Copyright (c) 2007-2024 THE THRASH METAL GUIDE

0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

AN ACT OF TREACHERY (AUSTRIA)

The EP: modern thrash borrowing a bit from death metal at times including in the vocal department where the man rends his throat to the point of hysteria. This isn't dragging music, like the energetic cut "Wasted Life" shows, and has the necessary amount of vitality although the prevalent approach is mid-paced with officiant, even epic-sounding at times ("Darkest Times"), riffs.
The full-length is an abrasive modern thrash/death "monster" which softens down quite a bit on a couple of mellow power/thrashers, and although rippers like "Asylum" try to compensate for those slackenings, the album loses some steam in the middle and never recaptures it fully later on except for the vigorous "God of War" near the end which unleashes the final portion of speedy tunes before the closing "Worlds Fall Apart" pours a number of melodic quasi-industrial hooks without any certain direction.

Wasted Life EP, 2011
Reflections of a Dying World Full-Length, 2013

Official Site

AN HANDFUL OF DUST (ITALY)

This young Italian band plays somewhat progressive power metal with a few hints at thrash and meandering, sometimes hard to follow, songs (the longer ones), quiet, balladic moments, and good semi-clean vocals which are seldom accompanied by rough, death metal ones. Although the sound clings towards the classic side, unnecessary groovy variations are also included ("To Give or to Leave"), but they're nothing more than fillers and don't add to the overall ambitious picture. At their best the band aren't too far from early Fates Warning, or Liege Lord: the multi-layered, epic-tinged "Bungler's Blame", and the nice more aggressive closer "Psychotic Dream", but these moments are not too many, and as a whole this album will score higher among the progressive metal fans.

I'll Show You My Fear Full-length, 2007
Nu Emotional Injection Full-length, 2011
Map of Scars EP, 2015

Official Site

ANACHRON (USA)

Based on the "Cycles of Hate" EP, this act serve state-of-the-art retro tech-thrash which doesn't take it easy on the lashing side of said roster with the also stylish intricate riffage of the title-track, the dazzling lead sections ensuring more than just the obligatory 4-min spent with this no-brainer. The intrigue instigated as equally big on "Desperation Act", another hyper-active entangled conundrum, the guys leaving their hearts and souls here, including the intimidating semi-shouty deathly vocalist. Expect arresting melodic leads to further bemuse you on that one, before "Remnants of Hate" pours additional grandeur into the already fairly impressive setting with tight shreds overlapping with fervent straight-forward spasms, a superb number that would have been a highlight on Coroner's "No More Color" even, the singer trying a few cleaner more passionate croons for a change.
The "Captives of the Past" EP features the title-track, a fierce contrived headbanger which retains both the aggression and the intricacy from the first instalment, the sizzling environment, customarily exacerbated by the threatening death metal presence behind the mike, receiving another lofty musical baptism in the object... sorry, form of "I Object", the objection in this case taking a scintillating turn with dramatic crescendos alternating with more orthodox mid-paced strides, but watch out for the couple of visionary bassisms and the twisted riff-knots arriving mid-way, the resultant vortex stitched by fabulous crooked lead segments... instead of beating about the bush with releasing EP's on more or less regular bases, the guys should pull themselves together and shoot a full-length... but even if they carry on with the shorter format, they should be able to sideline most of the competition around: there's lots, lots of potential on display here.

Cycles of Hate EP, 2021
Captives of the Past EP, 2023

Official Site

ANACHRONIC (CZECH)

This is heavy mid-paced progressive/thrash; the overall delivery recalls late 80's Slayer (the slower songs on their two albums from that time: "Deadskin Mask", "The Crooked Cross", etc.). Combined with the heavy technical riffs this album makes for an interesting, unpredictable listening experience. The band only occasionally speed up, and the album is quite long which creates a slightly monotonous feeling near the end, but the originality of the music alone will make you go back to it more than now and then.

Lame Gart And... Full-length, 1993

Official Site

ANACONDA (GERMANY)

This is melodic modern thrash which is moderately dynamic and energetic trying to also bring back some of the classic magic of the genre (check out the rousing speedster "Black Cross"), but the gruff deathly singer can't match those moments with his pedestrian, not very convincing, performance. In the second half the band lose the inertia and the music becomes less exciting and way slower with strong power metal overtones. The guys later appeared with their other formation, the doom/deathsters Gardens of Gehenna.

The Lattice Window Full-Length, 1996

ANACRUSIS (USA)

The band's state-of-the-art progressive thrash has written some of the finest pages in metal history. "Suffering Hour" was an explosive debut with a raw and primitive at times sound, but highly-inspired, combining furious thrashers, bordering on proto-death, with genuine stylish technical moments, which would take the upper hand on the band's future works; this album also contained a very fast, aggressive version of the early Black Sabbath hymn "N.I.B.". All this came nicely topped by the unique, multi-layered vocals of Ken Nardy, one of the most original thrash metal singers. "Reason" was a big step forward seeing the band moving boldly towards the progressive side of metal, with complex song-structures, and the inimitable cold technical riffs which would later be a big influence on many 90's bands. Their next two efforts are the absolute peak of the progressive thrash metal genre: "Manic Impressions" was the more accessible, and more aggressive effort (also featuring a great cover version of the New Model Army's "I Love the World"), whereas "Screams and Whispers" was a colossal multi-layered work of progressive thrash which logically marked the end of the band's career. All the band's works are free for download from their official website a link to which is provided below.

One of the greatest metal acts of all times has finally voted to release something new, after all the news, rumours, and gossip of reformation started some 5-6 years earlier. Several compilations came out, including a re-release (the band's favoutire word) of their first two albums, but, alas, on the creative side nothing new was coming. And here we are, in the year 2014, facing an entirely new Anacrusis product, consisting of two whole full-lengths, 14 compositions each, with nearly 2.30 hours of music provided by both CD's. After all this wait one may think that he/she is dreaming all this; it's simply too good to be true...

After the initial overwhelming wave of emotions (inevitably including a few tears shed by the more sensitive), the listener is prepared to give this gigantic recording a listen. So why the trepidation and the sense of apprehension then? Well:
first, the premature pullback isn't completely ungrounded having in mind what Kenn Nardi created under the name Cruel April... The band fans can hardly forget this soft acoustic saga which may have been a freezing cold shower over all the expectations that this new at the time recording would be something at least remotely similar to the Anacrusis catalogue...
second, with whole 28 tracks waiting to be savoured, how many of them would be classified as fillers, never to be listened to again? The bigger the number, the more the chances for some to be... well, ballast.
third, the album-title; this "dancing with the past"... sounds like another needless compilation. And who wants to "dance with the past" again, come on! Enough of that...

So there's quite a bit for one to muse over before embarking on this voluminous listening "adventure", a situation made all the scarier by the fact that this effort has actually been released under the Kenn Nardi moniker thus distanced from the Anacrusis catalogue present here... "Why!?", you may ask; because Anacrusis are no more, once again. They split up shortly before this album's release, presumably for good... So you see how much luggage this release drags with it; so many reasons for anxiety and anguish...

"Dancing with the Past": this album's place is here, and will always be. So relax, everyone! The album title is misleading, to put it mildly: each of the 28 pieces is brand new, never heard before. And each one of them is vintage Anacrusis; 2.5 hours of Anacrusis after over 20 years of wait... "It was high time", the more cynical would say, and indeed the band owed us that after the more recent period of uncertainty and uneducated guesses about their future. There's no future for them again, but at least the legacy they left should keep us warm for another 20 years...

So to the music: the opening "Unnecessary Evil" is just a ballad, a very good one, but a ballad... Hits "Fragile" right after and the staple intelligent, progressive Anacrusis thrash is brought to the fore with might with the traditional Nardi shrieks and the short abrupt shouty choruses. The joy is big although the listener will have to prepare for at least 10 ballads/semi-ballads, which leaves 8 wholesome headbangers (including a brilliant 7.5-min instrumental, "Lament in Rust") for him/her to enjoy as well as 6 mid-paced shredders along the lines of "Sound the Alarm". The ground covered is mostly from "Screams & Whispers" as a slight mechanical echo can still be traced back to "Reason", plus the less bridled nature of a couple of rippers which will bond this gigantic effort with "Manic Impressions" for a bit. A great album as a whole, a bit overwhelming probably: to listen to 2.5 hours of Anacrusis after such a long hiatus would be both nostalgic and somewhat overwhelming. In the end, the happiness would be quite big for one to notice any flaws, not that they are too many in the first place, and this may be the best spent 2.5 hours for some metal fans for the past 10 or so years. Album of the year? By all means, and not only because the vogue at present is reunion efforts to continue crowning the charts...

Suffering Hour Full-length, 1988
Reason Full-length, 1990
Manic Impressions Full-length, 1991
Screams and Whispers Full-length, 1993
Dancing with the Past Full-length, 2014

Official Site

ANACTORIA (ITALY)

Based on the "Air Conditioned" demo, this act serve very cool trippy psychedelic prog-thrash that is quite comparable to late-80's Voivod. This is optimistic, often plain goofy stuff which, in a way similar to "Nothingface", leaves the thrashy realms and branches into something that is quite hard to label tangibly. "I Don't Believe" is the definitive spacey thrasher the weirdness accentuated by sing-along choruses and mazey riff-patterns, the more orthodox roller-coaster "Unknown Zone" still offering a few quirky moments alongside more intense faster-paced passages. "Optimistic Line" is an infectious psychedelic speedster with virtuous bass implements, and "Second Life" is a punky jump-arounder with heavier slowdowns. The singer is a clean melodic punker who perfectly suits the contrived party musical setting.

Brains Demo, 1990
Air Conditioned Demo, 1991

Facebook

ANAFLAXIA (TURKEY)

The debut: a death/thrash metal band with great both technical and melodic guitar work; the guys play at a respectable speed most of the time. The overall sound isn't too far from Hellwitch and later-period Death also strongly recalling their compatriots Blaster's "Chaotic Noise" released a year earlier (no relations to the act reviewed here member-wise), only that Anaflaxia vary things more with mid-tempo tracks. The only downpoint would be the overuse of intros, outros and also interludes which kind of break the otherwise excellent monolithic sound. Some of those melodies are addictive: check out the opener "Opus Demontre" and the blitzkrieg follower "Blasphemy And Bloodthirst". "A Colder Day In Heaven" offers a nice change in pace in the first half being a laid-back dark gothic death/thrasher, but the rage goes on on "The Cloudy Fortress" which mixes brutal chaotic with melodic technical riffs. More purer thrash follows suit on the excellent galloping "Living Flesh, Dying Soul", before the brilliant instrumental "A Victim Shadow Of Twilight" takes your soul: an impeccable blend of melody and speed, seldom achieved before or after. "A Wolfen's Cry" is an exemplary closer lashing fast steel technical riffs for about 3-min. The bonus track after it "Portal of Misery" is a sinister slow doomster with deep operatic vocals accompanying the main death metal rasps.

This strong debut was followed by a shorter 6-song one containing covers-only of their favourite acts: Kreator ("Coma of Souls); Slayer ("War Ensemble"); Sodom (Agent Orange"); Sepultura ("Dead Embryonic Cells"); In Flames ("Behind the Space"); and Testament ("Legions of the Dead"), all well done although to these ears neither of the chosen bands could be cited as an influence on the band except, probably, In Flames a little bit.

In To The Sound Of Slaughter Full-length, 2004
Modus Operandi Full-length, 2006

Official Site

ANAKA (USA)

Based on "The Glorified Crusade", this band offers modern 90's post-thrash coming as a more aggressive "Load" (Metallica) so expect not very edgy mostly mid-tempo music with a frequent adherence to balladic sections. Still, this isn't completely without merits, and the title-track is a cool interesting progressive composition mixing intriguing riffs with really striking melodies.
"The Unwavering" is a similar "beast" maybe a tad heavier than the previous material also including the nice up-tempo piece "Ominous Visions". Alas, the majority of the songs are mild semi-ballads which liven up on occasion, but they would be of bigger interest to doom metal lovers and the Load/Reload fans (check out "Ghosts of Yesterday", the forgotten track from Metallica's 90's period).
“The Oblivion Call” doesn’t tread any new territories, the energetic opening “Voice of the Faceless” a misleading voice, actually, since later on it’s largely the rowdy title-track that matches this intensity, the balladic melancholy of “Other Side of Nowhere” violated by the much more energetic layout of the ironically-titled “Ballad of the Fallen”. The thing is that the second half lacks dynamic completely, the band sleeping through the motions with not very eventful ballads (“Dead of Autumn”) and playful groovy deviations (“Long Way Down”).

Down Devil's Road Full-length, 2001
Rust & Jade Full-length, 2004
The Glorified Crusade Full-length, 2009
Into the Great Unknown-The Acoustic Sessions Full-length, 2012
The Unwavering Full-length, 2015
The Oblivion Call Full-Length, 2024

Official Site

ANAL SLAVE OF SATAN (ITALY)

This band specialize in intense modern thrash/death the road ahead cleared by uncompromising headbangers like "Desolate Void Remains" and "Virgin's Sacrifice". The delivery clings stronger towards the death metal side, the devastation completed by a shattering cover of Sadus' "Sadus Attack" near the end, and by the exhausting closing rager "Infernal Vision", pure death metal madness helped by the apocalyptic shouty vocals.

A.S.S. Full-Length, 2019

Facebook

ANAL VOMIT (PERU)

Based on "Peste Negra, Muerte Negra", this formation pull out intense classic thrash/death which isn't all-out aggression the whole time, but finds time to introduce the casual more atmospheric moment ("Valle de Tinieblas"). Later on the songs become longer and more thought-out without any more technical arrangements, in other words the bash lasts for longer aptly mixing the two genres as a slight edge is given to death metal over thrash including in the vocal department where the guy gruffs audibly with the odd more shouty rending unleashed.

From Peruvian Hell EP, 2002
Demoniac Flagellations Full-length, 2005
Depravation Full-length, 2007
Gathering of the Putrid Demons Full-length, 2009
Nocturnal Curse Live EP, 2012
Peste Negra, Muerte Negra Full-length, 2015

Official Site

ANALEX (GERMANY)

Based on the "Different Season" demo, this outfit, who later went onto bigger glories under the Shit for Brains moniker, play a marginally avantgarde blend of hard-hitting old school thrash and mellower rock-ish passages, the pleasantly contrasting soundscapes carved by rushes of lead-driven virtuosity those superseded by poignantly lyrical escapades, not to mention the not very proficient, but inspired semi-clean punk-ish singing the guy behind the mike pouring emotion without necessarily having the requisite skills for it. There are bold shades of crossover as well, but those aren't awkward, and add more to the eclectic character of this demo which is surely an influence on the progressive thrash "ramblings" of Shit for Brains later.

Demo Demo, 1990
Different Season Demo, 1992

ANARCHADIA (SYRIA)

This Syrian outfit provide dry modern thrash which is obviously influenced by acts like Biomechanical and Altered Aeon (which can only be a good thing) only that the guys don't elaborate things too much at this stage, but come up with shorter compositions, and their headbanging side is way more covered: check out the energizer "Demoralize". "Confronting My Demons" is an excellent technical number which would even please fans of Meshuggah, before a burst of energy arrives with the more immediate "Occupy The Wall", the latter completely disappearing on the final "Let Us All Unite" which is a balladic ode with good leads intercepting the voice samples which are all over it. This is a cool start and a full-length would develop the band's interesting style further; there's a lot of potential lurking in the Mid-Eastern shadows over there....

The full-length title already hints at its content: yes, indeed, all the songs from the pilot EP are inside accompanied by another five new compositions. The fan will have to swallow his/her slight disappointment of this fact by indulging in the music; the 1st new number ("Beasts of Burden") comes after two tracks from the EP, and shows a more restrained, but equally as effective, side of the band's style with creepy hypnotic riffs without many fast-paced surprises. But comes "Narchaotic", and things are already more hectic and less predictable. "True World Order" even sees a guest star joining for a while: Mr. John Schafer from Iced Earth lends his vocal abilities for a short passage; this one is a stylish puzzler with some more quiet progressive build-ups. "Elevation Call" is a jumpy dreamy instrumental with echoes of Canvas Solaris and Linear Sphere; and "Adagnitio" follows a similar path, only with vocals and a tad more aggressive guitar participation. The album exits with the other three cuts from the EP. As a result we have another 5-song EP (if we exclude the old material) which again holds the same potential without stretching any further than what the band have already displayed earlier. To be continued...

Let Us All Unite EP, 2012
Let Us All Unite Full-Length, 2013

Official Site

ANARCHUS (BRAZIL)

Based on the "...in Line of Hate" demo, this band play raw primal thrash with a dark ominous character which is reflected in the brooding riff-patterns and the mean semi-shouty Schmier-like vocals. The music recalls their compatriots Explicit Hate and is executed well with appropriate screamy leads, a few melodic "decorations", and omnipresent dynamic speedy passages.

Melody's of Destruction Demo, 1988
...in Line of Hate Demo, 1989

ANARCHUZ (CZECH)

Based on "Prestan Me Srelt", these guys offer modern hardcore-ish post-thrash with bad synthesized vocals which miraculously find the way to cool melodic insertions on the mellower moments. This is radio-friendly stuff with doom/stoner tendencies and pleasant bluesy touches. Not for the hard-corers...

The debut is a more laid-back variation of the already established post-thrash picture on subsequent efforts, the "therapy" coming in the form of cool heavy metal passages and not as suitable balladic touches which should have been fewer. Near the end the album completely exits the thrash metal field branching out into folk, funk, and blues to a fairly laughable effect slightly restoring the "faith" with the edgy closer "Talks We Don't Care". The singer is a not very pleasant throaty hardcore semi-shouter.

"Inner Conflict" is a very heavy, steam-rolling affair which has epitomized the more extreme side of the 90's post-thrash unleashing a seismic quasi-industrial landscape not far from Grope and Puncture. More lyrical moments (the title-track) can certainly be found where the ultra-brutal deathly shouty singer finds time to show his more tender side to a fairly positive effect. More dynamic riffs show up timidly in the middle, but generally this is very groovy stuff with a fuzzy abrasive sound quality.

Unusable Instincts Full-length, 1993
Inner Conflict Full-length, 1996
Prestan Me Srelt Full-length, 2011

Official Site

ANARCHŸ (USA)

Based on the full-length, two lads from Missouri are jamming here, and if we exclude the short hardcore joke "Realmz.exe" at the start, the rest is quite absorbing prog-thrash which sounds both alluringly melodic and spell-bindingly-technical on "D.E.S.T.R.O.Y", the guys weaving arresting musical tapestries which hit an inordinate high on the half-an-hour odyssey "The Spectrum of Human Emotion", an encyclopaedic summation of the endeavours of myriad practitioners, the much shorter more compact shredder "Enter the Singularity" moshing with style, its highbrow complexity matched by the a tad more intense dramatic odyssey "The Greatest Curse". A few short extrapolations are roaming around, also dripping with style, but those are sketches of bigger pieces, and can't be taken too seriously. Neither can the singer whose rending shouty deathly antics may get on someone's nerves.
The debut EP contains one track from the full-length, namely the short virtuoso all-instrumental piece "Cellular Senescence Reversal", which is placed at the beginning, its ephemeral nature swept aside by the long engaging progressive thrasher "Polarity (Nelson)", a meandering puzzle-like roller-coaster with a few really dynamic arrangements, the band reveling in their consummate musical proficiency, also unleashing a couple of alluring melodic hooks. "...Justice Denied" is a short but still fairly contrived tractate with which steady homogenous mid-paced clout is dispersed by swathes of hectic speedy crescendos; the engaging spacey decisions on the excellent "Event Horizon" interacting with a kaleidoscope of virtuoso guitarisms and soaring fast-paced walkabouts, the lead guitarist particularly busy, keeping the tension high with an array of dazzling fireworks. There's also a short piano-driven interlude, and a tightly-assembled rifforama taken straight out of the Coroner textbooks.
The “Retching Necropolis” EP is another delectable offering, the twisting serpentine nature of “Blizzard and Brimstone” alluring everything and everyone, before “Chopin's Nightmare” provides active classical-infused thrash with breathtaking melodic tunes. More virtuoso aggrandizements with the encyclopaedic opus “The Helix Withers” until the very cool cover of Acid Bath’s “Bleed Me an Ocean”, the vocals also changed appropriately to suit this grave mesmerizing doom hymn.
"Eyeclöser": this is a compilation of the band's EP's, with just two new tunes, "Eyes of Nihil: an Endless Sea" alone closing on whole 27-min, a near-half hour of mazey configurations, steel technical riffage, surprising twists and turns at every corner, and breathtaking balladic interludes, this sprawling masterpiece summing up the guys' entire career, "Murder Me Dead" standing awkwardly in the background being a weird chaotic concoction of near-electronic sounds.

Breathing Necropolis EP, 2021
The Greatest Curse EP, 2022
Sentence Full-length, 2022
Retching Necropolis EP, 2023
Eyeclöser Full-length, 2023

Official Site

ANARCHY DIVINE (NORWAY)

Quite cool classic progressive power/thrash which initially unleashes 3.5-min of fairy tales, this seismic mid-pacer graced by several idyllic balladic shots. Said ingredient stays true for “Psycho”, a faster-paced proposition with sharp cutting riffs, the rowdier “Witchcraft” stomping the ground with determined elephantine guitars. The speedy extrapolations return with “Breathless”, a cool complex piece with more meandering decisions, the cool clean mid-ranged vocalist a beneficial presence with his composed leveled croons.

