positive
side. "Uprise" is a really good intelligent speed/thrasher of the
longer type, but the modern insertions are too big on the similarly-styled
"Cover Your Tracks" to make it another winner. Later it's only the
closing "Lost Generation" which would make one pay more attention
being a melodic shredder with some tasteful memorable hooks. The guys have
spread their wings wider, but now one can only wait and see how hard they're
going to fall if they carry on in the same direction.
Somewhere in the West Full-Length, 2013
"Cease To Exist" serves a similar sludge/core hybrid as both sides
try to co-exist within one song in the beginning, like it was the case on the
debut, and again the symbiosis is well achieved. The second half is devoted
exclusively to stoner/doom with the two overlong spacey/psychedelic doomsters
"Knights of the Sun" and "Finsbury k" which go well beyond
the mushroom-induced hallucinogenic landscapes of Sleep and Acrimony; the more
energetic Cathedral-esque "Trembling Before"; and the spacey closing
11-min opus "Cease To Exist" which is a fine, albeit too expanded,
tribute to Hawkwind.
Cease To Exist Full-length, 2007
"Decrowning" is pretty much the same, maybe a tad more death
metal-oriented (the labyrinthine Opeth-esque showdown "Showdown", the
short hectic delight "Drug Of Choice"), but on "Reptile
Ride" the guys have torn it loose, adding more genres to the mix like
power metal, gothic, progressive, etc. As a result the sound is much softer and
less technical, and despite its wider appeal to the metal audience, it hardly
shows the band in their brightest light.
The band never bother with thrash anymore "Show Your Colors" being a
typical modern power metal work with a pinch of Gothenburg-styled melodies ala
mid-period In Flames and Night in Gales. "Beneath" is an even softer
offering, not missing the more aggressive death metal touches, sounding like
the most standard heavy/power metal album out there; a shocking u-turn from the
band's early output, arguably the most drastic one to be witnessed in the new
millennium so far.
Decrowning Full-length, 2005
Reptile Ride Full-length, 2007
Show Your Colors Full-length, 2009
Beneath Full-length, 2011
Trust in What You See Demo, 1994
The EP treads the same path of intense classic thrash with more extreme proto-death
metal insertions. The music is expectedly fast, slowing down a bit for the dark
creepy "Soul Ripper", although the following "Bleed from the
Mouth" will shatter you with its sharp lashing riffs in the best tradition
of the Swedes Merciless and Rigor Mortis.
"Storm of Violence" arrives several months after its predecessor and
delivers almost as well despite the obvious deceleration. The guys lash out in
a fast merciless fashion from the get-go adding the heavier stomping element
ala late-80's Slayer whenever appropriate. After the first two blitzkrieg
thrashers comes the mid-paced creeper "Cesspool", but then the guys
accelerate again reaching death metal heights on "Row of Caskets".
"Eye of the Storm" is a 3-min quiet acoustic instrumental, but expect
a relentless thrash/death metal assault on "Left for Dead".
"Unspeakable" is another instrumental-only piece recalling Rigor
Mortis in a very good way, a compelling dynamic number with plenty of
tempo-changes and a few more technical moments. 7-min of intense headbanging
thrash await you on "Linguistic Rapists" which is followed by a
shorter, but equally as aggressive, thrash attack ("Descendants of
Ashes"). A more engaging, more technical, material comes served on the
8.5-min closer "The Order of Dagon", a diverse track the dominant
slower doomy riffs nicely interrupted by compulsive speedy sections with a
Slayer-esque vibe. The death metal shades aren't very widely covered here, but
this new more thought-out delivery works on all counts with the forceful
intelligible Tom Araya-sque vocals a fine addition.
Horror in the Flesh EP, 2010
Storm of Violence Full-length, 2011
Chaos Expression EP, 2011
"Merciless Strike" is another energetic classic thrash saga as,
ironically, the longer songs (the title-track) contain the more aggressive
strokes, the Slayer-esque rager "Mutants' Rise" and the rushing
galloping/proto-death delight "Upcoming Terror" matching these
"atrocities" with ease. Expect some more playful crossover-ishness on
"Martian Law", but this is a no-bars-held effort which hammers the
listener into oblivion for most of the time.
"Lethal Dose" carries on in the same merciless direction, the band
moshing with the requisite amount of vigour, holding onto the Slayer idea on
the wild basher "Electrocution", trying something marginally more
controlled on the ambitious title-track, but racing with the speed of light in
the second half with a string of not very restrained pieces, the proto-death
urgency of "Iron Lungs" close to being the highlight on this
hyper-active recording.
Merciless Strike Full-length 2020
Lethal Dose Full-length, 2022
Slaughtered in the Arms of God Demo, 1990
Tak Relevent Full-length, 1999
Akar Dan Bumi Full-length, 2000
Dikir Timur Full-length, 2001
Hakikat Full-length, 2002
Dendam Full-length, 2004
Interpretasi Full-length, 2005
Interpretasi ++ Full-length, 2005
2 Juta Full-length, 2006
Bertemu Ruas Full-length, 2007
The Best of Compilation contains the band's first demo, as well as five other
songs, previously unreleased, under the title "The Aftermath
Sessions"; the style of these five songs is more speedy and thrashy, and
more technical, again recalling Helstar ("Distant Thunder").
The "Deutschland" EP is a sign that the guys are apparently willing
to join the thrash metal resurrection movement and as such their old fans have
no reasons to worry that they will mess it up: the five songs included are
sure-handed slabs of old school American power/thrash metal in a heavy
mid-tempo with melodic choruses, lashing, but also melodic, guitar work, and
good semi-high emotional vocals. There are no high-speed antics to be
encountered, and the last two tracks are epic takes on power metal with no ties
to thrash, but one never knows how the band will pull it out on the eventual
full-length... the EP title is a tribute to the guys' first appearance on
Headbangers Open Air in Germany earlier that same year.
"Unleash the Beast" is a diverse affair containing power, speed and
thrash metal numbers as again speed metal is more widely presented although the
beginning is quite courageous with the aggressive "Damages" and
"Ring Of Madness". The title-track is a battle hymn and its seismic
aesthetics prove fairly influential leaving "a stain" on all the
subsequent pieces the most impressive of which is the Black Sabbath cover of
"Children of the Sea" at the end.
The Rage Within and the Aftermath Best of/Compilation, 2007
Deutschland EP, 2010
Unleash the Beast Full-Length, 2015