Anarchy Divine Demo, 1992

Youtube

ANARCRUST (HOLLAND)

Based on the full-length debut, this act specialize in speedy energetic thrash/crossover which mostly comprises fast uncompromising outbursts ("Blue Eyes", "Pushed"), the final result quite close to the two Wehrmacht albums, the funky jarring "They Try to Force Me" a cool digression despite the hyper-active second half. The singer is a semi-declamatory hardcore presence whose well-measured antics are more on the unbiased side.
"Progression or Decline" has already embraced the 90's groovy influences, but the music is really creepy and effective on "Too Much Pressure", and hyper-active and hectic on then semi-technical curiosity "The Moralist". The stop-and-go technique comes forward on the jarring unnerving "Stupid, Arrogant and Fooled", before "It's Up To You" throws bouts of intriguing quirky rhythms at the audience, think mid-period Prong with a pinch of the Swiss Lunacy, the closing "The Lies They Tell" a true revelation, choppy deviant technicaller of the old school that may even enchant the guys' compatriots Decision D and Sacrosanct.

Coalescence Full-length, 1990
Progression or Decline Full-length, 1993
Anarcrust EP, 1994

Official Site

ANARHIA (ROMANIA)

Based on “Nici o Vina”, this band play modern groovy post-thrash, interesting progressive fare that notches up the atmosphere on “Nu Vreau”, but relies on elevating crossover rhythms on “Saraca Inima Mea”, the ten-ton hammering “Ploi si Noroi” adding more to the diversity of this intriguing offering, the ephemeral keyboard presence another unorthodox gimmick. The semi-declamatory vocals are on the standard not very exciting side of the spectre, but manage to somehow shine on the bouncy dynamic “Tot Ce-mi Spui” and partially on the dark gothic title-track. Expect some hard-hitting thrash to befall you on “Somn Usor”, but this is an isolated occurrence on this largely pensive introspective recording.

Nici o Vina Full-length, 1998
Criza de Nervi Full-length, 2003

ANARION (AUSTRALIA)

This talented Australian outfit have created a nice cross between the 90's power/speed metal movement and classic thrash. Their "journey begins" with the excellent galloping opener "Space-Time" from their debut, a straight-ahead speedster with screamy leads. "My Own" is more intense speed/thrash ala the Poles Hellfire with good choruses and a few soaring melodies. "The Battle Of Old" is pretty much in the same vein with a bit more complex musicianship with several quiet semi-acoustic sections added. "Kingdom Of Stone" is a slower take on the power/thrash metal idea, and "Earth Reborn" is a bit more intense cross between those styles, leaving the damage to the more invigorating thrasher "Life of Descent" which marches forward with razor-sharp semi-galloping riffs. "Hidden Mind" is a more thoughtful progressive composition, semi-balladic and lyrical, with a few faster revelations near the end minus, of course, the purely acoustic ending which is identical to the beginning. "Principles Of Uncertainty" is a nice 4-min instrumental of shredding melodic thrash, its short length totally clouded by the monstrous 13-min closing saga "The Journey Begins..." which is kind of underwhelming developing in a predictable mid-pace with the odd balladic twist. The singer is pretty good with a mid-ranged emotional tone who could have tried some higher-pitched lines from to time to time.

"Beneath It All" starts very misleadingly with the alternative balladic "Fog Of War", but inertia is very quickly picked up with the next ripping galloper "Dispusion" which also shows nice technical tendencies. "Persistance of Hate" is pure headbanging thrash, direct and to-the-point, and there's not much ado on the next "Into The Rage" which lashes "raging" riffs left and right both in mid and up-tempo. "Sufferance" is dramatic pounding thrash with sure-handed keyboard insertions and sparse Oriental hints. "Demons Of Pride" is modern thrash preserving the drama also adding cool lead-driven balladic moments. "Pity The Weak" is more laid-back melodic thrash ala recent Squealer and Eldritch, but "Defying Regime" is a faster proposition again with more modern riffs which disappear for the all-out retro thrasher "Bleeding Disease" and the energetic galloping power/thrashing closer "Enduring Enemy". The guitars here bite more with a much more accentuated thrashy edge recalling both Paradox and Hellfire sounding both intense and technical to a fairly positive effect. The vocalist does a better job adjusting his effective emotional style with the appropriate higher inclusion now sounding pretty close to Krzysztof Dziwosz (Hellfire).

"Unbroken" is the band's least achievement sticking to well-established power/speed metal patterns with just a few edgier numbers: the vicious speedster "Greed Of Man"; the more ambitious speed/thrasher "Broken Truths". There are several ballads, and generally the concentration is not on speed opting for a calmer mid-paced delivery.

The Journey Begins Full-length, 2001
Unbroken Full-length, 2006
Beneath It All Full-length, 2009

Official Site

ANARKO (SPAIN)

Based on the debut: another addition to the 90's groovy scene; at least the guys here pull out more energetic, jolly tracks with a cool crossover touch ("Obligacon", "Legado Criminal"). The music is on the melodic side, lacking the aggression put by Pantera and the likes most of the time with one pleasant surprise: the intense fast-paced headbanger "Bien Machaca Bien" which leaves a very good impression, immediately ruined by the awful techno-industrial closer.

"La Marcha De Los Muecos Egocentricos" offers groovy post-thrash on the soft dancey side with playful rhythms and a few more intense moments the latter recalling Skid Row's "Slave to the Grind". There's also a distant alternative echo present ala later period Misery Loves Co.

Anarko Full-length, 1998
Degeneraci'f3n X Full-length, 2000
La Marcha De Los Mu'f1ecos Egoc'e9ntricos Full-length, 2001

Official Site

ANASA STAXTI (GREECE)

Thrash/crossover ala Hellbastard, but with shorter tracks, with nice melodic implements and gruff semi-death metal vocals; the tempo is dynamic bordering on speed metal at times which serves better the shorter material ("Zwi En Tafw").

Anasa Staxti Full-Length, 1994

ANATHEMA (USA)

Based on the debut demo, these folks serve raw chaotic thrash with proto-death metal overtones, noisy disorganized stuff with messy guitars which starts making sense at the end on the quite cool semi-technical galloper "Trauma Arrest" which also features nice bassisms, and is partly ruined by the brutal speedy ending. The singer is an annoying angry shouter who tries to make his voice scarier by adding lower death metal tones at times.

The Trauma Never Ends Demo, 1988
Knife and Gun Club Demo, 1990

ANATHEMMA (USA)

This is intense bashing old school thrash that possesses this catchy stomping character (“Of Hierarchy”), but it’s in the wild spastic speedsters (“In Norms We Trust”) that this album’s real power lies. There is also one streamlined power metal hit (“Genocide”) as well as one total “Kill’em All” worship (“Circus”), the Metallica influence not so prominent elsewhere, although both “Twelve after Death” and “Schizoid” disperse wild hyper-active rhythms all over, making the vocalist’s task really ungrateful as the man tries to follow the riff-swings with his vicious venomous spatout antics.

Bound by the Wicked Full-length, 2023

Official Site

ANATOMY (HUNGARY)

A moody cumbersome doom/thrash hybrid which exudes plenty of atmosphere ("Sotet Napok"), the consistent mid-tempo trot of "Gyonyor Kertje" also coming with spasms of ethereal beauty, the latter owing quite a bit to the persistent keyboard background. The guttural semi-declamatory death metal vocals aren't really an annoyance, but do disturb the arresting addictive melodic tunes on the early-The Gathering-esque masterpiece "A Sotétség Birodalma". Some of the band members were also engaged with the heavy metal formation Hind.

Anatomy Demo, 1997

Youtube

ANAXAGOR (FRANCE)

This band play a decent semi-technical blend of thrash and death metal, with assured mid-paced walkabouts ("Shepard") crossing swords with shorter intriguing roller-coasters ("Stomping on a Face"), with "Fame of Thrash" being a particularly noteworthy complex piece with atmospheric additives. Sometimes the approach borders on Swedish melo-death ("Louder Than All"), but generally this isn't very derivative if we also exclude the vicious semi-shouty death metal vocals.

Anaxagor Full-length, 2020

Official Site

ANCALAGON (FRANCE)

Based on the self-titled demo, this batch deliver with speedy barrage-like guitars bordering on hardcore, and with intense shouty semi-clean vocals which aren't very rehearsed on the modern-ish mid-pacer "Graine de Potence". "Insane Girl" thrashes with moderation, the memorable character of this piece rising above the rest, a serious piece of music-making which should have been displayed more prominently here.

Ancalagon Demo, 1990
Demo Demo, 1991
Ancalagon Demo, 1992

ANCESTHOR (MEXICO)

"The Human Nature": a decent slab of the good old school thrash which comes served with a healthy doze of 90's speed metal resulting in vigorous, energetic pieces topped by not very suitable death metal vocals which sound particularly ridiculous on the several attempts at sing-along choruses which may cause a few laughs along the way. Still, the guitar work isn't bad at all if we exclude the thin screaming leads, and uncompromising Slayer-esque headbangers like "T.M.I.S." & "Until You Die" will make you jump around in no time, while more epic speed metal cuts like "Death Or Glory" will make you sing along with nostalgic memories of a movement long gone. "Annihilation Of Mankind" is a cool heavy stomper with capable melodic hooks, and the closing title-track may come as a surprise being a long (7-min) romantic ballad which acquits itself with the best lead sections on the album. Some of the musicians used to play with the retro thrashers Terror Chaos Force.

"Beneath the Mask" thrashes harder, at least in the beginning, but the fast lashing riffs aren't done justice by the very muddy hissy sound quality which only lets the good leads stick out. Traces of death metal can be caught on the more intense "Project: Human", but the rest isn't as wild despite the presence of several less controlled thrashers ("Evil at Command") roaming around. The closing "Conspiracy" is another moshing highlight with a more elaborate undercurrent, but still despite its more aggressive character this effort isn't as pleasing as the more naive, but also more enjoyable debut.
"Oneiric" goes into uncharted progressive territories with the hectic melodic progressiver "Bougainvillea's Trail", a flippant psychedelic masterpiece which raises the lathe too high from the very beginning. The band do try to reach the higher levels, though, as later on one will come across the interesting Mastodon-esque "Four Volcanic Winds", the short spacey speedster "Rampant Maelstorm", the raging airheaded title-track which is also graced by great soaring melodies, and the engaging, also quite energetic, progressive thrasher "Mirthless Dreams". "The Void of Reprisal" thrashes harder recalling the band's past, more simplistic exploits, and "Sordid Light" bathes in gorgeous melodic tunes which later give way to fast-paced crescendos with echoes of Paradox. "Delirium Tremens" is a short quiet, all-instrumental epitaph to this fairly entertaining recording seeing the guys moving up the proficiency scale with a leap. Some of the band members also play with the retro thrashers Venemous and Terror Chaos Force.
"White Terror" begins with the atmospheric minimalistic "Lady Lazarus", but later on bigger artistic vigour is displayed, first with the curious avant-garde progressive "Mist-Wraith", and later with the virtuoso-prone shredder "Ghostly Wails". "Shrouded in Light" exudes highbrow virtuous lead-driven dexterity, and "La Llorona" is an orchestral operatic composition with angelic female vocals and some of the finest lead pyrotechnics unleashed in recent times.

The Human Nature Full-length, 2011
Beneath the Mask Full-Length, 2013
Island of Doom Full-length, 2014
Oneiric Full-Length, 2017
White Terror Full-length, 2022

Facebook

ANCESTOR (CHINA)

Based on the full-length, this band play intense old school thrash with echoes of Sepultura and Kreator. There's some interesting semi-technical "sting" ("Deathlike Silence") going through the motions, but the band's intention is clearly to generate as much aggression as possible; consequently the sound acquires more brutal death metal dimensions ("Black Future"), but for most of the time this is old school thrash done right with forceful semi-declamatory semi-death metal vocals. The musicians also have another classic thrash outfit, TumourBoy.

Age of Overload EP, 2017
Lords of Destiny Full-length, 2018

Official Site

ANCESTOR (FINLAND)

Based on the "With No Strings Attached" demo, these folks specialize in fairly decent thrash/death with a both atmospheric and a technical edge along the lines of mid-period Messiah and Protector. "The Thread Of Life" is a standout piece with lashing melodic technical guitars, the highlight here, with the closing "Come Back Towards The Light" a very close second with its ripping stylish riffage and less expected time-changes. The vocals are harsh death metal-ish and by all means play second fiddle on this fine effort. Later the guys had a more successful and a more lasting career as Kalmah where the style shifted towards more conventional modern Swedish death metal.

Ethereal Devotion Demo, 1992
With No Strings Attached Demo, 1993
Material World-God Demo, 1997
Tomorrow Demo, 1998
Under the Burbot's Nest Demo, 1998

Official Site

ANCESTTRAL (BRAZIL)

Based on the full-length debut: modern power/thrash metal on the more melodic side, quite close to the Flotsam & Jetsam 90's period and Metallica's Black Album with nice melodic lead guitars and a singer who does a good job to impersonate James Hetfield, and succeeds for most of the time. The music takes a more aggressive edge at times ("Endless Trip"), but mostly this is heavy, mid-tempo and semi-balladic music.

The "Bloodshed And Violence" EP is three tracks of a tad more intense, still more on the modern side, thrash which rips at times no worse than the more recent Dew-Scented and Carnal Forge efforts ("Bloodshed and Violence"). The other two numbers are more laid-back with the Black Album coming to mind again, the singer traditionally doing a good job with his adherence to James Hetfield.
"Web of Lies" doesn't bring anything new to the repertoire of the band being another laid-back offering again courting The Black Album, above all, "Nice Day To Die" being a smashing outburst of aggression in the middle. The title-track is a nice dramatic post-thrasher before "Fire" pours more "fire" into the furnace with another slab of more hard-hitting retro thrash. In the end this effort is not bad at all showing the band in a bright light, trying to find the best way to perform their chosen brand of metal.

Helleluiah EP, 2005
The Famous Unknown Full-length, 2007
Bloodshed And Violence EP, 2012
Web of Lies Full-Length, 2016

Official Site

ANCESTRAL SIN (HOLLAND)

This is intense thrashcore, still more classic-sounding, bordering on grind when things get more violent. Overall, the approach sits somewhere between early Prong and Attitude Adjustment with echoes of Cryptic Slaughter on the aforementioned wilder moments. The vocalist is the staple quarrelsome shouter, maybe a bit higher-pitched than the norm.

Feel It Erupt Demo, 1992

ANCESTRAL TERROR (BRAZIL)

Cool thrash of the old school close to the Canadians Slaughter and late 80's Slayer; the music is catchy, mid-paced for most of the time with simple but effective riffage. The vocals are in the death metal camp: brutal, low-tuned with a shade of Karl Willets (Bolt Thrower) and not very suitable. "Call Upon Death" is a nice attempt at more energetic, technical stuff which ends up in a brutal blast-beating manner. The closing "The Endless Incursion" is a cool acoustic instrumental.

Hallways of Pain Demo, 2006

Official Site

ANCESTRO (CHILE)

Based on “Tierra Desangrada”, this band play modern steam-roller thrash which vivid qualities are best displayed by the energetic death-laced “Confrontacion”, the delivery on the remainder ranging from upbeat shredders (“Hombre Primitive”) to formidable tankers (“Falsa Devocion”), the vocalist tearing his hardcore chords without shouting too much, toning it down for the brooding doom-laden title-track. Some of the band members are also occupied with the retro thrash/deathsters Maniatico.

Ritual Full-length, 2020
Tierra Desangrada Full-length, 2023

Official Site

ANCESTRO (URUGUAY)

Crunchy abrasive post-thrash of the modern type; a pretty heavy crushing affair never leaving the mid-tempo perimetres, but the consistent steam-roller riffs will please the fan as well as the very good forceful clean singer.

Guerra Nuclear Demo, 2006

ANCHONY (GERMANY)

Cool modern-ish thrash with meaty sharp riffs and intriguing semi-technical decisions; the band have a taste for both dark slow-ish numbers ("Erazer") and more energetic ones (Pi"). "Slow Race" needs very little to indeed spawn the "slow race": a morose atmospheric doomster with a clever technical thrash exit. The vocals are a bit of an awkward choice, though: throaty low-tuned death metal ones with a slight hysterical pitch coming up from time to time.

Anchony Demo, 2008

Official Site

ANCHORHEAD (UK)

Reportedly there are members of the progressive metal masters Linear Sphere here although there's very sparse information about this project anywhere so it's hard to confirm any musicians' involvement here. The music is jumpy groovy post-thrash, no traces of death metal whatsoever (the title is misleading), with technical pretensions, a few more dynamic sections, and spacey fusion/jazzy deviations which come with tastefully applied lead passages one of which is a nice nod to the main theme from "Star Wars". The singer doesn't take a very big part, but his growling low-tuned death metal antics aren't that pleasant. The production is surprisingly good giving an equal share to each instrument except for the slightly abrasive guitar tone.

Darth Metal Demo, 2007

ANCIENT CROWN (USA)

The debut: this is retro thrash/death built around epic melodies ("Helm of Awe") and effective progressive undercurrents ("On Primal Fire") both of those approaches not needing any speedy heroics, and those aren't amply provided. Instead, we have some twisted technical riffage on "Above and Beneath", and dramatic death metal surges on the restlessly executed "Eye on the Line". The singer is a passable deathly semi-shouter who emits bigger emotion on occasion.
The self-titled is an even more intriguing offering, the band captivating the audience with the numerous twists and turns on the opening "Embrace the Loss", before "Shadow in Darkness" releases a pleiad of ultimately stylish technical riffs and puzzling rhythmic knots. "Bleeding for All" is a slow-burning tractate in oppressive tenebrous music, a near-doom experience which replete with addictive melodic hooks; and "Repair the Vein" follows a similar minimalistic pattern, the latter acquiring strong balladic tendencies on the anti-climactic pageant "Nailed to the Wall". The closing "Shades of the Dead" returns to the more vivid entangled formulas from then beginning for a thrilling closure to this varied entertaining entry.

Blood Evolved Full-length, 2019
Ancient Crown Full-length, 2023

Official Site

ANCIENT CURSE (GERMANY)

Based on "The Landing", this band plays a dark brand of thrashy progressive/power metal similar to Sanctuary's "Into the Mirror Black" and mid-80's Fates Warning. The tempo is mid and the guitars are both sharp and heavy also recalling the Canadians Eidolon. There are a couple of peaceful moments scattered around, including two full-fledged ballads, one very cool and heavy ("One Second of Lifetime"); the other one too tender and boring ("Not Preed to Speak"). The sound favours power metal more, but when the guys step on the pedal, they lash with force: the heavy stomper "Not Supposed", the 9-min progressive power/thrash opus "Utopia", etc. The singer is far from the flamboyance and pitch of the typical for the style vocal performers delivering a mid-ranged, not very emotional semi-clean timbre.

"Thirsty Fields" follows a similar pattern mixing power and thrash metal with a strong progressive shade with the quiet balladic passages scattered appropriately as well as the harder more intense ones. The obligatory ballad ("Harmful Remains") is here again, but is good and heavy, followed by the even better semi-ballad "Return of the Summer". The speed has been reduced a bit, and now the sound comes close to doom metal at times: the heavy stomper "Dictator".
The "From Below..." demo is a vigorous speed/thrashing odyssey, the fast-paced title-track pairing well with the more contrived rhythm-section of the epic progressiver "Extinguished Civilisation", a masterpiece of multi-layered mazey speed/thrash. "Wings of Insanity" is a more overtly thrashy proposition, and "Bleeding Heart" is another entangled marvel with great melodic licks, the hard-hitting riffage later stirring another dramatic, less ordinary mosh with echoes of early Artillery and Metallica's "No Remorse".
The "Contrast in Union" demo is a more laid-back affair, staying within the progressive power metal perimetres, the choppy nervy "Plastic Tears" leading the show, with "Nobody Cares" is a really nice semi-balladic piece with great melodic leads. "Utopia 91" moves towards the more aggressive thrash sector, a steady dramatic mid-pacer with better epitomized vocals, too, the traditionally not very emotional mid-ranged clean throat emitting more attached croons. "The Prison Time" marches with more patient battle-like rhythms recalling the US power metal scene, the more intense gallops unleashed at some stage stirring a desirable pogo as a finishing touch. It's not hard to detect the delivery on which the following full-length debut is based, with two of the numbers from here also featured on it.

From Below... Demo, 1987 Contrast in Union Demo, 1991 Thirsty Fields EP, 1995
The Landing Full-length, 1997
Thirsty Fields Full-length, 1997

ANCIENT DOME (ITALY)

Based on the self-titled demo, this band pull out classic speed/thrash along the lines of Paradox (closer to their debut, rather than "Heresy"), or more recent Tankard. The tempo is energetic, and the guitar leads are quite good. There are moments which recall the 90's power/speed metal scene ("Metalmaniacs") as well as an atmospheric bass instrumental ("Ode to a Muse").

The 2008 promo thrashes more in a Bay-Area, rather than a German, fashion, but is frequently entertaining, bashing relentlessly with sharp riffs, cool melodic hooks, nice short leads, even providing more semi-technical moments on the longer "State of Regression". "Fall of the Dominion" is the break from the intense pattern stretching into softer speed/power metal territories with a nice balladic acoustic ending.

"Human Key" continues mostly in the Germanic speed/thrash metal vein with the two highlights from the last demo ("Fall of the Dominion", "State of Regression") occupying the front. Their "company" is anything but unappealing, though: the speed metal monster "Tyrants"; the heavy doomy power/thrasher with Oriental motifs "Human Key"; the slightly less than 3-min speed/thrashing instrumental "Aeons". "Cold September" is a bit debatable being a heavy ballad, as well as the more modern-sounding, slightly dragging "Lost Creature". Fortunately the last two songs deliver, one being a nice speed metal killer ala Paradox and early Helloween: "Architects Of Dreams", the closer "Total Command" a more aggressive thrashing delight with an American flavour.
"Perception of This World" starts with an excellent introductory instrumental growing into the Bay-Areasque headbanger "Liar". Melody takes over on "When Day Dies..." which is much slower, too, before "Predominance" speeds up again with vigorous crisp riffage. To the listener's utter disappointment, what follows is a string of much mellower dreamy power/thrashers with strong balladic overtones occupying a considerable space from the album making "Face The Facts" sounding really awkward with its speedy optimistic riffs later. The closing "DevastHate" is a really nice exercise in more technical thrash ala Forbidden's "Twisted into Form" and Megadeth's "Rust in Peace" mixing fast moments with more intriguing elaborate decisions. As a whole we have quite a hit-and-miss affair the band not sure which path to take settling for a contrasting work which lacks in consistency, but still makes up somewhat with its wider appeal.

"Cosmic Gateway to Infinity" is more laid-back and more speed metal-prone, but the delivery works also thanks to the very good clean vocals. The title-track is a thrashier composition with some very tasteful leads; and "Colonizing Asteroids" is a really cool more technical shredder. The album takes off in the 2nd half due to the dramatic technicality of "Dead Zone", and the encompassing progressive motifs on the closing "Empire Of Lies" which is an epic epitaph to this entertaining addition to the band's discography, also speed/thrashing hard on occasion in the best spirit of Manticora and Hellfire.
The "O.W.T. ...and Still We Are" EP is another convincing addition to the band's discography the guys speed/thrashing with the expected good taste for melody again recalling the Danes Manticora. Later on there are remastered versions of old songs plus a demo version of "Cold September".
"The Void Unending" will hardly disappoint the band fans as the approach doesn't deviate too much from the chosen path like the highly energetic rhythms of the more complex opener "Black Passage" and "The Void Unending", with "IV-Logic of Nonsense" moshing even harder, with some epic pathos sneaking in on the excellent progressive speed/thrasher "Panic Generator" which also gallops with the finest at some stage. "The Rules of Hate" is the next in line brisk thrasher the guys not intent on losing the accumulated inertia although "Fifth Dimension" is a more varied instrumental with great psychedelic, also quite technical, decisions which to some may be the highlight here. "D.I.E. (Droids in Exile)" carries on with the intricate speed/thrashing adding several great melodic tunes which get increased on the closer "Chain Reaction", a consummate technicaller in the vein of Coroner and Deathrow, something which the guys should provide much more regularly in the future.

Once Were Thrashers Demo, 2004
Bustock Live album, 2005
Ancient Dome Demo, 2005
Promo Demo, 2008
Human Key Full-Length, 2009
Perception of This World Full-length, 2010
Cosmic Gateway to Infinity Full-Length, 2014
O.W.T. ...and Still We Are EP, 2015
The Void Unending Full-length, 2017

Official Site

ANCIENT EVIL (CANADA)

Three tracks of evil bashing amateurish thrash/proto-death; stuff made in a garage by lads who have just learnt how to hold their instruments, but not exactly how to play on them. "Ancient Evil" holds some semblance of musicality with its more diverse arrangement, resembling the outrageous shenanigans of their compatriots Aggression's first entry. No vocals here, this is all-instrumental music. Only for completists...

Demo Demo, 1988

ANCIENT GODS (PORTUGAL)

Based on "Forsaken Needs", these folks provide classic power/thrash which recalls mid-period Iced Earth and Metal Church from the Mike Howe period. In other words, this won't be the headbanger's paradise although the hard squashing riffs of "Pressure to Perform" should keep anyone happy, while the more relaxed semi-balladic mood on "Who Can Tell" would find its way to the hearts of the more romantic souls. The vocalist is a cool dramatic throat who possesses all the necessary octaves to match the music's mood swings without fail.

Burning Lies EP, 2010
Living in the Wrong Time Full-length, 2013
Forsaken Needs Full-length, 2015

Official Site

ANCIENT HORDE (PORTUGAL)

Based on the "Epic Blood" EP, this act indulge in epic militaristic thrash which crosses Manowar and Manilla Road with more aggressive thrash/post-death rhythms which evolve around dramatic mid-paced structures with a sparse adherence to the blast-beat ("Shinning Swords Of Blood"). The singer is a growly deathster helped at times by soaring clean vocals. Some of the musicians also take part in the black metal formation Opus Draconis.

Enter the Ancient Gate EP, 2013
Epic Blood EP, 2014

Facebook

ANCIENT IMMORTALITY (RUSSIA)

Based on “Reignition”, this outfit specialize in chuggy modern thrash that is strictly on the noisy vociferous side, the dramatic confrontational “Burning” siding well with the steam-rolling “Grind” and the ripping headacher “Scorn”, an impetuous shredder and the possible highlight on this passable recoding which also features the death-laced operatic saga “No Forgiveness”. The vocal duel is at least decent, alternating between shouty death metal and cleaner more attached inclusions. Some of the band members are also busy with the post-black metal formation Orion Nebula.

On the Edge EP, 2020
Symphony of Wasted Youth Full-length, 2022
Reignition Full-length, 2023

Official Site

ANCIENT OBLITERATION (CANADA)

These guys offer thrash/death metal of the old school mixing fast Floridian riffs with slower almost battle-like ones, in the vein of Bolt Thrower and Benediction. The mix predictably stays closer to death metal. There are technical pretensions to be heard ("Shogun"), and the melodic hooks are interesting and atmospheric, but the gruff unrehearsed vocals and the annoying introductions before every song, which are nothing but non-music noise serving to no purpose, make this effort sound like a draft for something bigger, and hopefully better, to come.

Destruction from the Past EP, 2009

Official Site

ANCIENT POWER (USA)

A more serious take on the old school thrash/crossover idea reflected in longer compositions and a more varied song-writing although the dominant tone is quite intense and fast. There's nothing technical present in the guitar department, just controlled bashing sitting somewhere between Rumble Militia and Hellbastard, served on a slightly abrasive background accompanied by short noisy leads and shouty hardcore vocals quite close to the ones of Kurt Brecht (D.R.I.).

Ignite the Pentagram Demo, 2012

ANCIENT SLUMBER (SWEDEN)

Based on the "Abandon Your Voltaire Garden" demo, this act plays cool diverse classic stuff ranging from heavy Bay Area-sque thrash with technical overtones ("Scissors, Paper and Stone", the sharp technical riff-fest "Et tu, Zarathustra") to shorter doom-laden pounders ("Shadow of Infamity"). The singer delivers with his gruff semi-clean, but forceful, tone reminiscent of Howard Smith (Acid Reign).

Burn Thy Map of Your Life Demo, 1992
Abandon Your Voltaire Garden Demo, 1993

ANCIENT SORROW (SERBIA)

This is just one track (guess the title!) done by two people who practice dark evil black/thrash metal with a heavy, steam-roller rhythm and subdued raspy vocals with a death metal shade.

Blasphemy Demo 2007

My Space

ANCIENT SPELL (USA)

Based on the debut, this outfit indulge in officiant classic power/thrash which ranges from impetuous gallopers ("Bleeding Black") to imposing progressive semi-ballads ("Beyond And Back") throwing in-between the odd more aggressive thrash riffage ("Made Of Glass", where the main motif will remind you of Destruction's "Curse the Gods"). The vocalist is a hoarse semi-cleaner who at this stage is at odds with the melody recalling early Nasty Ronnie (Nasty Savage).
"Forever in Hell" is a heavy doom-laden affair which is full of high-octane 10-ton hammering riffs the latter not leaving much room for the faster-paced exploits to shine. "Eternal Embers" livens up with a series of more dynamic semi-gallopisms, but this is just too morose to make the regular thrash metal fan fall in love with it. The vocals are not better trying to sound more aggressive completely losing it in the higher shouty moments where the guy's limited range becomes only too evident.
"Eternal Punishment" indulges in heavy volcanic doom/thrash of the old school which can be ponderous and doomy ("Down from Grace") at times, at others can thrash with the finest ("Warbound") without breaking any sound barriers. The former delivery seems to be favoured more if we exclude the infectious gallops on "Crucified", and the vocals are of the subdued death metal variety suiting quite well the dark, somber music.

Ancient Spell Full-length, 2013
Forever in Hell Full-length, 2015
Eternal Punishment Full-length, 2017

Official Site

ANCIENT YOUTH (USA)

An obscure entry into the classic thrash roster which offers both crunchy more technical exercises ("The Neverworld", "1 N.M.E. (A Point of View)") and straight-ahead speedsters (the formidable galloper "The Face of Death"). The bass presence is very tangible, sometimes in a slightly vociferous way, and the vocalist is a good semi-clean throat who exudes both emotion and authority.

Ancient Youth Demo, 1992

ANCIENTERROR (CHILE)

Intense fast-paced retro thrash metal with forceful death metal vocals; the guitar work isn't very diverse, but the riffs flow smoothly being both sharp and melodic. "Only Shadows" is a particularly stylish song offering a cool mid-paced break ala Slayer (remember the beginning of "Post Mortem"), but this isn't all since later on the guitar work takes a very nice semi-technical edge. The following "Second Coming" is a stark contrast with its raging aggressive riffs amidst which there's one calmer interlude. "Terminal" slows down once again without any faster surprises, but the closing "Your God" will split your head: an awesome thrash/death metal killer, a fine mixture of very fast, slower and up-tempo galloping rhythms; well, the more melodic semi-clean vocals, which suddenly come up on the scene, could have been spared.

Arguments For Aggresion EP, 2007

Official Site

ANCKORA (RUSSIA)

A strange mix of power, post-thrash, and doom/gothic all this blended on an atmospheric keyboard-infused background with both the modern and classic sound given a fair share. Diverse affair with cool speedy moments as well and very good mid-ranged female vocals. This would be too mild for the regular thrash metal fan, but it's interesting to hear how hard riffs can co-exist with keyboards without this being annoying.

Vechnaia Zima EP, 2010

ANDRALLS (BRAZIL)

The Brazilian metal scene has finally produced an heir to its most precious "child" (you know who I have in mind). Andralls very well fill the gap left by Sepultura after "Arise". The guys are not strangers to modern sounds as well; even industrial touches could be found on their albums. "Massacre, Corruption, Destruction..." is a sure-handed debut, also courting Slayer along the way, both their faster and heavier period, the "innovation" coming in the form of the more shouted semi-hardcore vocals. The sound develops in an energetic classic manner, with all the tracks being cool headbangers, except for the doom/proto-modern "The Future of Life". The modern "winds" also blow on "No Chance to Escape", which sounds close to the fashionable at the time thrash/death metal hybrids.
"Force Against Mind" elaborates on the modern hints from the debut, but retains the retro aggression quite a bit as well, and this modern/classic thrash mixture is appealing enough, especially on the faster material: "Thrash Bloods Mine", "Andralls on Fire (t II)" (t I is from the debut), "Desire Of Glorify". There are actually very few songs which slide down below the up-tempo, the closer "Against Myself (T.C.D.I)" coming out with all the guns blazing, thrashing really hard with an added proto-death intensity.

"Inner Trauma" begins with a heavy stomping intro ("Unexpected") in the spirit of late 80's Slayer, but the moshing starts very soon after with the uncompromising speedy "Fear Is My Ally". Things only get more aggressive with "Down the Jokers" and the frantic "The Age of Rage" which again is a nod to Slayer, but their more extreme mid-80's period. There is no mercy on the rest, either, the speed being preserved until the very end with barely traces of any modern sound, a pure old school attack with a bonus track at the end in the form of a re-mastered version of "Andralls on Fire" (t I).

The self-title in Andralls' case is not a sign for a new path taken: the album offers nice old school headbanging thrash from beginning to end, fast brisk riffs which seldom pause for a break topped by angry semi-shouty vocals. There's absolutely no introduction or any similar ados here: "Two Sides" begins in an immediate bashing fashion, the aggression very soon easily reaching "Reign in Blood" dimensions ("You Mean Shit", which is a vicious piece of pure unbridled aggression; the explosive ultra-thrash on "Last Enemy"), and even the slower breaks smell Slayer ("In The Eyes of The Killer"). "Blind Leads the Blind" is kind of misplaced with its more moderate modern-sounding riffs, but at least offers a relief from the constant mosh in the middle. After it the music takes an even more extreme direction, the remaining six tracks bashing in a furious demented manner. This is by far the band's most aggressive work to date which may prove a tiring experience to those who are not used to a non-stop all-out speed assault.

"Breakneck" will try really hard to "break" your "neck" the band moshing out relentlessly "shooting" brutal Slayer/Sepultura-sque "bullets" to no end the only annoyance being the very modern sound of the guitars which even acquires a certain computerized edge at times, the guys obviously willing to betray the time of release. Still, this isn't such a hurdle for the listener to enjoy this aggressive wall of old school thrash which is seldom spiced by more relaxed hardcore outbreaks ("Poledcia"). Although the band aren't here to re-invent the wheel, it's always good to hear an old-timer doing it well, not falling behind the up-and-coming young forces.
"Bleeding for Thrash": the guys have no illusions regarding their chosen stance, and the album-title fully reveals what occurs here; in other words, the band thrash on with little remorse adding quite a few ("Andralls on Fire, Pt. III", "64 Bullets") genuinely inspired bullets to their resume. In terms of variety and deviation this album can't possibly score very high, but in terms of pure aggression and speed not many outings of recent years can match it, with only the experimental atmospheric shorter "Noisethrash" betraying the no-bars-held approach.

Massacre, Corruption, Destruction... Full-length, 2000
Force Against Mind Full-length, 2003
Inner Trauma Full-length, 2005
Andralls Full-Length, 2009
Breakneck Full-Length, 2012
Bleeding for Thrash Full-length, 2019

Official Site

ANDY ANDERSEN'S TRIBE (USA)

This is a collaboration between ex-members of the thrash/crossover heroes Broken Bones, plus Andy, naturally, who had tried his vocal skills in the fellow thrash/crossoverers Attitude Adjustment earlier. The style on display isn't exactly an extension of those two mentioned acts, the guys thrashing with bigger moderation, producing something not far from early Nuclear Assault, although non-thrash dissipators like the frivolous crossover jump-around "The Needle" and the punky marcher "Big Daddy" are not a rarity at all, Andy serving a cool clean attached timbre behind the mike, becoming more aggressive on the more brutal thrashier material ("I Ask You Now", "Life Hates Pain"), but acquiring a mellower tone on the Elvis Presley cover of "Heartbreak Hotel" at the end.

Andy Andersen's Tribe Full-Length, 1988

ANESTESIA (SPAIN)

Based on the "Anestesia Cerebral" demo, this band, whose line-up includes Mikel Kazalis: the guitarist who also took part in Estigia, offer very fast and aggressive thrash/hardcore coming as a blend of Wehrmacht and Psychic Possession. Short brutal tracks with hard-hitting riffs will you find here; good headbanging stuff, except for "B.U.F.": a melodic crossover instrumental. Reportedly on later efforts the band adopted more modern tendencies and decreased the aggression considerably acquiring a more restrained hardcore-based sound.

Anestesia Cerebral Demo, 1989
Moralidad Demo, 1990
Toki Berean EP, 1991
Gorrotoaren Ahotsa Full-length, 1993
Erantzun Full-length, 1995
GU Full-length, 1997
Ultra-Komunikatzen Full-length, 2000
Terapia Full-length, 2006

My Space

ANESTESYA (BRAZIL)

A good newcomer on the classic progressive thrash metal field; their debut is a state-of-the-art work of complex thought-out music with quite long progressive opuses, numerous time/tempo changes, predominantly mid to up-tempo with quite a few, clever, almost addictive riffs, and sudden speedy outbursts. Watchtower and Sieges Even can be cited as influences (the labyrinthine "Powerful Mind") on at least half of the tracks, but the guys often adhere to straight, speedy passages within the songs which makes them quite comprehensible despite the considerable length of most of them. The instrumental "Concerto in F# minor Op.1" is a very ambitious attempt at mixing thrash and classical music of the more standard, less abstract (ala Mekong Delta) variety, and quite successful at that, producing great melodic riffs. Another highlight is the larger-than-life progressive thrashfest "Bloody Revolution" which closes on slightly less than 11-min, and is a small album in itself. After these two crowning achievements comes a time for a more conventional sound with the stomping instrumental "Metal Procreation" and the closing mid-paced thrasher "Second Death".

Cruel Fear Full-Length, 2008

ANESTEZIJA (SERBIA)

Heavy groovy post-thrash coming as an angrier Biohazard, the exception being "W.A.R.", which is both more aggressive and melodic, featuring a nice atmospheric semi-balladic mid-section, along with the fastest and thrashiest riffs on the EP. The guys also have another project: Downstroy, where they play pretty similar music, maybe a bit faster and more hardcore-based.

Hate Power Inside EP, 2006

ANESTHESIA (CROATIA)

Based on "Eye for an Eye": 80's thrash reminiscent of Tankard and other representatives of the German school; there are jolly, non-thrash tunes thrown in here and there; a good job- "party" thrash we can call it... "Bone" has no ties to thrash metal being a modern brand of rock/metal.

Eye For An Eye Full-length, 1993
Bone Full-length, 1995

ANESTHESIA (GERMANY)

This band was formed by two ex-Gamma Ray members, but the style on display here is more thrash-oriented. Actually it's a mixture of power and thrash metal so there's nothing overtly aggressive going on. This is more laid-back, still featuring a few faster headbangers like the opening ball of fury "My Age", and the closing vehemence "Habits". The singer is acceptable with his cool not very attached clean mid-ranged baritone, sounding like John Bush crossed with Chris Cornell (Soundgarden). The guys like it longer with most of the songs going over the 5-min limit, with the 9-min opus "Atrocious Silence" alone reaching the extremes, being an abstract and plain boring at times attempt at progressive metal ala more aggressive Porcupine Tree. There are also a couple of awkward alternative-sounding tracks which recall 90's Anthrax ("I.L.O.I.") those hardly necessary; 13 songs of such a mixed nature will definitely come as too much for the regular thrash metal fan.
The "The Hour of Zero" demo is roughly produced but does show the guys' propensity for moshing with power, the wild rhythms of "Father's Pride" engaging the diverse delight "Evil, Evil Time" which ranges from frolic thrash/crossover to heavy pounding developments on top of some really captivating melodic lead sections and a vigilant virtuoso bass bottom. The semi-galloping vigour of "The Prophet of Protest" is another positive occurrence, the sophisticated technicality of the more laid-back "Tryptichon" dispersed by bouts of more intense thrashing. The vocalist is a passable semi-declamatory clean throat, lacking emotion and depth. Earlier the guys were known as Necromancy, the style pretty much the same.

The Hour of Zero Demo, 1989
The State Of Being Unable To Feel Pain Full-length, 1997

ANESTHESIA (USA, HAWAII)

This is pretty decent old school thrash that is quite comparable to Anthrax (the excellent intense mosher "Discharged Brutality"), with shouty choruses and a few more relaxed crossover elements ("Coffee & Bonghits"). "Justice Case" is pure hardcore carried by the not very emotional semi-declamatory punky vocals.

Anesthesia Full-length, 1993

Facebook

ANESTHESIA (USA, IOWA)

Slightly heavy-handed, but passable classic thrash/post-thrash built around stomping mid-tempo tracks with thundering bass and super-seismic riffage which literally squashes the listener who may not be thoroughly entertained till the very end due to the never-changing nature of the music here which carries a distant echo of Xentrix's "Kim" and Forced Entry minus the more technical escapades of the latter. The singer is a not very impressive semi-clean mid-ranger, but kind of matches the volcanic character of the rhythm-section.

Pain is Inevile, Misery is Optional Demo, 1992

ANESTHESIA (USA, NEW MEXICO)

Based on the debut, this band play a modern brand of progressive power/post-thrash/thrash which holds its own ground when it sticks to more intense, speedier songs like the interesting dramatic "Wild", but those moments aren't that many as the majority are leisurely executed quasi-progressivers ("Waters Rise", the semi-balladic dragger "Falling Again") which lack bite and verve, and are backed up by the loftier material which also comprises the edgy gritty mid-pacer "Boneman". The closing title-track is a revelation, an intense multifarious shredder which should have been introduced earlier; now it does little too compensate for the not very striking nature of the rest which tries to follow the Black Album formulas for at least half the time, including in the vocal department.
"They Will Arrive" is a decidedly better offering, at times thrashing with passion (the opening ripper "Dirt"), at others bouncing frolically with steady groovy strides ("Flyin Without Wings"). The heavy doom title-track is a more academic occurrence, but this is a nice track that also influences the material from the second half, like the epic "Red" and the cumbersome semi-balladic closer "Devoured", but brace yourselves for the rowdy speedster "Erased", a cool refreshing piece with a more classic layout.

Humans Full-Length, 2018
They Will Arrive Full-length, 2021

Facebook

ANESTHESIA OF BEER (BRAZIL)

The demo: this young Brazilian trio pulls out aggressive classic thrash/death metal with elements of hardcore; fast blitzkrieg songs sounding kind of unfinished, ending on an enjoyable thrashy moment sometimes. The middle is preserved for the cool cover of S.O.D.'s hit "United Forces". The singer is somewhat disappointing with his drunken (everything is about "beer" here, in case of you haven't noticed!) hoarse semi-death metal delivery.
“Ressaca Moral” lashes hard once again, the band also attempting something more intricate (Abolicao”) on occasion amidst the regularly provided brutal jolts (“Facada Mal Dada”, “O Bebe de Rosemary”), the respite here called “40 CarnavaisemumaNoite”, a friendly crossover jump-arounder, influencing a couple of cuts in the second half, including the short bursting “Dungeons & Dragons”.

Reign in Beer Demo, 2009
My Terror Tapes EP, 2019
Ressaca Moral Full-length, 2023

Official Site

ANESTHESY (BELGIUM)

A good mixture of death and thrash metal, calling to mind Protector and mid-period Messiah (based on the EP): check out the technical thrashing opus "Just Married"; the songs mix fast aggressive parts with peaceful balladic ones topped by brutal throaty death metal vocals. "The Ballad Of Jimmy F." is a 1-min brutal deathcore joke, and "Rerisin' Humanist" is a cool heavy doomster with a few speedier sections.

"Exaltation of the Eclipse" speeds up a bit and adds more intense riffs ala Benediction and Bolt Thrower as well as more technical ones, but preserves the doom-ornate moments from the EP. Death metal has taken over as evident from the heavy opener "Beyond Sadness" which nicely mixes fast furious riffs with ponderous doom ones. Later on both styles alternate, seldom blended together in one track, as more room has been given to the slower dark riffage, although all hell breaks loose on blitzkrieg thrashers like "Enstrangled Minds". The singer now sounds even scarier and lower, a really brutal growler not far from Karl Willets (Bolt Thrower).

"The Fifth Season" abandons the thrash metal idea almost completely, and is full-fledged death metal, faster than the previous effort, and also more technical. The overall approach now recalls mid-period Bolt Thrower quite a bit mixed with faster more technical moments ala Morbid Angel. Nothing stands on the way of overwhelming steam-rollers like "Cruelty" and "Brutal Expressions" although the more dynamic side is by no means worse: the raging ball of fury "Forgotten Epitaph", the brisk speedy opener "Black Soul". There is also one exercise in pure traditional doom: "Across The Burning Fields", and the closing "Perishable Considerations" finally offers something thrashy in a heavy crushing tone akin to late-80's Slayer.
"Let the Mayhem Begin" is another noteworthy achievement, the band showing quite a bit of their talent on the excellent virtuoso/classical "Introduction:, after which they start shredding with a nice sense of the progressive and the melodic on "The Pain I Hide", the shadow of Death prominent here and there, the heavy darker "Darknight Slaughter" moving onward with a slightly more pensive veneer, the epic speedster "The Chaos Path" holding more onto the speed/thrash idea, the closest the guys come to the vintage sound of Chuck Schuldiner's (R.I.P.) gang. "Forever Silent" is a direct non-fussy basher with a couple of more clever accumulations, and "A Walk Through Infinity" follows a similar path with a few flashy guitar explosions. "The Last Straw" is the last song indeed, and is another stylish fast-pacer, the band really pulling it off in every department as a farewell gesture.

Just Married EP, 1991
Exaltation of the Eclipse Full-length, 1994
The Fifth Season Full-length, 1998
Let the Mayhem Begin Full-length, 1999

ANETIA INSIGNIS (FRANCE)

Two guys are in charge of the music here which is dark moody thrash/death/gothic/doom on a dreamy melodic base. The album develops in a predictable mid-pace, the music accompanied by brutal low-tuned vocals which are intercepted by more expressive clean ones with a deep dark wave-ish timbre; there are also sparse female inclusions of the angelic, semi-operatic variety. The lack of dynamics makes the longer songs a bit boring with not much offered on the faster side (the brooding semi-galloper "Hear the Remains Crying"). The ballad is quite well covered ("Is it a Destiny", and elsewhere), killing the thrashier attempts, which are reflected in edgy, sharp riffs featured on almost every song. This is melancholic, depressive stuff which will also remind of early Katatonia and their counterparts Ophthalamia.

Persistence in Negativity Full-length, 1999

ANEURISMA (EQUADOR)

Capable old school thrash reminiscent of Anthrax with a touch of the Bay-Area; the guys thrash with force and a slightly noisy guitar sound topped by mean semi-clean vocals. Seldom do they turn to thrash/crossover for inspiration ("Mutilating All Faith That Bleeds"), but all-out thrash attacks, like "Pain Fest" and "Beast Of Destruction" lead the pack although the closing "Although We Loose the War" also goes astray into a mellower semi-balladic direction with slower mid-paced riffage.

Army Of Apocalypse Full-Length, 2009

ANEUROSE (BRAZIL)

Based on "Juggernaut", this band serve modern thrash with very shouty death metal vocals which create quite a bit of noise. The guys mix the tempos and the mood as the merrier one is reflected in the jolly crossover speedster "To Lemmy" which sounds too optimistic to be a wholesome tribute to the deceased legend. Elsewhere there's stomping drama ("Speeding Up!"; nothing speedy here), moshing hardcore ("Enslaved"), and melodic excursions into metalcore ("Deathly, Cold, Chill.").

From Hell Full-length, 2013
Juggernaut Full-length, 2016

Official Site

ANEURYSM (ITALY)

A mixture of progressive and thrash metal of the modern variety with numerous influences from other sides of the metal spectre; not bad, but might pull back some thrash fans because of its somewhat alternative passages.

Aware Full-length, 2002
Shades Full-length, 2007

Official Site

ANFOR (COLOMBIA)

A rough abrasive sound hampers this effort which is another addition to the voluminous nowadays retro thrash catalogue which is a bit on the noisier side of the spectre. And that's a pity because pieces like "Salvacion Eterna" and "Un Gran Temor" rage hard and would hardly leave many fans indifferent. There are a few fillers which are on the slower clumsy side, and the singer is a forced shouter with accentuated death metal inclinations.

Injusticia Full-Length, 2012

Official Site

ANGANTYR (HOLLAND)

Based on the debut demo, this band play serious speed/thrash with echoes of Paradox and Flotsam & Jetsam with elongated, carefully crafted compositions which at times come choppy and semi-technical ("Behind The Widows Veil"), at others are just friendly uplifting riffs piled on top of each other ("Bridge of No Return"). The singer doesn't take a very active part and is of the gruff semi-clean/semi-shouty type.

Angantyr Live Demo, 1988
The Official One Demo, 1991

Official Site

ANGEL 7 (UKRAINE)

Based on "The Fall of the Golden Calf", these folks deliver classic speed/thrash with a curious vocal "duel" between clean female and brutal deathly male vocals. The music is very optimistic with clear shades of the 90's power/speed metal movement with a hefty portion of pure power metal anthems which are full of catchy melodic hooks. There's even a free Christmas bonus at the end called "King of Mercy", a potent speed/thrasher which is the most aggressive cut on the album.

Last Revolution Full-length, 2014
The Fall of the Golden Calf Full-length, 2015

Official Site

ANGEL BEAST (CANADA)

Based on the "The Transition" demo, this is a melodic power/thrash metal band; the music is mid-paced and heavy, sounding like a more melodic version of Nasty Savage's debut.
"In the Meantime" increases the speed ("Dead Child's Eyes") and the technicality ("It's Insane"), but the sound becomes more melodic, this time closer to Omen, Savage Grace and other veterans from the American metal scene.

The Transition Demo, 1988
In The Meantime EP, 1990

ANGEL BUTCHER (BRAZIL)

Based on the debut demo, this band play surreally brutal bashing thrash/death, one of the first genuine tributes to the spawning at the time death metal movement. The production is very sloppy with all the instruments mesh into one big melee, the screechy blacky vocals adding more to the chaos. The bash is relentless, the musicianship on a semi-amateurish level with only "Fuck The System" showing some more coherent dynamics resembling the guys' compatriots Chakal.

Pigs in the Power Demo, 1988
A Insect in Society Demo, 1989
The Angels Are Back Demo, 2006

Official Site

ANGEL DEATH (ITALY)

Based on the "Death To Christianity" demo, this band are one of the very first practitioners of brutal and raw thrash/death metal in Europe. Their music is not too far from early Messiah, probably with a lower level of musicianship and with a shade of hardcore, recalling The Exploited.

Death To Christianity Demo, 1986
Gore (Blood of War) Single, 1991
Demo 'b491 Demo, 1991
Exorcisin' the Pain Single, 1992

ANGEL DUST (GERMANY)

"Into the Dark Past" is brilliant speed/thrash metal, easily one of the best works of the whole scene. Once the speed/thrash classic "I'll Come Back" hits you, you know you'll be coming back (no pun intended) over and over again to listen to this masterpiece. Although this album clearly shows its age, few are those which can capture the magic of the German 80's thrash metal scene as well as this one. Every other song is actually as strong as the opener. "Legions of Destruction" thrashes with no mercy, even attempting something more technical for a while in the middle. "Gambler" is a 7-min speed/thrash riff-fest at its finest, followed by another similar explosion: "Fighter's Return". "Atomic Roar" will crush you with its heavy, and at the same time intense, fast rhythms. "Victims of Madness" finally slows down: a nice up-tempo thrasher, a well deserved break for the guys, before "Marching for Revenge" closes this incredible work in a raging, furious way.

"To Dust You Will Decay" brings the winds of change with it (too early: Scorpions made the song two years later!); the first new thing is the singer S.L. Coe, who has a great voice, but is more melodic, and it seems as though the rest try to adjust the music to better suit his less aggressive delivery. "Mr. Inferno" is an awesome opener, pretty much in the spirit of the debut. "Wings of an Angel" has too gentle a title to be a hard-hitting thrasher, and this is not the case: this is a moderate power metal number, and this is where quite a few heads will start shaking in doubt. "Into the Dark Past (Chapter II)" will raise some hopes, because of its title, but the music is more on the power/speed metal side. "The King" hits hard, thrashing with power, hopefully setting the tone for the rest of the album, and the following "To Dust You Will Decay" does exactly that: thrashing relentlessly, accompanied by an enormous sigh of relief from the listener. "Stranger" is not bad, but is more melodic and more power metal-based, with a great chorus. "The Duel" is a speed metal track, and one could easily see how much the 90's power/speed metal scene owes to songs like that. "Hold On" is an inauspicious ending, with ordinary heavy/power rhythms, causing anxiety as to what direction the band would take from now on. It was probably a kind of relief that they disbanded soon after, with S.L. Coe joining Scanner for one last temptation a year later. The others were back in the mid-90's, but their works after the reformation have completed the transformation into a power metal band with progressive overtones, with the occasional presence of some thrashy riffs from their "dark past".

Into the Dark Past Full-length, 1986
To Dust You Will Decay Full-length, 1988

Official Site

ANGEL DUST (HOLLAND)

Based on the debut demo, these guys offer a not very organized mixture of power, speed and thrash which still has its cool moments reminding of the Nasty Savage debut with its raw naive charm. The prevalent direct stripped-down approach is abandoned on the epic brooder "Witches Brew" which can become a bit tiring near the end since the band never change the monotonous mid-pace. The singer has a not very rehearsed thin semi-clean voice which he managed to hone better for the next incarnation of the band, Asgard, where the style shifted towards less exciting speed metal.

We Honour Black Religion Demo, 1984
Possessed by Evil Demo, 1985
Pray for Metal Demo, 1985

ANGEL FALLEN (USA)

Thrash/death metal of the modern variety, aiming at the progressive audience as well, mainly based on sprawling atmospheric, peaceful middle sections, recalling Opeth. The compositions are long with the exception of the ordinary weak "Descent" which is even further ruined by bland clean vocals. The rest is not bad at all, mostly mid-paced to slow with complex passages where more energy could have made them more interesting; now they would definitely find a lot of fans from the gothic metal camp as well.

Angel Fallen Demo, 2008

ANGEL FLESH (USA)

Based on the EP, this band play a modern/classic hybrid of thrash with more or less progressive overtones, the inspired multifarious shredfest on the title-track calling both Darkane and Vektor to mind. "Silencer" is the exact opposite to its title, a vociferous headbanging delight with a stronger retro flavour the latter preserved all over for the shorter more concrete roller-coaster "Unseen Enemy" which also offers a couple of really good dazzling melodic leads. "Battlefield" doesn't really turn the setting into one battlefield, but the less controlled blast-beats on it evoke images of both death and black metal drama those aggravated by the harsh overshouty death metal vocals.

Throne of Judgement Full-length, 2013
Plague of Humanity EP, 2019

Official Site

ANGEL GRAVE (USA)

This outfit produces eclectic jumpy technical/progressive thrash/death which consists of hard speedy passages which suddenly get intercepted by complex jazzy breaks. This blend surprisingly works since the band cover both sides expertly the symbiosis very well expressed on the diverse opus "Angel Grave" where furious sections are replaced by twisting puzzling ones ala Cynic and Atheist. The music also has shades of mid-period Death and Sadus allusions also made by the great bass work which is a stylish nod to the master Steve DiGiorgio. The short instrumental "Equilibrium" is a virtuoso piece of expert musicianship, but nothing beats the 13-min saga "Organic Algorithms" which overflows with nuances to a fairly overwhelming effect including several ultra-brutal death metal moments; the guys maybe overdo it here since the shades are too many for one to be able to follow all the twists and turns of the plot. The final "Desolate Homecoming" is only a relatively more immediate thrash/deathster inserting a slight keyboard background to a dramatic, atmospheric impression also reflected in a haunting closing organ-driven operatic section. The vocals are of the generic semi-whispered death metal variety, but they are hardly a detriment. This is thought-out music which would delight the progressive metal fans, but those who are fonder of the aggressive, headbanging side of the genre should also check this out.

Ostendere Vestibulum EP, 2012

Official Site

ANGEL GRINDER (USA)

This formation pull out an old school brand of thrash/death which can be quite wild and purely deathy ("Cryostasis", "Axe to Grind") at times, at others is more controlled semi-technical thrashing melee ("Confessions of the Damned", "Got Your Goat") the gruff semi-guttural death metal vocalist supporting all stylistic swings with the same threatening passion. "Ritual Heresy" is also worth mentioning with its twisted more intricate arrangements, the tables again turned more towards the death metal realm.

Confessions of the Damned Full-length, 2020

Official Site

ANGEL NEGRO (SPAIN)

Based on the "Hombre Rico, Hombre Pobre" demo, this outfit practices a modern brand of thrash/crossover with classic references. This is diverse stuff with an alternation of slow and fast songs on a slightly noisy guitar base with a use of leads which are of the screamy type, but deliver. The vocalist is a typical death metal growler, but his rendings are intelligible.
The debut demo is in the same vein, maybe a tad more aggressive and classic-sounding offering more intense riffage towards the end where also comes the funky oddity "El Buitre (Ska)" which will make you dance around with its frolic playful rhythms the latter totally contrasting with the rough drunken semi-shouty vocals.

Trashg'fcerta Demo, 1992
Hombre Rico, Hombre Pobre Demo, 1993
Er Total Disaster Tour 93 Demo, 1994

ANGEL OF SODOM (FINLAND)

Crunchy classic thrash with shouty death-like vocals; there's variety of tempos the faster one best exemplified by the blitzkrieg "Divine Retribution", the more officiant side more frequently heard reaching the culmination on the closing volcanic epicer "Laid To Waste". The sound production is a bit overdone making the guitars too noisy at times.

Divine Retribution Full-Length, 2015

Official Site

ANGEL REAPER (HUNGARY)

Based on the "Vgzet Utolr" demo, this band offer raw amateurish black/thrash metal which at times sounds close to the Slayer debut, but when it speeds up, it goes straight into the Brazilian camp: Sarcofago, Vulcano, etc. The guys aren't aggressive all the time, and jolly crossover numbers are also present: "Kannibelok Temadesa", "Disc Desg Dig", livened up by melodic guitar lines, which could have been taken from the Hungarian folklore. The musicianship is on a low level, despite the effort put by the guitar players; unfortunately the singer is placed too much in the front which is bad because his sinister rasps are not good at all, and the parts where he doesn't sing are the better ones.

"Exhumelt Vileg" is better in terms of musicianship, and this time the mix is between thrash and death metal. As a result we have 7 pretty intense headbangers, not too far from the works of Protector or Messiah from the 90's. The bonus track "Hitler A Messies" at the end, is apparently a leftover from their more black metal-inclined past, but is a cool minimalistic mid-paced black-ish thrasher, partially ruined by the listless declamatory vocals.

Demo I Demo, 1987
Vgzet Utolr Demo, 1989
Exhumlt Vile1g Demo, 1992

Official Site

ANGEL RISING (FRANCE)

The debut: this is a one-man show, the guy going under the pseudonym Listenangel... in other words, it's all about angels here, and on the music front we have retro thrash with a guttural death metal vocalist who struggles to find his rightful place in this intriguing quasi-progressive setting where even some more aggressive death metal ("From the Grave to the Light") can be come across alongside more technical stompers ("Kneel") and curious speedy shredders ("Tears of War"). The sound quality is too noisy and abrasive, creating a near-industrial environment at times.
"Immortal Volition" is another worthy achievement from a musical point-of-view, the man really excelling in the lead department with blazing virtuoso licks, also adding a nice vocal accompaniment on the surreptitious Oriental saga "Upon The Vale". The title-track is simply put a chapter from Shrapnel lore, the axework is outstanding, overshadowing the rest of the album which still more points from the seductive atmospheric chopper "Devil Particle", and the spell-binding lead-driven lyrical all-instrumental closer "Nox Aeterna".
“Afterlife” doesn’t change direction, the speedy multifarious title-track bonding well with the earthquaking “Hell Bent on Rampage” and the morose doom-laden march “Reign of Torture”. The friendlier gothic clout of “Dominion” is by no means a slouch, neither is the melodious operatic all-instrumental tractate “Worn Out Blood”, Listenangel feeling more introspective and romantic towards the end.

Angel Rising Full-length, 2020
Immortal Volition Full-length, 2022
Afterlife Full-Length, 2023

Official Site

ANGEL SCAR (USA)

Six youngsters have gotten together here for the creation of these four compositions of abrasive modern progressive post-thrash which comes with echoes of industrial and death metal all influences kind of embedded in the not best possible way, a fact also verified by the lack of many fast-paced passages the whole amalgam being too noisy and clumsy to make the listener concentrate willingly. The several acoustic/balladic breaks are quite good, though, and they surpass the rest in both musicianship and atmosphere although some more intriguing decisions can be noticed on the closing "The Din of It All". The singer is a subdued deathly semi-shouter whose presence isn't very strongly felt.

Angel Scar EP, 2012

Official Site

ANGEL WARRIOR (GERMANY)

Old school power/thrash which is built around heroic pounding riff-patterns that may outstay their welcome a bit as the approach is not very dynamic once the dominant mood has been settled, with both doom ("Wings of Eden") and speed metal (the symphonic hyper-activeness "Bloodmoon") given a share from the stocks, with "Fear No Fear" losing it a bit with untamed proto-death configurations. The cool clean mid-ranged singer accommodates all stylistic swings including the latter although he could have tried something more lyrical and poignant on the otherwise nice ballad "Walking on Water".

Metallic Power Full-Length, 2019

Facebook

ANGELCRYPT (MALTA)

Based on the "From Abyss to Glory" EP, this band play epic power metal mixed with thrash and speed metal in a way not entirely different from the Polish Hellfire or Manticora from Denmark. The vocals are a bit roughly-sounding for this kind of music, but this is not a big obstacle. There's some cheesiness involved which often goes hand in hand with epic power metal (the use of keyboards, epic choruses, etc.), but there are also enough heavy sharp riffs to give the music the necessary edge.

"Echoes of Death" offers a similar concoction with more concentration on power metal not far from early Omen and Manowar. The pace is mid with more speedy "decorations" here and there, the singer again being the under-performer with his hoarse drunken blend.
"We Are the Dead": the rough death metal vocals are the only brutal thing here; otherwise music-wise the guys bring the winds of speed metal, above all, softening the atmosphere with the casual mid-pacer (the title-track, the epicer "Blasangriff") also notching it up in the musicianship department with the rousing battle hymn "Serpents of the Somme", a fine progressive number with soaring virtuous melodies.
"Dawn of the Emperor" can easily pass for the band's most brutal recording with death metal brought to the fore the resultant power/speed/death/thrash mixture sounding too ordinary and convoluted to produce a very positive impression, with "Iron Creed" restoring some dignity with its iron speedy rhythms, but otherwise this is a very typical for recent times amalgamation of styles which lacks character and vigour.

From Abyss to Glory EP, 2003
Echoes of Death EP, 2007
We Are the Dead Full-Length, 2016
Dawn of the Emperor Full-length, 2020

Official Site

ANGELDEATH (USA)

Based on the "Hordes of Sickness/Legions of Hate" EP, this is a typical old school thrash/death metal hybrid with early Massacra a very close soundalike. So expect predominantly fast music with gruff semi-whispered death metal vocals. The guys are not for all-out speed the whole time, and heavier breaks are scattered all over making the music diverse and interesting.

Screams From Beyond EP, 2003
Hordes of Sickness/Legions of Hate EP, 2004

My Space

ANGELFALL (CANADA)

A classic brand of thrash/proto-death which comes with a thin guitar sound that may be a bit grating on the nerves, especially with those vicious witch-like vocals hissing around. The overall approach is mid-tempo with dark atmospheric undercurrents which tolerate sparse shades of black (the title-track) as well as a few more officiant epic (the closing "Slavic") walkabouts.

Target Souls Full-Length, 2018

Youtube

ANGELKILL (USA)

Based on "Beyond the Black", this band pulls out heavy still classic-sounding thrash with a couple of groovy passages thrown in ("Bodies On The Ice", which also offers a nice classical section recalling Verdi's "To Elise"), heavy and mid-paced for most of the time with gruff death metal vocals. The music goes down to doom at times in a way similar to the Dutch Asphyx, and since there are ten songs which are quite close to each other sound-wise, this album may tire the listener as the guys are not willing to make things faster at all.

"Bloodstained Memories" is a better offering, more dynamic and diverse, albeit a tad more modern-sounding, starting with the nice progressive mix of thrash and doom "Infernal Names". Later on the material is in the same vein, mixing intense faster passages with heavy hammering ones with a strong doze of technicality at times: the excellent constantly hectic jumpy "Unliving Sleep"; the Death-esque "Spiritual Amputation" which crushes like an intelligent technical steam-roller. When "Flesh Defiled" delights again with its heavy technical riffs, one may start wondering whether he has heard such heavy stuff so well embedded with technicality before. "Sinners Dance" speeds up a bit (after all, it's a "dance") offering a nice "violin-versus-guitar" section ala Skyclad. "The Secret Room" is doom/tech-thrash at its best, while "Orgy of Self Mutilation" is again a bit faster with crushing jumping guitars and a cool lead passage near the end. The final "Dearly Beheaded" is another slab of doomy heaviness abandoning the technicality for the sake of more gloomy atmosphere.

"Casket Lullabies" should be no surprise offering the same heavy technical sound, this time with a bigger nod to the classic school, with more proficient lead guitar work. The opening "Wolfen" starts in a predictable fashion mixing doom-laden with semi-technical riffage before a very fast raging section scares you somewhere in the middle. "Sewn Shut Eyes" is great technical thrash with a fine Oriental motive, and a brilliant doomy exit in the best tradition of Candlemass. "Impaled Visions" is shorter and jumpy, but "The Curse" makes up with lashing heavy crushing riffs for about 8-min, even containing another fast-paced section. More speed coming with the fine galloping "Throughout Oblivion", something quite new in the band's delivery; watch out for the marvelous melodic lead passage in the middle which also springs up at the end. "Moon on the 7th" is more ordinary sounding like a leftover from Testament's "Souls of Black", and "Master of Nightmares" switches onto crushing heavy thrash ala Cerebral Fix, the exception coming in the form of the nice melodic leads. The band's staple style returns with "Man Eating Man" although this piece clings more towards doom. "Crown of Flies" closes the album with style, thrashing far and wide (and fast) with a nice Oriental blend again without forgetting about the trademark heavy technical guitars which here simply crush skulls. This interesting characteristic, clearly classic-sounding, approach to thrash should have found more exposure back in those days, especially when the guys in the beginning were steadfastly defending an already lost cause, heroically surviving long enough to see the first "light in the tunnel" in the late 90's.

The debut is a messy affair seeing the guys still "honing their weapons", providing a very abrasive heavy guitar sound which at times sounds like one fuzzy wasp-y guitar. Technicality is very slightly covered, as well as doom ("Imagined Ugliness" is the sole slow exception), and most of the time the music is a hesitation between thrash and death metal mixing fast and mid tempos to a not very impressive effect: the switches are not very smooth, and there's a lot of unmelodic chugga-chugga riffage ala Meshuggah to be heard, but this one serves to no purpose, simply because nothing technical or more interesting goes on.

"Artist of the Flesh" is another capable effort, more dynamic (if we exclude the great exercise in ponderous Sabbath-esque doom "Morbid Confessions" near the end) and diverse than "Beyond the Black", and more classic-sounding in a way not too far from Cerebral Fix's "Death Erotica". Some of the songs are in a cool up-pace, and the jumpy technical tempos which made the next two albums so memorable, have been introduced (the intense pounding "Born in Blood") although here they still play a secondary role. It's still a bit dry in the guitar department with the nice melodic hooks and leads just starting to show up.

Artist of the Flesh Full-length, 1991
Garden of Crosses Full-length, 1993
Lady Cadaver EP, 1995
Beyond the Black Full-length, 1996
Bloodstained Memories Full-length, 1996
Casket Lullabies Full-length, 1998

Official Site

ANGELLIC RAGE (USA)

This is actually a very old band, their early demos dating back as far as 1990. There's very little information as to what caused this very long delay till the first full-length release, but it's a fact, and the good news is that the band are capable of producing good dark thrashy power metal with progressive overtones: think Sanctuary's "Into the Mirror Black", Liege Lord's "Master Control", the Swedes Pathos. The music is mid-paced and heavy, topped up by excellent melodic mid-ranged vocals, quite close to the ones of Jeoff Tate and William Wren (Mystic Force, Oracle). "Total Suspect" is quite a good take on the early Queensryche sound (the debut), and is the softest composition. The album is whole 14 songs long (after all, it's been nearly 20 years of collecting a material for this album), so expect variety in the sound on offer: more modern-sounding numbers ("Born Into") ala The Black Album; faster thrashy monsters ("Final Sacrament", "Lost Face"); impressive technical power/thrash ("Pained", the twisted in the best tradition of Helstar's "Nosferatu" "Industrial Genocide"); heavy doom thrash ("Dr Jeckyl"); even one funky heavy/power metal track ("Seeing Believing") as a finishing touch which is hardly the best way to end this nice work, but by that time one should be fully satisfied going through a wide spectre of technical/progressive power/speed/thrash metal nuances.

Generation Enraged Full-length, 2009

Official Site

ANGELRAPE (SWEDEN)

Based on the self-titled debut demo, this outfit provides three songs of aggressive black/thrash crossing early Absu with Impaled Nazarene in a comprehensive, sure-handed way. There are short, to-the-point, outbreaks ("Black Winds") as well as long thrashier ("Satanic Bless") pieces topped by unholy raspy black metal vocals.

The "Unholy Proclamation" demo is a 4-tracker which continues in the same uncompromising vein thrash/blacking in a vicious, no-bars-held manner with a more frequent use of blast-beats and a shade of death metal ("Raped By Silence"). Relentless stuff as a whole with a few nice melodic leads thrown in.

Angelrape Demo, 2004
Unholy Proclamation Demo, 2005

ANGELS TORMENT (AUSTRIA)

This demo contains 4 songs of fast intense black/thrash/death metal "courting" the more modern 90's school coming close to early Dissection on the more inspired moments.

Angels Torment Demo, 2006

ANGELUS (GERMANY)

A curious offering which is built around the so much loved thrash/crossover, but there's certain speed metal aesthetics and pure 90's proto-groovy elements, quite an early phenomenon at the time. The problem is that the guys lose the thrash metal idea more than now and then and descend to funky, punky and what-not passages. There's perennial jolly optimistic atmosphere throughout, but the thrash metal fan will lose his/her patience long before the end.

Kneel Down and Pray Full-length, 1991

ANGELUS (HUNGARY)

Both sexes are presented equally in this Hungarian quartet (the singer is a guy, though, although his hysterical screeches may mislead) which offers heavy semi-angry modern post-thrash with jumpy heavy riffs which seldom pleasantly surprises with more vivid proto-classic riffage, but such deviations are not many at all, and despite the cool dark atmosphere created this effort will hardly make a lot of eyebrows raise.

Halhatatlantalan'edt'e1s Full-length, 2008

Official Site

ANGELUS APATRIDA (SPAIN)

The debut: a mix of more melodic power metal and Pantera, not bad with cool edgy riffs; at the end the band pay tribute to their idols with a cover version of "Domination". "Give'Em War" is a major improvement over the debut, with a thrashier sound (also displayed by the song-titles: "Thrash Attack"), leaving the power metal influences far behind, and along with the crushing Pantera-sque riffs one could hear cool Jeff Waters-like ones, too, as well as really good classic thrash guitars.

"Clockwork" leaves all the modern gimmicks behind and focuses on brisk retro speed/thrash metal in a dynamic up-tempo with good mid-ranged semi-clean vocals with a slight throaty shade ala Dave Mustaine. The overall style resembles the Bay-Area acts (Exodus, above all; and Testament, on the more technical leanings ("The Misanthropist")), the guys exiting their speedy approach with sce, but convincing, heavy mid-paced moshers ("Get Out Of My Way"; "My Insanity"; the excellent more melodic closer "National Disgrace" which also acquits itself with a couple of edgy galloping riffs in the 2nd half). A bonus track for a "dessert" awaits you at the very end: a nice speedy cover of Iron Maiden's "Be Quick Or Be Dead".

"The Call" shows the band in a fairly cool form once again to produce the needed doze of rigorous headbanging thrash which after the perennial opening mosher "You Are Next" acquires a more controlled "face" sticking to less striking mid-paced formulas the downbeat impression erased by the diverse opus "Blood On The Snow" in the middle: a dramatic machine-gunner with spontaneous speedy outbursts. Things get more interesting after that with the thrashy delight "Killer Instinct" which is vintage early Megadeth echoing the preceding effort. Then comes another string of more laid-back mid-pacers which grow into the closing "Reborn": an encompassing composition of the semi-balladic variety which is full of heavy rhythms and a few good lead melodies. The singer continues to deliver with his passionate mid-ranged voice here recalling Leszek "Leo" Szpigiel (Scanner, Mekong Delta) quite a bit.
"Hidden Evolution" is now the expected high-quality thrash from the Spaniards and the fans won't be disappointed moshing out on this intense effort which takes no prisoners on raging pieces like "First World of Terror" and "Architects" the latter serving cool sophisticated technical licks. "Tug of War" is a diverse speed/thrasher with echoes of Paradox, but it's "End Man" which goes away with all the praise for technical performance: hectic technical thrash at its most inspired the rifforama supported by very cool melodic leads as well. "Speed of Light" tries to reach the aforementioned in the title light, but gives up at some stage since the remaining numbers are mid-paced at best the band calming down near the end for a softer, more progressive sound.
"Cabaret de la Guillotine" offers both a more complex and more melodic approach the band not intent on bashing the hell out of their instruments, the final result often clinging towards the power/speed metal confines ("Ministry of God", "The Hum") with echoes of Paradox's "Electrify" and the Headhunter shenanigans. Full-on thrash attacks are very few in-between as the focus is more on melodic arrangements and more carefully assembled compositions among which "Farewell" is a curious epic semi-ballad.
The self-titled is a more aggressive thrash-prone proposition, the Bay-Area ("Bleed the Crown", "The Age of Disinformation") given royal treatment, the headbanging factor really high all over, with hardcore taking over on the ripping "Childhood's End", and with the good old speed metal ("We Stand Alone") making another showing to add more to the high dynamics permeating this enjoyable effort.
“Aftermath” doesn’t betray the band’s chosen stance, the vigorous numbers “Cold” and “Snob” raise the Bay-Area flag sky-high, the more technical riffs on “Fire Eyes” a clear wink at early Testament, with “Rats” sweeping all the posers within 4-min with its wild unbridled rhythms. The ties to the mentioned US veterans become only too clear once the good soulful ballad “To Whom It May Concern” has passed, “I Am Hatred” pouring more style into this admirable offering with another array of stylish contrived riff-formulas.

Evil Unleashed Full-length, 2006
Give 'Em War Full-length, 2007
Clockwork Full-length, 2010
The Call Full-length, 2012
Hidden Evolution Full-length, 2015
Cabaret de la Guillotine Full-length, 2018
Angelus Apatrida Full-length, 2021
Aftermath Full-Length, 2023

Official Site

ANGELWARRIOR ACE (GERMANY)

This band is just one person, the name Chris J. Marino. The debut is battle-prone retro power/thrash the guy providing a wide array of vocals one of which is not very suitable deep guttural death metal growl. Otherwise the music delivers with hard lashing riffage which is at times helped by soaring keyboards ("Balls Of Steel") as actual hard-hitting thrash ("Curse", "Thin Line") is not such a common occurrence. The guitar sound acquires sparse annoying, noisy qualities ("Tornado") which mar the warm epic tone prevailing for most of the time.
"Noble Precious Metal" is sustained in the same manner the abrasive guitar tone still present which shouldn't be the case as this time the delivery is more aggressive with more regular headbanging escapades ("King Arthur", the speed/thrashing fury "Revelation War"). "Bewitched" is a cool attempt at a more technical, also more melodic, play, the highlight here.
"Warriorsoul" is the next chapter from the career of one of the most prolific metal artists of the past 3/4 years, but this time there isn't much thrash to be savoured, the delivery way more oriented towards the epic power metal confines, with balladic/doom excursions like "Ship of Damnation" and variations on the Manowar repertoire like "Metal God". The very thin abrasive guitar tone is a detriment here the riffs barely heard on quite a few occasions.
"Obsidian" is an epic quasi-doom metal affair, the even more insistent abrasive sound quality seriously grating on the nerves more than just now and then. "The Omen" creates some thrashing urgency, but the rest is strictly for fans of Manowar, Virgin Steele and mid-period Bathory.
"Diviner" is the next-in-line battle instigator but at least this time there's some thrashing, or at least semi-thrash, urgency at play on rowdy cuts like "King of All Kings" and the short blitzkrieger "Magic Spell", the sprawling epicness of "Divine Serenity" echoing mid-period Bathory, things going over the top on the disheveled aggressor "Revelation War" where some death metal even comes to play for a bit. The abrasive noisy production is also here, again hardly an advantage under the more dynamic circumstances.

Magic Full-length, 2016
Noble Precious Metal Full-length, 2017
Vengeance of Steel Full-length, 2017
The Lucky Punch Full-length, 2018
Chain Breaker Full-length, 2018
Metallic Power Full-length, 2019
Warriorsoul Full-length, 2019
Obsidian Full-Length, 2019
Diviner Full-Length, 2020

Official Site

ANGER (ITALY)

Based on the EP, this outfit indulge in intense aggressive thrash/death with very brutal low-tuned death metal vocals which are not very intelligible. The music packs a punch changing pace at will without creating too much chaos along the way the final result resembling later-period Messiah (think "Choir of Horrors"), maybe a tad more simplistic and with a muddier sound quality which surprisingly favours the guitars since they're not really technical, but bash with passion in an attractively disheveled manner. Reportedly the full-length incorporates industrial elements and sounds close to early Fear Factory. It's interesting to know that the band members have taken part in some of the most prominent Italian metal acts (Death SS, Eldritch, Labyrinth, etc.).

No Compromise EP, 1995
Chaos Full-length, 2002

Official Site

ANGER (USA)

Modern 90's thrashcore which is quite close in spirit to Madball; expect shouty choruses, choppy breakdowns, and a couple of unrestrained hardcore outrages ("Snitch"). The more controlled "Anger Turns To Hate" also shows some headbanging vigour, but the dominant tone is mid-paced and crushing, the very shouty rending vocals retaining the quarrelsome drama.

Miami, fl Full-Length, 1994

Youtube

ANGER AS ART (USA)

Based on "Anger as Art", which is actually a re-recording of an album initially made two years earlier, with Steve Gaines playing all the instruments, using a drum machine: the fast, intense delivery of the band draws inevitable comparisons to Violence's "Eternal Nightmare" although the opening "Attitude Adjustment" is pure unbridled crossover/hardcore, quite similar to the style of the old band to which the song-title refers. The music hits you like a steam roller and never lets you loose. This is a really fine piece of pure aggression: no flaws, except for the last number which is a hardcore-laced, not as good as the opener, joke. The final "Blood Of My Enemies", which isn't a Manowar cover, nicely hints at the band's bigger technical potential which finds a fuller realisation on the sophomore release. The bonus tracks are live versions of songs from the album, with one very fast-paced cover of Sepultura's "Troops of Doom" added as a finishing touch. Gaines (Abattoir, Bloodlust, Dreams of Damnation, etc.) does a good job behind the mike, toning down his vicious death metal timbre for the sake of cool semi-clean melodic lines. With rumours about an eventual Abattoir reunion, the future of this talented act is uncertain.
"Callous And Furor", released the same year, is a similar merciless thrash metal assault sounding like a nice companion to the debut with the guitar work becoming both more technical and more melodic ("Gnashing of Teeth" is a great example of a mixture of both; the title-track is glorious technical speed/thrash recalling the Swedish masters from the distant past Midas Touch; "Still I Hate" is a brilliant short raging piece of technical thrash/death metal) which makes it an even better listening experience. This time there is more variety: "Bane of My Existence" slows down, featuring a nice solo, too; "Watch Me Suffer, Watch Me Die" is the odd galloping power/thrash metal number in the spirit of Griffin and Omen; "Invaders from Within" blasts out for a while in a mighty technical death metal fashion, later carrying on in a splendid speed metal spirit not heard since Helloween's "Walls of Jericho", before the nice acoustic balladic section in the end where Gaines shows his more tender vocal talents.

"Disfigure" comes after a 3-year break which shouldn't be a surprise having in mind the guys' occupations with other acts around the metal circuit including all of them taking part in the resurrection of the 80's power/speed metal legends Abattoir, including Gaines himself. So shall we be delighted again? By all means, as the guys waste no time proving their worth with the energetic opener "The Crush", vintage old school Bay-Area thrash with a nice doomy twist at the end. This is the just the beginning, though, as both speed and technicality reach new heights on the raging speedster "Appease an Angry God", a mosher of a very high order with an addictive main riff. Still with a headshake from the last offering, one will be thrown into another headbanging tornado with "It Feels Like Blood", a semi-technical lasher in a very fast tempo. "Disfigure" is the obligatory break from the mosh, a heavy doom thrasher. "The All Fall Down" is very quick to compensate with a very short fierce grinding section in the beginning, just to suggest that there will be no much rest on this monster, and indeed, this one is fast relentless thrash with the grinding passage springing up several times later on leaving room for an interesting semi-melodic/semi-technical ending. "Master Becomes the Slave" prefers to mosh in a slightly slower up-tempo way, but "Seed of Hate" is sheer speed metal fury taken straight from the early 80's German scene. Technical, still quite fast, thrash takes over on "I Am Your Enemy" where the guys shred like demented for the whole 4-min. No rest for the wicked, and "Anger is a Gift" is another all-out thrash assault with a cool technical edge, but the final "Dissention" beats it all marrying technical riffs, sweeping melodies and very fast pace to an overwhelming effect, the headbanger's paradise, ending this masterpiece in the best possible fashion. Probably the only newcomer of the past few years to boldly stand on the very front echelon with the veterans even surpassing them at the present moment and a main pretender for the "best thrash metal act of the decade" title right now.
"Hubris Inc." has a heavy boulder on its shoulders by trying to keep the band on the top. Unfortunately, it doesn't bother doing that and it hardly delivers even half as well as the previous efforts with its messy concoction of influences. The range of styles is now bigger with flashes of hardcore meeting the fans from the get-go on the opening "Time Devours Life" before more brutal death metal blasts knock you down on the next "Gods Of Hate". Then comes the heavy/doom rocker "Anger As the Reason" which has a few matches later on the latter dispersed among the faster numbers which which are more on the speed metal side branching out into crossover on the merrier rhythmic sections. "Rage And Retribution" sees the inclusion of Betsy Weiss from the US heavy metal veterans Bitch who gives a cool fragrance to the album with her attached performance. As a whole this is a not very impressive achievement the guys playing a blend of too many styles here as though not feeling confident that they would pull it out with such style anymore in the thrash metal department. So logically their top position in the charts is subject to revision...
"Ad Mortem Festinamus" has the lighter task to keep the band afloat after the not very striking previous offering. The guys open with two lightning-fast cuts the second of which is a pure melo-deathster with a thrashy colouring. There's no rest for the wicked, and these pieces are followed by the dynamic progressiver "Tombward" and the 2-min crossover joke "L.A. State Of Mind". "Hammer, Blade, and Twisting Fire" is a nice energetic galloper, and "We Hurry Into Death" is another death-ornate shredder. Seekers of the technical and the innovative would have given up at this stage to hear something along the lines of the band's first two albums, and indeed, this recording is only marginally better than its predecessor seeing the band shying away from the high standards set, lacking ideas to back up their impressive beginnings.
"Virtual Sympathy" offers quite a bit of variety, from the brooding morose opener "The Crushing Wheel" to the wild lashing hardcore-ish "Ice Pick", to the more stylish basher "Virtue Signals", the guys moving along in a prevalently energetic pace, the sizzling "Colors of the Dark" contrasting with the avalanche-like tank approach epitomized for "Absent Sin". Towards the end the guys brace themselves for the more serious heavy epicer "Into This World" and the frolic power metal complexer "Waiting on the End", the thrash idea lost a bit on those, but nicely recaptured with the bursting technical closer "Never Fade Away".

Anger As Art Full Length, 2006
Callous And Furor Full Length, 2006
Disfigure Full-length, 2009
Hubris Inc. Full-Length, 2013
Ad Mortem Festinamus Full-Length, 2016
Virtual Sympathy Full-Length, 2023

Official Site

ANGER MACHINE (HOLLAND)

Based on the full-length, this act pull out modern melodic thrash that would please the headbangers at the beginning with lively anthems like "Disconnected" and "Conquer All", but once the groove enters with the volcanic title-track, there's very seldom a relief from its snare although the lyrical sensitivity of "Created to Corrupt" and the stoner/doom vibes of "Red" tells a different story for a bit. The angry shouty semi-death vocalist occupies quite a bit of space, deafening his colleagues' endeavours at times.

Unbreakable EP, 2016
Trail of the Perished Full-length, 2019

Official Site

ANGER REIGN (USA)

Based on the "Technodeath" demo, this band do not belong exactly to the technical camp opting instead for a more standard sound ala Anthrax and mid-period Overkill with elements of power metal. There's a certain lack of speed the guys sticking to the mid-pace for most of the time with heavy smashing riffs, screamy leads, and very good clean vocals which often hit the high mark without sounding annoying. Some of the guys later formed Graphic Violence with whom they acquired a slightly more modern sound.

Anger Reign Demo, 1990
Technodeath Demo, 1991

My Space

ANGER WITHIN (USA)

Cool classic crossover/thrash of the more aggressive type with elements of death metal. The debut demo is three cuts, "No Time" being a wild thrash/deathster rushing with fierce unbridled riffs, "Insane War" being a more technical and more atmospheric proposition with heavy pounding rhythms. "Anger Within" is another bashing piece, staying closer to the pure death metal parametres, where also the throaty shouty vocals belong.
The 1992 demo is almost identical to the debut one, with only one track ("What's Right?") making the difference with a more carefully-plotted, near-progressive layout, still rolling within the retro thrash confines.

Demo Demo, 1991
Demo Demo, 1992
Rise from the Violence Demo, 2000

Official Site

ANGERHEAD (USA)

The debut EP: three songs of the good old thrash/crossover done with a crisp modern production and containing expressive shouty but not unpleasant, semi-clean vocals. The band have fun pulling out merry energetic riffs sticking to a direct simplistic approach characterized by moderately fast guitars with almost no melodic tricks to be heard; the way it used to be done in the good old days.
The full-length is another brisk affair the band keeping the fiery speedy riffs flying even on longer, more thought-out cuts like "Legacy of Hate". Motorhead's "Iron Fist" appears in the middle to summarize what this merry, optimistic effort is all about: energetic unpretentious retro music with occasional groovy distractions ("Endless Nightmares").

Pissed Off!! EP, 2012
Headful of Hate EP, 2014
Fueled by Rage Full-length, 2016

Official Site

ANGERKILL (USA)

Based on "Unveil the Moth", these folks provide seismic steam-rolling modern post-thrash that inevitably comes doom-decorated ("Unveil the Moth"), but also with a couple of poignant balladic lyricisms ("Architect of Illusion") which work quite well with the dominant pounding earthshakers. The singer assists the elephantine proceedings with suitable shouty angry antics.

Demonstration: Unscathed EP, 2000
AK Demonstration: Unscathed EP, 2000
DV8 Full-length, 2001
New Lights First Kiss Full-length, 2009
Unveil the Moth Full-length, 2018

Official Site

ANGHELL (USA)

Decent classic power/thrash metal played by women/girls only; the girls play with energy, mostly in mid-tempo with a few nice balladic passages present. The one behind the mike provides a forceful comprehensive delivery, pretty clean and convincing, but the guitar sound is quite dirty with a punkish vibe; still, it can't possibly stand on the way of the great aggressive pounder "Psych War" near the end. Hats down to the girls for coming with a pretty classic-sounding for the time stuff although they had to accept the new models three years later under the name Bitchcraft where the style is pretty ordinary 90's post-thrash.

FeMetal Demo, 1993

Fan Site

ANGKOR VAT (URUGUAY)

Based on the "Southern Blood" EP, this band are not far from the more brutal side of the Brazilian metal scene- think Sepultura ("Schizophrenia", "Beneath the Remains"), Holocausto's debut. The music is actually a good early thrash/death metal hybrid with speedy riffs inserted, recalling early Destruction and Kreator.

Vat-tack Demo, 1988
Southern Blood EP, 1989
Neutro EP, 1999

ANGKOR WAT (USA)

This band features Adam Grossman-the man who later founded the industrial metal wizards Skrew, and went into much bigger glories. The style on the debut is an unusual, occasionally interesting, almost hysterical take on thrash with hardcore, even punk-ish overtones; not for everyone although the opening track "Innnocence 89" thrashes intensely in a respectable manner, ruined by the hysterical shouty vocals. Later the songs vary from serious attempts at thrash, even with more technical guitars ("Under Lock & Key", "Emotional Blackmail") to intense, fast-paced ones ("Warsaw", "Die Young").

"Corpus Christi" is a major improvement with a much more serious song-writing, containing a couple of nice catchy thrashers. Slight industrial elements are also present to suggest at bigger things to come. The music on this one is a good rehearsal for the Grossnman's career with Skrew; it's even technical and choppy, more reminding of the last two Skrew efforts, rather than the all-out triple guitar attack on the first two. Really cool exercises in abstract technical thrash will one find here: "Turn of the Screw" (here at least "screw" is spelt correctly (pun intended)): a very cool track which offers a whirlwind of moods and music; the same effect is achieved later on the other highlight: the multi-layered "Ordinary Madness". The other material is more ordinary, but still offers enough twisted riffs ("Schizophrenic") which nicely go along with the more direct aggressive ones. The album closer "Sour Born" is a cool psychedelic quasi-industrial saga with echoes of Killing Joke (think "Extremities, Dirt...", above all), a non-thrash related number that still works in team with the decent, sped-up cover of Heart's "Barracuda" on which Grossman attempts some admirable cleaner higher-pitched vocals.
The "Worst Enemy" EP: the original line-up are back together, at present performing as The Real Angkor Wat, and doing a pretty decent job, trying to only partially capture the fervour from their early days without going into an all-out bashing mode, also adapting the production qualities to the modern, more abrasive demands. "Pressure Valve" is a steady choppy mid-paced march, followed by the similarly-structured "Walls", a heavier and nervier proposition with Dave Brinkam shouting his lungs out to the max on that one. Then comes "Barrage" which tries to justify its title with a more dynamic layout, a mechanical sterile headbanger which works its magic despite its predictable lustre. The title-track is a noisy jarring thrasher with discordant rhythms and a very shouty, grating on the nerves Brinkam who on top of that has a strongly synthesized fibre added to his rendings. "Knock Out!" is a short more pleasant number with sharp abrasive riffs and a boosting galloping engine, the highlight on this pretty decent comeback stint.

When Obscenity Becomes The Norm... Awake ! Full-length, 1989
Corpus Christi Full-length, 1990
Worst Enemy EP, 2021

My Space

ANGRA AHRIMAN (FINLAND)

Two stalwarts from the Finnish black metal underground have given themselves a chance for softer music with this fair tribute to the Motorheads, early Exciter and the likes with sparse excursions into more brutal territories ("Infernal Intoxication", the blast-beating "monstrosity" "Leader of the Rats"). "The Devourer" is a nice atmospheric cut, the only slower track here boosted by the assured semi-shouty/semy-death metal vocals which do a good job leading the proceedings recalling Lars G. Petrov (Entombed).

Infernal Intoxication Full-Length, 2016

Official Site

ANGREPP (SWEDEN)

The debut: a varied effort mixing black, thrash and death metal with an old school spirit. The closest reference point would be the Canadians Slaughter, but there's also Bathory, Celtic Frost and early Swedish death metal to be heard. "Scandinavian Dawns" is a cool nod to old Burzum, a hypnotic blasting composition with only the vocals straying from the Norwegian's approach with their gruff low death metal tone.

"Warfare" is much more faithful to thrash metal than to the other styles, and as a whole this effort is more melodic and much more immediate. Most of the tracks are in an energetic up-tempo, but there are a couple of numbers with a heavy stomping quality akin to early Celtic Frost again. The bad news is that the guitar work is very simplistic sticking to the frolic punky patterns for most of the time, an approach also recently acquired by Darkthrone. So it's probably good in this case that the closing "Dictator" abandons those patterns and opts for a much more brutal death metal sound with a dominant blast-beating flavour.
"Libido" brings back the furious unbridled black metal-ish formulas, and the delivery is again more on the aggressive side still mixed with the "dirty" crusty riffage from its predecessor. The "cocktail" delivers especially on inspired crusty moshers like "Hugg Alla" and the more brutal "True Old Soul"; and more moderate stompers like "Liberated Intoxicated" are also welcome with their avantgarde Celtic Frost-esque flair. This is indeed "party in hell", like one of the track titles so ably suggests, with the closing title-tack providing a few sinister creepy/doom motifs as a finishing touch to deepen the descent (into hell).

Pree for the Attack Demo, 2006
Warfare Full-length, 2010
Libido Full-Length, 2014

My Space

ANGRIFF (PORTUGAL)

"War of Life" is heavy, modern thrash; "Under the Decadence" moves towards the old school sound akin to the Brazilians Atomica and Sepultura (the early albums). It's fairly energetic and brisk, seldom betraying the pattern with slower, pounding tracks ("Betrayer", the steam-rolling smasher "Decadence"). Still, killing explosions like "In Anoiabs Dominion" and "Born in Vain", or the speedy thrash/crossover closer "Killing for Living" are what one expects to hear on a work like this.

The "Art of Aggression" EP is another commendable slab of brisk energetic old school thrash, maybe a bit more laid-back, but sharp and speedy all over. The guys thrash with competence touching the Bay-Area ("Paradox Within"), or entering the German speed/thrash metal arena ("War to Honour Your God"), or moshing out in an 80's American fashion ("Steel Damage") ala early Whiplash.
"Sodomy in the Convent" is right as rain retro speed/thrash which straddles between straight-ahead speed metal delights ("Asmodeus") and more rigorous thrash-fixated therapies ("Profane"). "The Baron of Doom" is a heavy power metal anthem, and "T. A. C." is a brisk thrash/crossover jump-arounder. The vocalist this time is a subdued semi-reciter who possesses spite and authority without actually singing too much.

War of Life Full-length, 2001
Under the Decadence Full-length, 2006
Art of Aggression EP, 2010
Sodomy in the Convent Full-length, 2021

My Space

ANGRY (BRAZIL)

The EP: this outfit indulge in fast ripping retro thrash, really "angry" stuff with lashing riffs and shouty attached vocals with an expressive semi-clean blend. There's some sophisticated technicality going through the effort, and in the relatively lengthy numbers the listener can catch clever structures which still can't capture his/her attention as well as the explosive piece of aggression "Agony". The final "Right" is another pretender for the highlight: a puzzling multi-textured composition which thrashes hard as well reaching death metal dramatism in the middle becoming quite aggressive at some stage. This is inspired music with an own face which should develop further on future efforts in both the more direct and more thought-out direction: it seems as though both sides co-exist well coming out of the hands of these guys...
"Future Chaos" promises a lot of "future chaos" with its vitriolic riffs the guys thrashing with gusto, creating plenty of headbanging opportunities on ragers like the title-track, "I See" and "Insanity". The mosh never ends here and one may find it hard to just sit and listen to this frank downpour of lashing guitars that gets a bit under control on the closing "Last Day" which is a more engaging composition with several tempo-changes showing the guys' more serious, but equally as intense, side.
"The Beginning of the End" is another cool thrashing roller-coaster the band lashing through the speakers with little restraint, the speedy no-bars-held approach, the more sophisticated shredders "No Return" and "Valley of Darkness" suggesting at bigger musical proficiency. Yes, the guys couldn't have chosen their moniker more appropriately: angry indeed they are, and cuts like the near-hardcore experience " Fight for Justice" only too handsomely reflect that.

Only Lies EP, 2011
Future Chaos Full-Length, 2014
The Beginning of the End Full-length, 2019

Official Site

ANGRY AGAIN (SWITZERLAND)

"Divide And Conquer": "angry again" 90's post-thrash the band chugging tirelessly through these one-dimensional abrasive hymns which miraculously come alive on the vivid progressive Prong-esque cut "The Sound of Misery". "AA-s Hell" is a more dynamic number influencing other cuts after it like the energetic groovy rocker "Born to Win" and the cool power/thrashing closer "Never Back Down".
"Ravage" acquires a slightly more serious, quasi-progressive aura thanks to more contrived excursions like "Condemnation", and even the staple for the band post-thrash mid-pacers ("Age of Greed", "Calamity") deliver in a more energetic, less monotonous way. "Warlord" could pass for the highlight, a more belligerent semi-galloper with vivid volatile riffs, outclassing by a notch the varied more urgently thrashing closer "Thirteen Commandements".

Life Is Like a Melody Full-length, 2013
Divide And Conquer Full-Length, 2017
Ravage Full-length, 2019

Youtube

ANGUISH (SWEDEN)

This not very known outfit give a cool intriguing, technical twist to the post-thrash vogue of the times. Choppy jumpy rhythms ala Prong's "Beg to Differ" alternate with more ambitious progressive inclinations ("Recourse To Seclusion"), and out of the blue arrive intense technical riffs ("Degrading Treatment"), a great echo of the 80's also accompanied by a nice more quiet interlude. The vocals are intense, harsh semi-clean, but do a good job assisting this impressive nod to the modern school which should have developed into something more substantial.

Devitalized Demo, 1994

ANGUISH (USA)

A 3-track EP of violent hardcore/thrash with brutal low-tuned death metal vocals; quite fast and intense stuff with direct riffs and mid-tempo breaks, and references to early Celtic Frost ("Winds Of Death").

Within The Darkness EP, 2009

My Space

ANGUISH FORCE (ITALY)

This act deliver retro power/thrash that is not always on the genuinely speedy side ("The Ring of the New Order"), the guys shredding in relatively bouncy dynamic mid-tempo ("Novum Ordinem Vetus Emblem:) for most of the time, the fast-paced histrionics of "The Tower of Hunger" pairing well with the overt thrashiness of "Tunnel with no Exit", stifling the timid epic shenanigans on timider cuts like "Ship of Gold" and " "We Don't Talk in the Pit". The singer supports the mellower tactics more with his mid-ranged clean croon. The guys were earlier known as just Anguish, the approach coming with a tinge of black metal.

Novum Ordinem Vetus Emblem Full-Length, 2023

Official Site

ANHEDONY (USA)

This is modern thrash/death with classic throw-ins. The guys try to vary the pace the whole time, but the atmospheric slower passages seem to deliver the better giving the album a doom/gothic decoration not far from Cemetary's 'Godless Beauty" even. "Genocide II" is a cool fast-paced shorter, but moments of the kind are not many at all the band marching forward in a steady officiant manner not bothering to speed up too much even cutting themselves some merry stoner slack on the closing bonus track "Freedmen". Some of the musicians were members of the Polish death/thrashers Khronos who released a solitary demo in 2007.

Anhedonia Full-Length, 2012

Official Site

ANIALATOR (USA)

Violent aggressive thrash is what these guys offer on both EP's; long on aggression and short on ideas, but could be appealing to some. The band's approach definitely has a lot in common with Dark Angel's "Darkness Descends" and Slayer's "Reign in Blood", but at times the guitar work takes a more intriguing, semi-technical edge ("Extermination By Dawn" from the first EP). The guys took part in several other acts after this project's dissolution, like the groovy post-thrashers Black Lung Conspiracy, the classic/modern thrash/post-thrash formation Sufferance, etc.
The "Rise to Supremacy" EP is a decent return for the underground heroes who haven't forgotten how to mosh with passion at times with a less bridled hardcore-ish vibe ("Embrace the Chaos"), at others with a more modern, more abrasive vibe ("All Systems Down"). The new vocalist is an intense, angrier deathly semi-shouter suiting the noisier edge given to the guitars.

Anialator EP, 1988
Anialator II EP, 1989
Rise to Supremacy EP, 2018

Official Site

ANIENT (AUSTRALIA)

This outfit pull out crushing old school thrash with seismic steam-roller riffage and screechy black metal vocals. Just when one settles for the established heavy "idyll", comes a furious blasting moment to wake him up rudely: check out "Filtered Ascension", or the short death metal explosion "Sequential Morality". Otherwise the guys know their craft and inevitably raise the hopes with a portion of more intense headbanging passages ("When the Nature Deserves Isolation"), but the dark brooding tone on the rest requires a bigger attention span than the many one-trick "ponies" "plaguing" the scene at present.

Consigned to Flames Full-Length, 2014

Facebook

ANIGMA (NEW ZEALAND)

An underground gem from New Zealand this way has been dug out; this obscure outfit serves a mix of power/thrash and thrash/crossover which is definitely on the merry, uplifting side, but still providing more solid thrashers ("Trademark Killer"), as well as awkward noisy outros ("Nocimonorcen"). The guitars are sharp, but with a light-hearted melodic edge, and the singer resembles Mike Muir quite a bit, maybe a bit less attached, and not as omnipresent leaving more space for the music.

World of Fear Demo, 1989

ANIHILATED (UK)

The UK answer to Slayer; that's quite a compliment and well deserved at that. The sound on the debut is dirty, almost hardcore-ish, but the sheer enthusiasm and inspiration behind the music is hard to be disguised. With a better production qualities, "The Ultimate Desecration" is really an impressive piece of forceful, well-executed thrash. "Desolation" is a stylish, heavy opening instrumental, setting the scene for the killer pieces to follow. The generally fast-pace of the songs is often "broken" by heavy, slower sections, quite similar to Slayer's late 80's period. There are also a few pure heavy, stomping numbers ("Lost Souls"), and some speed/thrash mixtures, nicely recalling their compatriots Sabbat: "Lethal Dose". "Internal Darkness" is a complex, dark song, again not as fast, followed by the two most aggressive tracks, returning to the Slayer-like patterns, followed for most of the time.
It seems as though every veteran from the 80's thrash metal scene is coming back these days. No complaints at all; the guys have done a good job on their comeback release staying true to the retro sound although this effort is not as aggressive as "The Ultimate Desecration"; shades of Slayer can be felt on occasion ("Predator"), but the sound predominantly moves in energetic speed/thrash territories not too far from early Whiplash and Sacrifice's "Soldiers of Misfortune". The speedy delivery is partially broken on the heavy stomper "Full Circle" in the middle, but the merry-go-round goes on unabated on "Despair and Retribution" which carries a slight hardcore flavour in the debut vein, and on the two remaining tracks which are cool brisk headbangers. Hopefully this nice work will resonate well with the fans to encourage more British acts from the old times to reform; the UK hasn't taken a very active t in the resurrection process yet (Onslaught; Seventh Angel although their new album has very few ties to thrash).

3 years later the band are alive and well, and "I Deviant" shows them in a fairly good, if not even better, shape their intent clearly shown with the opening head-splitter "Death to the Deviant", classic speed/thrash at its uncompromising best. But that's not al since all the following songs are every bit as compelling as this one the more aggressive delivery kind of left aside for the sake of stylish melodic implements which make the guys sound more serious and even slightly technical. "Black Umbilical" is a slower pensive piece splitting the album into two parts the second one containing the excellent shredding progressiver "Trinity" as opposed to the clumsy attempt at the ballad "Subliminal", a short experiment with a modern groovy flair. This unmitigated failure is quickly compensated by the remaining numbers the closing "The Chains That Blind" being another more engaging thrasher with nice more elaborate rhythms seeing the guys doing a very good job going through their second career stage way more assuredly than many other reunited veterans. Simon Cobb is way more convincing behind the mike now his forceful shouty semi-clean antics being the best possible "companion" to the good music.
"Anti Social Engineering": Anihilated never managed to emerge on the forefront of UK thrash back in the 1980's... but here they are now making a bold step towards taking Evile's crown as the premier English thrash metal outfit. "iDeviant" was already a statement of intent, but here the band have truly come of age. Like it was the case with the previous album, there's very little from their more recent repertoire to relate it to their old efforts, the delivery now sitting somewhere between modern day Kreator, Accuser and Paradox. The band thrash with the utmost conviction and short "bullets" ("Seas of Red") take turns with more calculated, almost progressive affairs ("The Slaughter Continues") the latter also raging hard. The title-track is actually a reminder of the band's olden days being a short straight-forward headbanger; but the rest is by all means more ambitious paving a new path into their discography including more clever, technical arrangements like "Torn by the Tooth" and the definitive new hymn "Thrashing Crew". Amazingly there's no slowing down to mid-pace anywhere except on very isolated short passages the sheer intensity of the material making this effort a headbanging winner from beginning to end, arguably the guys' finest hour: check out the imposing doom Bolt Thrower-esque outro at the end for a further proof of that.

Path to Destruction EP, 1986
Created in Hate Full-length, 1988
The Ultimate Desecration Full-length, 1989
Live EP, 2005
Scorched Earth Policy Full-length, 2010
iDeviant Full-Length, 2013
Anti Social Engineering Full-Length, 2015

Official Site

ANIMAL FARM (ITALY)

Frolic, optimistic, and utterly eccentric speed/thrash quite reminiscent of their compatriots Creepin' Death on the more direct sections, with numerous more abstract dissonant touches ala Voivod ("Unsatisfied") and another Italian act from around the same time: Jester Beast. The weirdness carries on unabated on the surreal fast-pacer "My Private War" as well as on every other cut later, among which "Death Of An Utopia" notches it up to proto-death dimensions with more aggressive riffage. "Gone Too Far" goes too far with a super-eventful cavalcade of rhythms and dissonant guitars to produce an emblematic progressive thrasher which would make one deeply regretful to have just this precious piece of music to come out of the hands of some of the most talented musicians to ever appear on the European underground.

Animal Farm Demo, 1989

ANIMAMORTUA (MALTA)

Based on the full-length, this act indulge in retro power/speed/thrash which is on the abrasive noisy side despite the melodic clean singer and the generally well-measured riff-patterns. There's a certain progressive motif ("Dark Matter", "Dying Universe") running underneath the musical shenanigans, "Heliocentric Affair" being an admirable psychedelic prog-thrash delight with a strong galloping engine, the 3-part saga Lunar Sentinel" another visionary decision, the guys sticking to mid-paced to up-tempo developments on this one, leaving some room on part three for more aggressive riff-formulas. Some of the musicians are also busy with the the black/death hybriders Thy Legion.

State of Chaos EP, 2015
Gods Among Us Full-length, 2023

Official Site

ANIMAS (USA)

Not bad energetic power/thrash with inspiring galloping moments ("Breaking Point") and several more dramatic heavy sections ("Vanquish"). "For the Fallen" is a spoiler, though, being a radio-friendly heavy/death rocker with a hit potential, but hardly suiting the otherwise good semi-shouty death metal vocals. The sound quality is quite good boosting the guitars well above the other instruments.

Blood on the Iron EP, 2012

Official Site

ANIMATED VIOLENCE (USA)

A 4-track demo of brutal black/thrash which is at times quite heavy, recalling Celtic Frost and The Canadians Slaughter, at others quite fast and brutal, with the use of furious blast-beats. The mixture in this case doesn't work as the two sides of the music are strictly separated from each other, awkwardly interrupting each other as well. On top of that the sound quality is awful with a fuzzy guitar sound and horrible synthesized shouty vocals.

Demo Demo, 1989

ANIMATOR (IRELAND)

The demo: three songs of cool energetic Bay-Area thrash with cutting riffs and forceful semi-shouty vocals which contain the necessary amount of melody the latter also very well reflected in the music: check the infectious tunes on "False Flag Attack" or the memorable semi-lead guitar work on "Welcome To The Human Race" which is an otherwise formidable thrasher with ripping guitars and fast tempos. "Open Your Eyes" is, on the other hand, a dramatic mid-pacer with heavy seismic riffage that nicely contrasts with the frenetic pace of the other two compositions.
These guys have all the chances to be "blacklisted" as one of the leaders of the Irish thrash metal scene after their strong full-length debut. They mean business from the very beginning with the engaging 7.5-min opener "State of Emergency" which sets the tone for this classic thrash roller-coaster which becomes more direct and aggressive with "Death from Above", but only for a while since "In God We Trust" arrives, and it'll sink you in a pool of heavy squashing riffs, the latter replaced by brisker more technical guitars on a string of compositions until another slower track ("Taking the Liberty") deviates from the norm also serving some power metal for a change. "Electric Armageddon" is the highlight, an energetic technical speedster with addictive melodic hooks that lift the mood up the headbanging fun carrying on full-throttle on "Western Shadow" and partly on the more complex closer "When Duty Calls" which ends the album in the way it started, with a more attached thoughtful song-writing. This is a band with a vision who haven't revealed their full potential yet showing an obvious improvement in the vocal department where the guy sings in a more attached cleaner manner, now also displaying a remarkable knack of handling the higher registers.

Open Your Eyes Demo, 2012
Blacklisted Full-Length, 2013

Official Site

ANIMOSITY (CANADA)

Harsh abrasive industrialized thrash/post-thrash which mirror Pantera, above all, but there's quite a bit of noise coming from the guitars, and the dynamics isn't very big, the dramatic steam-roller "Beaten Path" the supposed highlight. The vocalist is vintage Phil Anselmo, a perfectly acceptable copycat who doesn't annoy and even adds some flair to the otherwise pedestrian music.

Animosity Full-length, 1997

ANIMOSITY (USA, CO)

This mini-album contains energetic, albeit one-dimensional, but appealing thrash. The jolly atmosphere it creates would put it in the same camp as bands like Sonick Plague or Gothic Slam. Although all the songs flow in the same fast brisk vein, the final outcome is firmly on the positive side.

Get Off My Back EP, 1989

ANIMOSITY (USA, MI)

The first demo contains decent raw thrash, sometimes more energetic with elements of hardcore, sometimes heavy and gloomy along the lines of early Celtic Frost; the musicianship is not on a very high level. The second one is a lot better featuring one cool mid-paced instrumental ("Lupus Vulgaris"), one semi-ballad ("The Rehabilitation"), and the rest is a capable blend of thrash and American power metal.

Beneath The 13th Stone Demo, 1989
Life And Times Of The Humble Narrator Demo, 1989

ANIMUS (AUSTRALIA)

A lop-sided recording which begins with the maddening proto-death rager "Open Up the Gates of Hell" before things take a more bridled power/thrashy direction on the sloppy more timid "Question My Existence", the bad unrehearsed semi-shouty semi-death vocals not doing much to correct the not very positive impression. "A Dead Life" is a very surprising turn of events, a nice romantic semi-ballad with much more convincing vocal performance, and "We Immortals" is an unfocused heavy/power metal non-sense with a shocking proto-blasting passage.

A Dead Life Demo, 1992

ANIMUS FALL (SOUTH AFRICA)

Alternative post-thrash of the melodic, catchy type full of cool memorable, melodic tunes; things very seldom go beyond the mid-tempo (the exception the melo-death metal-laced "Senseless" and partly the closing energizer "Side Effect"), but apart from the trite clean-harsh vocal "duel" and the awkwardly placed in the middle meaningless intro, this effort should please the modern metal fanbase.

Harbinger Full-Length, 2015

AnJ (RUSSIA)

Based on the debut, this is progressive power/thrash: heavy, mid-tempo, with cool keyboard implements. The guys have a penchant for ballads, but they're done with a more edgy touch, fitting to the general heavy sound of the album.

Under An Intent Sight Full-length, 2004
100 Miles Straight Full-length, 2006

Official Site

ANKER (COLOMBIA)

These Colombians provide rough choppy retro thrash with "Thrash Metal" the obvious highlight, a sharp headbanger closely followed by the 7-min shredder "Contra el Viento" the latter thrashing with force for nearly 7-min. An obvious pullback would be the Megadeth cover at the end of "Symphony of Destruction" the primal unpolished guitar work and the bad shouty death metal vocals ultimately ruining the intentions.

Recuerdos Tormentosos Demo, 2009

Official Site

ANKER (SPAIN)

Based on “Lurperatutako Istorioak”, this band play modern power/thrash which is mostly on the catchy memorable side (the title-track, “Zendutako Garunak”), the lyrical semi-balladic “Ezintasunaren Izenean” showing the good mid-ranged clean vocalist interlacing with a harsher throaty death metal throat. The latter keeps showing up later on, including on the final “Amen”, a heavy pummeling epicer with powerful dramatic rhythms.

Gizagaitza Full-length, 2021
Lurperatutako Istorioak Full-length, 2023

Official Site

ANKHAR (SPAIN)

This formation were previously known as Human under which name they released one demo in 2013. The music on display is fairly competent retro thrash with expressive shouty death metal vocals. The overall delivery recalls Sacrifice having the same rich dark guitar tone maybe having a bit less variety the guys thrashing fast for most of the time with short mid-paced digressions. "Zuhaitzik Gabeko Basoaren Negarra" is a pensive progressive opus but its merits are immersed in the surrounding material among which one will savour headbangers like "Etorkizunarekin Jolasean" and "Zerurainoko Harresiak" the latter also serving the best leads on the album.

Deshumanizazioa Full-Length, 2016

Official Site

ANKHELGLOKNAR (USA)

This is quite interesting dark somber thrash/doom with macabre witch-like vocals recalling Barathrum and Khold. The songs are lengthy and quite eventful although seldom can one hear riffs beyond the mid-paced. The guys keep the album afloat with interesting atmospheric sections, brooding steam-rolling rhythms and several fine acoustic interludes ("Dead God"). The band overdo it a bit near the end with two overlong compositions the closer "The Summoning-Outre" alone being more than 15-min long developing in a not very striking doom manner in the second half. Still, this isn't a bad effort at all and would make one listen with care despite its several semi-sleepy qualities.

Mortuus Deus Full-Length, 2000

ANMASKER (UKRAINE)

This trio specialize in energetic intense old school thrash which straddles between heavy stomping pieces ("Look Under Your Feet!") and fast-paced ripping headachers ("World on Skulls Holding"). The more technical execution on "Trench Mud" nearly steals the show, but it's the headbanging side of the band's repertoire ("Patients Behind", the title-track) which exudes more excitement save for the leveled not very expressive semi-death vocals.

How Much Is Your Mask? Full-length, 2019

Official Site

ANNATHEMA (SERBIA)

"Annathema" is mostly speed metal with power and thrash metal elements thrown in; not bad and quite catchy at times, but more on the melodic side. "Empire of Noise" is a heavier and thrashier affair, no traces of speed metal here, and could be considered one of the early works from the 90's angry thrash scene. The heavy, but not very fast guitars might pull back the fans of the debut, but jolly more melodic numbers ("Ride the Shooting Star", "Sleepless Night") are still present to please the less thrash-inclined fans. The title-track speeds up quite a bit, but is the only effort in this direction if we exclude the short intense instrumental "Nuclear Jazz" which actually deserves its title with cool jazzy interludes inserted amid the raging riffage. At the end the guys provide the listener with a cool live cover version of Black Sabbath's "Symptom of the Universe" (hey, quite a few acts out there have been fascinated by this song...).

Annathema Full-length, 1989
Empire Of Noise Full-length, 1991
Don't Go Down Full-length, 1997

ANNEXATION (USA)

Based on the full-length, this act specialize in typical modern Dew-Scentesque thrash, fast not very compromising stuff that is built around speedy vehement headbangers ("Beyond Humanity", "The Beast") the hyper-active roller-coaster never ending, supported by shouty death metal vocals.

Jackhammer Treatment EP, 2019
Inherent Brutality Full-length, 2020

Official Site

ANNEXED ASYLUM (USA)

A cool new band who stick to the classic 80's laws to produce an interesting demo featuring a nice dark mid-paced thrasher ("Combustion"); a creepy minimalistic slightly chaotic, but well worth the listen, proto-black/thrash number ("Censor Control") which could well fit the description "a more proficient, and more listenable Hellhammer"; an intense mid-paced smasher, somewhat reminding of Slayer's "Postmortem": the early slower section ("World of Decay"). "Morbid Torture" isn't too far from "World of Decay", but the guitars take a more melodic edge. "Six Years in Hell" refuses to speed up and preserves the mid-pace which the band has epitomized so well and as such may be able to find a niche for themselves on the flourishing contemporary metal scene as opposed to the acts who try to play as fast and aggressively as possible. Reportedly the guys are working on their full-length which should be out some time in 2009.

Starved and Battered Demo, 2008

ANNIHILATION (UK)

An ok hesitation between the modern and classic trends, starting with the decidedly modern-sounding headbanger "In The Shadow Of The Bomb". Then comes the retro galloping delight "Screams To The Skies", ruined a bit by the brutal semi-death metal vocals. From this moment on the guys adhere to long semi-progressive numbers of the mid-paced variety which kill the speed quite a bit relying mostly on monotonous heavy riffage that leads nowhere, but to create boredom near the end. There are cool more elaborate passages, but they are not fully developed, a main obstacle for which is the repetitive uneventful nature of the band's delivery.

Silent Hell Full-length, 2010

Official Site

ANNIHILATION (USA)

In an early incarnation of the band the line-up included two members of Taunted. Based on the "Timeless Transition" demo, this band offer excellent pounding, mostly mid-paced, but very frequently changing pace, technical thrash which is not miles away from Liege Lord's "Master's Control" (but more aggressive), or Deus Vult's "Soul Assault". There's a certain shade of American power metal ala Omen ("Deadly and Mean"), but combined with the sharp thrashy guitars and the slightly frantic, but highly appropriate delivery, this demo is a nice little gem in the crown of late-80's American thrash metal.

The "Why the Nipple Hard-On?" demo contains covers only, all well done: Iron Maiden's "Wrathchild" the leveled mid-ranged semi-clean singing of the vocalist even surpassing the one of Paul Di Anno; Black Sabbath's "Into the Void" done faster and all-instrumental, a really good rendition; Iron Maiden again, "22 Acacia Avenue" done well with a suitable classic heavy metal spirit, but with weaker vocals the man simply lacking the emotional depth of Bruce Dickinson; Metallica's "No Remorse" where, ironically, the guys have messed it up with sloppier musicianship, again all-instrumental, but too mellow and sleepy lacking the ferocious rhythm-section of the original except, of course, for the speedy crescendo at the end. Consequently, there's not much thrash to be savoured here the guys settling down for the more friendly metal character of their idols ignoring the only thrash-fixated track (shame, isn't it?).

Laugh at the Sight of Pain Demo, 1985
Why the Nipple Hard-On? Demo, 1987
Timeless Transition Demo, 1989
Fourth Reich Demo, 1991

ANNIHILATIONMANCER (ITALY)

The full-length: a stylish entry into the progressive thrash metal catalogue from Italy which recalls both late-80's Metallica and mid-period Death on the encompassing diverse opener "Etereo". "The Involution Philosophy" is not as dynamic, developing in a crushing mid-pace for about 9-min with the obligatory clever riffage involved. "Apolide" livens up the situation big time with energetic galloping riffs which step down in the middle for very cool balladic insertions, also showing the singer in a bright light, but generally this is an entertaining ripping piece with a Bay-Area vibe. "Impoverishment God Existence" follows a similar pattern except that it scores high in the lead department. "Corner Of The Answers" could pass for a semi-ballad with its hypnotic doom riffs with the expressive bass bottom a nice touch. "Reflected In Her Life" is a peaceful lead-driven instrumental, and the closing "Mind Surrounds, The Cavities Of Fear" is another complex thrasher in the Metallica mould which could fit on "...And Justice for All" any time, and not without the excellent leads ala Kirk Hammett. The singer is a great asset singing in a clean dramatic manner echoing both David Wayne (R.I.P.) and Charles Rytkonen (Morgana Lefay) in a very good way, spicing his repertoire with a more venomous Mille-like delivery from time to time. Some of the musicians also play in the power/thrash metal outfit Power Beyond.
The EP is another virtuous display of the guys' talents who continue down the chosen path with their intricate brand of classic thrash which comprises three elaborate progressive pieces among which "Impoverishment God Existence" seems to shine the brightest with its sophisticated technical gallops reminiscent of Megadeth's "Rust in Peace"; although the brilliant stop-and-go technicality in the second half on "Failed Creation" also deserves a mention. "Sentence Of War" is a short burster, and the closing "Tormentor" is... yes, some of you out there guessed right, a Kreator cover on which the singer adjusts his blend to fit the one of Mille although the song itself is performed in a lighter, more speed metal-based manner.

The Involution Philosophy Full-length, 2010
Precursor of Destruction EP, 2016

Official Site

ANNIHILATION OF POWER (USA)

An obscure release offering classic power/thrash; a good reminder of the 80's American metal scene with cool attempts at a more progressive song-writing ("Path Through Darkness") and short, but effective, heavy thrashers ("Chaostrain"). "Runnin' Away" could have been spared being a pointless soft punk-ish track.

Changes EP, 1996

ANNIHILATOR (CANADA)

With the phenomenal "Alice in Hell" Jeff Waters logically closed the decade for the Canadian metal scene, bringing its technical side to its culmination gracefully finishing what was started by his contemporaries (Voivod, Savage Steel, Sadistic Vision, DBC, etc.). The album's sounding success encouraged Waters to persevere through the difficult 90's, and "Never Neverland" appeared the very next year; unfortunately, the technical flamboyance and brave musicianship which made the debut so unforgettable, was nowhere to be heard, and this effort was consequently a disappointment despite its merits as a pretty decent progressive power/thrash metal offering. Still, it was far from a flop although that the aforementioned flop was just around the corner: "Set the World on Fire" not only didn't "set the world on fire", but it virtually "killed" one of the very few hopes for classic thrash metal to carry on through the new decade, seeing the band having exhausted all their ideas and originality producing an effort not nearly half as good as the previous one.
Waters and his ever-changing gang looked for inspiration into other genres, consequently pulling the band's style into all possible directions: heavy metal, modern leanings, ballads, etc. This album considerably diminished the interest in the band although Waters managed to "recuperate" with the good "King Of The Kill" two years later, bringing the thrash back to a big extent with a more modern sound, preserving some of the melodic touches from the last one ("In the Blood" is one of best ballads of the 90's). But after that the guy started repeating himself, feeling obviously nostalgic, not willing to leave his crowning achievement to rest: whole passages from "Alice.." have been repeated directly or slightly rehashed which would inevitably put a smile on the fan's face for its sheer audacity (or shamelessness- is there such a word? If not, here it is!); the problem is that surrounded by much less impressive decisions/arrangements on every album since 1994, those passages could no longer deliver. Even the participation of half the metal constellation on "Metal" didn't seem to help: Waters has proved a long time ago that when doing things alone he could reach much further. However, with only one great album in their very long discography, it's really hard to place Annihilator on the front row with the finest, despite the mainman's undisputable talent.

It's 2010, and the next Annihilator album is a fact; and it's self-titled, too. So is this a new beginning for the band, or a direct, not badly disguised anymore, return to the days of "Alice..."? Well, it's neither of the two, but is a pretty decent entry into the the band's voluminous catalogue, arguably the finest one since "King of the King". The opening riffs from the opening "The Trend" will hardly please anyone with their soft heavy metal beat, but the thrashing starts not before long on this one, and the next "Coward" makes sure there'll be noone sitting down while listening to it, aggressive thrash to the bone with sparse melodic relieves. But this is not all as "Ambush" arrives with another portion of furious headbanging riffs, and one may start wondering whether this is an Annihilator record: there's so much intense thrashin' to be heard here. And here comes the "proof" to dissipate your doubts: "Betrayed" is the prototypical for the guys mid-paced proto-modern thrasher followed by the semi-technical oddity "25 Seconds", a slightly uneven mix of very fast thrash and jumpy more elaborate decisions. "Nowhere To Go" delivers the trade mark mid-tempo power/thrash so familiar from the band's more recent efforts, but "The Other Side" is a cool turn to the classic 80's American speed/power/thrash metal scene, recalling Attacker's "Second Coming" with its galloping guitars. "Death In Your Eyes" is a technical/progressive extravaganza, another flawed, but by all means interesting, concoction of brutal, at times pure death metal, riffage and stylish complex arrangements the latter good reminders of "Alice...". The bad news is that the last two tracks are mere fillers, "Payback" an ordinary uneventful groover, and the closer "Romeo Delight" a somewhat unnecessary cover of the Van Halen merry rock'n roll roller-coaster. A homogeneous and consistent Annihilator album nowadays would be mere fantasy, but this one most of the time avoids the bad taste "traps", also finding a good balance between thrash metal and the rest with some of the most raging riffs ever featured on an Annihilator album.

"Feast": it's the year 2013, and it's time for the next Annihilator album. As expected Jeff Waters has taken care of the larger-than-life nature of this new opus, and after the spontaneous headbanging caused by the furious opener "Deadlock" one will have to adjust his/her senses to the diversity which follows, which fortunately this time is not that big: the staple friendly power/thrash on "No Way Out" so well introduced on "King of the Kill"; the high-octane speed metal on "Smear Campaign"; the nice technical leanings on "No Surrender" which even sounds close to the exuberance of "Alice in Hell" at times. So far this sounds like a masterpiece, but comes "Wrapped" and things go head-over-heels into a groovy/grunge territory; a situation hardly improved by the too tender ballad "Perfect Angel Eyes" which also painfully reminds of "In the Blood". "Demon Code" brings back the thrash in a mechanic sterile style, and "Fight The World" is even better despite the misleading balladic intro which could horrify the fans. An 8.5-min closer ("One Falls, Two Rise" in this case) sounds like a flop, but Waters pulls it off again turning this epitaph into a whirlwind of hard razor-sharp riffs and raging fast sections which make even the soft balladic outro sound welcome. "Feast" this is by all means, and quite a good one at that; the thrash metal fans will have to acknowledge the good job done here and would wish Waters stays on that track for another while...

"Suicide Society" starts in a fairly unpromising manner with the radio-friendly rocking title-track, and later on the situation doesn't get improved much Waters now willing to show his more tender face. The wild thrashing on "Creepin' Again" will bring back memories from "Kill the King" and "Never Neverland", but this isn't the focus here although "Narcotic Avenue" is an inspired fast-paced semi-technicaller which marks the beginning of the better second half. That same half comprises the cool shredder "Break, Enter", the somewhat progressive mid-pacer "Death Scent", and the frolic power metal closer "Every Minute". Waters provides the vocals and his singing isn't bad at all, even surpassing his guitar exploits which again carry a strong sense of deja-vu.
"For the Demented" is another mixed bag which at least has a fairly promising beginning with the exhausting retro thrasher "Twisted Lobotomy" and the passable mid-paced shredder "One to Kill". However, arrives the title-track, a major alternative spoiler from where the album goes into not very desirable territories although "Pieces Of You" is not a bad semi-ballad, and "Phantom Asylum" is an interesting technical jumper, one of the better propositions from the Annihilator camp in recent years. "Altering The Altar" isn't a sloucher, either, with its more intricate pirouettes and Waters' inspired lead pyrotechnics, but "The Way" is a bad groovy joke although the dynamic closer "Not All There" compensates for this flop with some excellent more technical guitar work which one would wish it had been heard more regularly here.
"Ballistic, Sadistic" hardly offers anything too surprising Waters sticking to his staple mish-mash of quasi-modern mid-pacers ("Armed To The Teeth"), intense over-the-top moshers ("The Attitude"), and more infectious crowd pleasers ("Psycho Ward"). These three sides alternate throughout, giving some air for a couple of more technical expositions ("Out With The Garbage", "The End Of The Lie") to breathe, the shorter more active material ("Riot", "I Am Warfare") delivering the goods in a more convincing way. Waters is behind the mike again, and does a decent job his spiteful attached antics fitting the fairly predictable soundscapes.
"Metal II": this is a re-recording of the album "Metal" from 2007. Not too many changes delivery-wise, if we exclude the two covers, of Exciter ("Heavy Metal maniac"), and Van Halen "(Romeo delight"); the dedication going towards the legend Eddie van Halen, and the deceased frontman of the Finnish metallers Children of Bodom Alexi Laiho. Dave Lombardo appears on the video for the Van Halen cover.

Alice in Hell Full-length, 1989
Never Neverland Full-Length,1990
Stonewall EP, 1991
Set the World on Fire Full-length, 1993
King Of The Kill Full-length, 1994
Refresh the Demon Full-length, 1996
Remains Full-length, 1997
Criteria for a Black Widow Full-length, 1999
Carnival Diablos Full-length, 2001
Waking The Fury Full-length, 2002
The One EP, 2004
All for You Full-length, 2004
Schizo Deluxe Full-length, 2005
Metal Full-length, 2007
Annihilator Full-length, 2010
Feast Full-Length, 2013
Suicide Society Full-Length, 2015
For the Demented Full-Length, 2017
Ballistic, Sadistic Full-length, 2020
Metal II Full-Length, 2022

Official Site

ANNIHILATOR (UK)

An unknown entity specializing in fast moshing thrash with leveled, not very expressive semi-death vocals. The band stick to intense fast rifforamas that cling between less bridled hardcore (track two) and vicious Slayer-esque bash (track 3).

Demo Demo, 1986

ANNIHILISM (AUSTRALIA)

Classic thrash with influences from old school death metal reminiscent of early Mortification; a very good band (check out "Chaotic Embrace").

Annihilism Demo, 2002

Official Site

ANNOUNCE THE APOCALYPSE (USA)

The debut: fast, blitzkrieg retro thrash with modern production, produced by just one musician, the alias Damien Rage. Brutal death metal breaks ("Cult Conspirator") are also inserted, but their use is questionable as the songs flow smoothly without these more aggressive additives. "Buried in Rust" is a pounding, catchy hymn, but the rest keeps the high energy up including the explosive death-laced closing title-track.
"Nefarious Means" is a much more ambitious offering, the man producing two fairly lengthy compositions, "Outbreak" alone closing on 11-min, but the varied musicianship and the several cool musical decisions deliver, Damien juggling between thrash and death on a dramatic progressive base. "High Tension" is a direct short brutalizer, and "Contrived Death" is a bouncy semi-technical shredder. "Purge (And Rise)" sticks to intense mid-paced stomps, the final "Nonviable Resolution/The Place Without Sun" the other more ambitious occurrence, an atmospheric variegated progressiver which tries to capture the more quiet side of the Death repertoire, successfully for most of the time. “Experience Machine” is a more lethargic offering, Rage having other mates this time to back him up this time, the crew marching assuredly with death metal (“State of Nihilism”) sneaking in cautiously at times, serving its purpose to conflagrate the environment at first, the latter soothed by the melancholic semi-ballad “Dying Words”, and later uplifted by the crossover merry-go-rounder “Dr. Draven”. More introspective nostalgia cleaned by the moody title-track, before “Without Fear” attempts something livelier and faster-paced for a change.

Ruins Full-Length, 2017
Nefarious Means Full-Length, 2021
Experience Machine Full-length, 2024

Facebook

ANNOYING L.I.F.E. (GERMANY)

Based on the “Nightbreaker” demo, this band play modern 90’s post-thrash with not very overt hardcore elements. The very shouty rending death metal vocals are all over the place, supporting the confrontational cause the entire time, including with a couple of cleaner more tolerable inclusions. The volcanic title-track leads the pack steps aide for the more lyrical, more complex opus “The Awful Drive”, but expect more aggressive bash on the dynamic corrosive closer “Baby James”.

Nightbreaker Demo, 1994
Last Days Demo, 1999

Official Site

ANNULATION (SWITZERLAND)

Based on "Human Creatures": although this is definitely thrash (music-wise) with death metal vocals, the overall sound reminds of The Kovenant's "Animatronic": it has this industrial, electronic edge which many other bands have adopted more or less successfully in recent years. In this case it works well also calling to mind another album in the same niche: Nefilim's "Zoon".
"Burning Time" is more ordinary-sounding, being heavy abrasive modern thrash hesitating between the aggro-sound and the more atmospheric gothic side. Still, this hesitation remains of the less impressive type being one-dimensional mid-paced stuff with pounding noisy guitars and brutal death metal vocals.

Burning Time Full-length, 2002
Human Creatures Full-length, 2004

Official Site

ANNUNAKI (USA)

Thrash, black and death metal mixed together; for some reason the style reminds of a thrashy version of Deicide and the Swedes Deathwitch. The tempo is frequently fast and intense with the obligatory inclusion of blast-beats, but the music gives its fair share to thrash metal, and the guitars thrash mightily on the best songs ("Eucharist", "Ruler of None"). "Torture" is a curious number being an interesting mix of beautiful acoustic melodies and furious blast-beats. The vocals are of the dual type: ones are deep low death metal growls, the others higher-pitched and snarly, also death metal-styled.

Incarcerate in Rapture EP, 2005
Throne of the Annunaki Full-Length, 2007

Official Site

ANNUTRAYER (CHILE)

This is modern quasi-progressive thrash which circles around long entangled compositions where the approach is both on the fast-paced ("The Final War") and the stomping epic ("Fight the Darkness") side, the encompassing closer "Freedom But with Chains" putting both elements together for an interesting, frequently dynamic ride, the expressive semi-shouty death metal vocals keeping up with the eventful proceedings without venturing into very noisy territories.

Human Creation Full-Length, 2021

Facebook

ANODIZE (CHINA)

Based on "Action Figures", these Hong Kong metallers pull out light-hearted groovy post-thrash with funky and balladic overtones. The band rose from the ashes of the controversial hip-hop formation LMF (Lazy Mutha Fucka/Lazy Mother Fucker), and their pop-oriented past can easily be heard all over the album. This is soft stuff with a few hard-edged guitars and melodic alternative vocals.

Anodize Full-length, 1994
Welcome To Beijing Motel Full-length, 1995
Action Figures Full-length, 1997
4 EP, 1999

My Space

ANOINTING (BRAZIL)

Based on the demo, these folks provide modern thrash/pot-thrash which can be both atmospheric and moody ("Get Insider") and playful and industrialized ("Cante Aleluia"). The vocalist is a shouty hardcorer who makes quite a bit of noise without contributing much to the abrasive shenanigans.
The EP circles around the industrial idea almost exclusively save for the spasmodic headbanger "I.N.R.I.", an exemplary piece of organized thrashing fury. The rest is atmospheric gloomy dirges ("Pleasure"), corrosive Biohazard-esque jumpers ("He Lives"), and overlong monotonous nods at Godflesh ("Mundanism").

A Prayer Demo, 1999
Isaiah 1:9 EP, 2001

ANOMALLY (PORTUGAL)

The full-length: dark gothic thrash, bringing to mind mid-period Cemetary ("Godless Beauty", "Sundown") and a thrashy Lacuna Coil; this is mid-paced music with gruff low-tuned death metal vocals, keyboards, and cool, but overdone, orchestral arrangements.
The "While the Gods Sleep" EP continues the trend of tenebrous atmospheric configurations, the more dynamic aura of "Redrum" a cool booster, before "Cold" warms up the setting with less bridled death metal rhythms. The steady mid-tempo trudges of "Pandora's Box" dictate the plot here, the more conventional melo-death character of "To Screams!" a relative touch of commonality.

Once In Hell... Full-length, 2008
While the Gods Sleep EP, 2012

Official Site

ANOMALY (USA)

This is quite cool modern progressive thrash which mostly suffers from the awkward "death vs. clean" vocal duel; still, the music holds its ground with dignity with quirky semi-technical rhythms ("Blatant Disregard") and bold attempts at purer thrashing (the diverse shape-shifting masterpiece "Hitler, Ghandi, and Popeye's Etherial Purple Squirrel") the latter not far from Megadeth at their most inspired. "Rise And Fall" is a cool heavy ballad with heavy shreds taking turns with lyrical serene interludes, a tasty compendium if it again wasn't for those impertinent, not very pleasant death metal vocals. Choppy more technical thrash rules on "Pasteurized", a not very predictable piece with twists and turns galore, the bassist making a particularly positive impression with his constant reverberations. "B.B.R.H." is a relatively orthodox number where a couple of pacifying passages create a surreal, ethereal atmosphere to a fairly positive effect, the magic wonderfully sustained on "Goodbye", a progressive thrash marvel with again a few balladic respites, but the use of those tranquil moments is never nerve-wrecking as there's enough sharpness to keep the listener hooked. Very, very good stuff if again it wasn't for those growling vocals which simply stifle the much better clean ones.

Propriety Demo, 1997

ANOMANES (PORTUGAL)

This is another groovy squasher, a typical for the time release with the crushing riffs, angry deathly vocals, jumpy rhythms, and the rest. The main difference here is the sudden death metal-ish outbreaks which "ornate" a couple of tracks; and the fast-paced surprise "Coward" which is a prime thrash/deathster with a few more memorable hooks. More intense death metal-like drama is served on "Self Destruction" in the 2nd half which is better and more exciting also featuring the chaotic, strangely technical, "Dying Earth".

Pronunciation Full-length, 1995

ANOMOS (UK)

Based on the EP, this act, who were earlier known as Kosmokrator, indulge in modern thrash/death which is on the less ordinary, semi-technical side the infectious melodies on "The Cult Of Pandora" siding well with the near-progressive, clever stomps on "Imps". "Pinion Ether" suggests at some more entangled riff-knots ala Anata, intriguing the listener enough for the latter to make an effort and track down the full-length.
The full-length, as expected, contains all the material released on the Kosmoktator efforts (two EP's altogether), and clings more towards the melo-death spectre, not far from the Gothenburg canons. Not much thrash to be witnessed although the overall delivery isn't that standard and stale.

The Cult of Pandora EP, 2018
The Kosmokrator Full-length, 2020

Official Site

ANONYMITY (USA)

A curious band who have sneaked under the radar due to the relatively late release of their only demo. Otherwise this is quite cool progressive power/proto-thrash which throws quite a few stylish decisions at the listener with the eventful opener "World Beyond The Flame (Door Into Elsewhere)". The piercing screams of the vocalist may be a bit of a distraction, but the guy also has a much calmer side to his voice so expect a lot of vocal diversity which sits well with the more restrained power metaller "Waiting In Darkness". "Animosity" is a more dramatic pounding piece, and the final "Octavia" elaborates the proceedings once again with cool epic melodies and the exiting portion of hard lashing guitars.

Anonymity Demo, 1994

ANONYMUS (CANADA)

While Annihilator were trying to raise their music back to the high standards of "Alice In Hell", the Canadian thrash metal scene found its new heroes. One of the better Canadian thrash metal bands of the past 15 years, Anonymus' first two albums are technical/progressive thrash masterpieces, some of the culminations of the genre. "Ni Vu Ni Connu" is a fabulous debut with excellent guitar work, head-spinning tempo changes and brilliant leads, quite melodic, contrasting to the hard-hitting riffage. The music is heavy, mid to up-tempo, with the exception of the magnificent speedy jolly "Amen Toe", and the hectic violent closer "Demonomane".
"Stress" betrays the heavy pounding sound of its predecessor opting for a faster, but an equally as intriguing one. The music is kind of uplifting and more optimistic than the slightly brooding tone of the debut, featuring a fine mid-paced thrasher "Un Pied Dans La Tombe" with stupendous lead performance. "Sans Dessein" is a sudden turn to aggressive thrash/death, but is quite enjoyable.
"Instinct" elaborates on that jolly shade and here the band jumps the hardcore wagon ("Out Of Breath", etc.) on quite a few times; if the sound before was a nice mix between the classic and the modern school, here it is purely modern with a strong shade of groove ("Feed The Dragon"). The guitars are much more ordinary, and although some numbers still carry the technical flair of the past ("Goal"), as a whole this album is a much less impressive offering.
"Daemonium" provides an even bigger cocktail; now apart from hardcore and thrash, we have death metal with a nice Gothenburg touch ("Burning The Candle Both Ends": a really cool track, by the way), and power metal ("Twice"); the tracks are even shorter with no traces of technical play; a mixed bag, which definitely has its moments, but was not a sure stop on the way down, and it looked as though the guys would not be able to leave a more lasting impression on the scene than Annihilator, and even fade away faster.
Surprisingly, "L'Academie du Massacre" is a good experiment, a collaboration with the folk-rock singer Mononc' Serge which combines the hard-hitting thrash of the band's first two albums with the light rock-ish style of Serge; certainly not an all-out thrash affair, with at least one-third of the songs having no relations to the genre, this effort showed that the guys haven't said their final word yet, and they can still thrash with the best out there.

"Chapter Chaos Begins" is far from a failure, but the more aggressive death metal elements have come to stay, and although it might be appealing to some, the blend at least to these ears doesn't seem to work at quite a few times. The songs are longer, and the superb lead guitar work, which was kind of lost for a while, has been brought back; still those blast-beats are somewhat annoying, especially when they come in the middle of a cool thrashy passage. Quite a few technical hooks can also be heard, although this is not a full-blooded work of technical death/thrash.

"Musique Barbare" is another collaboration between the band and Mononc' Serge. This time the "thrash brigade" has spread its wings over a wider spectre of influences: 90's post-thrash, crossover, modern technical thrash (the excellent "Resistance Festive"), etc. The bad news is that concentrated on making this cocktail as listenable as possible, the guys have at times completely forgotten about the thrashy side of things, and apart from the aforementioned compositions there's only one track which will make you recall the band's past, thrashing with gusto: "Tout L'monde Se Crisse". As a whole this is light-hearted feelgood stuff with no big ties to thrash metal which is hardly the expected "excuse" after the not so convincing "Chapter Chaos Begins".

"Etat Brute": fans of "Chapter Chaos Begins" will be happy all over with this new offering, which provides the same roller-coaster modern thrash with both melodic and more brutal elements. There aren't many hints at anything more technical ("L'Heure De La Vrite" comes to mind, but...), but the guys excel in melody to a positive effect, and keep the pace energetic the whole time adding the casual blast-beat ("Rage De Vivre") here and there. The vocals have become even gruffer and more shouty, but this raw approach kind of fits the not very demanding musical delivery. Some of the musicians are also active with the diverse act Spelldown which started as a power metal act (the demo "Damnation From the Highest Point", 1999) before switching onto similar to Anonymus modern thrash/death metal (the self-titled EP, 2011).

"Envers et Contre Tous" is a cool dynamic affair with fast lashing riffs and the staple melodic escapades. There are wild proto-blasting death metal delights ("Dieu Seul Le Sait", "Decrisse") where the style is vintage Gothenburg melo-death. The title-track is a beautiful progressive death/thrasher and competes with the raging semi-technicaller "Trahison" for the highlight award. This is pleasant, not very engaging stuff which sees the band settling for an ordinary, not very adventurous delivery.
"Sacrifices" is another mixed bag of the kind the guys started indulging in recently, and as such it won't infatuate the hardened thrashers to the bone although "Scandale" is a surprisingly stylish hectic piece ala Atheist and Agretator. Elsewhere we have straight-ahead headbangers ("La Meche est Courte"), more volatile progressivers ("Soif de Vengeance"), and frolic hardcore-guided ("L'union Fait la Force") exercises all blended in the staple for the band charmingly disheveled manner.
"La Bestia" is a surprisingly homogenous, for the band's standards, recording sticking to modern thrash for a large portion of the time, and although less restrained death metal strokes ("Bicho Loco", "Sobrevivir") are invariably introduced at some stage, it's the good old thrash that dictates the proceedings with the title-track and the excellent "Maquinas" serving a needed doze of technicality to the hyper-active melee, with "Cada Loco Con Su Tema" nicely bringing the prog-thrash structures from the band's earlier days. "Tierra" is a very cool balladic near-instrumental, and the closing "Terremoto" is a piece of thrash/death fury which warps it on with vitality to spare. That's way more like it, the guys finding the way to mosh with style once again without stretching themselves into too many directions.

Ni Vu Ni Connu Full-length, 1994
Stress Full-length, 1997
Instinct Full-length, 1999
Daemonium Full-length, 2002
L'Academie du Massacre Full-length, 2003
Chapter Chaos Begins Full-length, 2006
Musique Barbare Full-Length, 2008
Etat Brute Full-Length, 2011
Envers et Contre Tous Full-Length, 2015
Sacrifices Full-Length, 2019
La Bestia Full-Length, 2020

Official Site

ANOPHELES (ITALY)

Dark brooding thrash reminiscent of Infernal Majesty's "None Shall Defy" (especially in the vocal department) and the Brits Deathwish; the music has its speedy moments, and although it is not technical or original, it packs a punch with heavy meaty riffs and interesting guitar melodies.

Eversio Demo, 1989

ANOPSIA (VENEZUELA)

A 3-songer displaying retro thrash to the bone "courting" early Kreator, above all, and the ripping, albeit a bit thin, guitars seldom pause for a break from the relentlessly fast tempo (a few stomping moments on "Life on Elm", but that's about it) this short exhausting effort gracefully finished with the cool inspired cover of Kreator's "Tormentor". The singer rends his throat in a manner quite close to early Mille; his tember is a bit lower-tuned perhaps also acquiring some death metal qualities at times.

Promo EP, 2011

Official Site

ANOTHER D.K. (ITALY)

Based on the "Under the Candle" demo, this act serve decent speed/thrash with echoes of the American movement (Destructor, Anvil Bitch, etc.), the progressive quirks on "Candle Light" leading the show the latter becoming more immediate and ripping on "Fire In My Veins" until it turns into a short wall of fury on the wild "Hate". Expect a lot of hard moshing on "Extreme Euphoria" before "Loneliness of Time" provides 5.5-min of melancholic lyrical balladisms, the otherwise gruff semi-shouty vocalist trying to impress with a much more poignant, cleaner baritone.

Under the Candle Demo, 1991
Techno Insania Demo, 1992

ANOTHER DEAD SAINT (USA)

Brisk modern power/thrash which starts in a not very impressive alternative groovy fashion before the band pick up inertia and begin thrashing with more gusto on energetic moshers like "Catalyst Of Growth" and the title-track the latter also coming with a strong classic flavour. The harsh/clean vocal duel doesn't do the band any favours the clean side the much better one and the more aggressive distractions should be left aside for the future.

Rise & Fall Full-Length, 2016

ANOTHER DIMENSION (JAPAN)

This is modern melo-thrash/death which shoots the staple melodious speedsters ("Enter The Infernal Darkness"), "Sinister Ecstasy"), the headbanging factor traditionally high for the style, the shouty deathly singer another standard ingredient. The more controlled mid-paced drama served on "Immortal Black Chaos" works alright, as do the militant chops on "Hellstorm" and the soaring speed/thrash optimism of the closing "Under The Spell".

Immortal Black Chaos Full-length, 2015

Facebook

ANOTHER KIND OF DEATH (SPAIN)

Modern thrash with elements of metalcore; a hectic, jumpy affair, but pretty familiar and not very hard-hitting, relying on laid-back riffage and plenty of melodic contrast with the rough, slightly synthesized vocals.

Legacy Full-Length, 2011

ANOTHER SHADE OF HATE (USA)

This is deeply atmospheric thrash/death with gothic leanings creating a stark contrast between the harsh death metal vocals and the loads of melodic tunes gracing almost every piece. Those pieces are mostly mid-paced affairs and kind of one-dimensional following the same formula unerringly inevitably hitting the ballad near the end ("Disguised by Shadows").

Another Shade Of Hate Full-Length, 2011

ANOTHER SICK TRIBE (GERMANY)

Based on the full-length, this band play intense modern post-thrash which can suddenly get fast and jumpy ("Elf 34"), or playful and radio-friendly ("Crunch") in the same surprising, unheralded manner. "I Wont Fall" is a classic thrash/crossover delight, the only one of its kind, with the steam-rolling "Affection" a close second where the rough semi-death shouter exudes cool cleaner vocals.

Conceit EP, 1994
Another Sick Tribe Full-length, 1997

ANOXIA (DENMARK)

Based on "A Lapdance For The Devil", this band, who were earlier known as Frank og Rodderne, plays melodic power/thrash metal which sits between the modern and the classic school courting both along the way although its ties to the 90's power/speed metal scene are more than clear ("Risky on the Rocks"), and more aggressive pieces like "Flowers on My Grave" aren't a very frequent event. The closing "Hell Bent for Heaven" comes close to the latter at times, but this is dominantly pleasant friendly stuff in mid-pace with quite good clean mid-ranged dramatic vocals, recalling the Gamma Ray works with Ralf Scheepers. Some of the musicians taking part here can also be seen in the groovy post-thrashers Megalomania 999.
"To the Lions" is a decidedly more intense proposition the opening "Origin of Pain" already exhibiting badly suppressed vigour, and although the hard-boiled thrashers won't get much from mild heavy rockers like "Scaffold" and the title-track, there's little to complain on vigorous speedsters like "These Chains", the cool melodic clean vocals doing a fairly good job despite their softening role.
“Melanchollision” is a classic power/thrash affair served with a more abrasive sound and a few balladic/semi-balladic sentiments (“Without Beauty”), the dramatic “Kingdom” also galloping with the finest horses out there for a bit. Volcanic heaviness gets stirred on “Shaped Like a Circle”, but the progressive allure of “Far from This Time” is a sure hit, the highlight here, complemented by the quirky crossover closer “Shortcut”.

Melanchollision Full-length, 2003
A Lapdance For The Devil Full-length, 2010
To the Lions Full-length, 2019

My Space

ANOXIA (UK)

Based on the debut EP, these Londoners pull out aggressive thrash/death metal, more death than thrash which is fast-paced for most of the time except on "Anomalous" and "Fall To Fire" which are otherwise cool twisted semi-doom, technical tracks in the vein of Morbid Angel. This is brisk music, speedy, with a slightly fuzzy guitar sound and brutal low-tuned death metal vocals.

Manufacturing The End EP, 2007
If You Want Peace, Pree For War EP, 2008
Empire Of Intolerance Full-length, 2009

My Space

ANOXIDE (UK)

The 90's aggro-movement is given another bow with this 5-track EP ("Master Of All") which thunders through with super-heavy rhythms and brutal angry death metal vocals. Surprising fast-paced sections ("Skinned,Tortured And Bleeding") will stir your blood in a good way, but the groove is "king" for the rest of the "show" so don't expect too many dynamic interludes on this faithful, and generally passable, cross between later-period Massacra and Puncture.
The "Purge the Idols of Illusion" EP is another worthy modern display of the good old groove which this time comes a bit more intense ("The Vile Summoning Of Power") also touching death metal on the excellent "Hour Of Sedition". "Embrace The Gods Of Pestilence" is a standout battle hymn ala Bolt Thrower, and the closing "Erased Illusion" is an encompassing doom opus lasting for over 9-min also offering nice melodies, great leads, and a few more complex progressive elements.

Master Of All EP, 2012
Purge the Idols of Illusion EP, 2015

Youtube

ANPHORA (CHILE)

Based on the 2-track "Promo Ensayo", this band play rowdy rough old school thrash/death which on "For the Noke" is a trudgy, largely mid-tempo, violator made even less tolerable by the threatening rending death metal vocals. "Tonaril" is a dark macabre march with again mostly mid-paced riffs, a leftover from the early Autopsy sessions with a covert thrashy twist.

Demo Demo, 1995
Demo Demo, 1996
Promo Ensayo Demo, 1997

Youtube

ANSCHLUSS (BRAZIL)

Although being active since the mid-80's, it was more than ten years later when these guys finally got lucky to sign an album deal: heavy modern death/thrash with interesting Bolt Thrower-like riffs. Their early demos are amateurish brutal black/thrash, copying their peers from Sarcofago, Vulcano, Sextrash in hardly the best possible way.

Fate Full-length, 1997

My Space

ANSHAR (USA)

This is heavy mid-paced power/thrash metal with strong doomy overtones, still more classic-sounding for the time; the approach actually recalls Black Sabbath's "Dehumanizer", which was released just a year earlier. The rhythm section is heavy and threatening (check out the steam rollers "Lobotomy" and "Gridlock"), but the guys never feel the temptation to make things more interesting by speeding up, except for the closing more energetic power/thrasher "Shockwave".

Defacing Humanity Full-length, 1993

ANTABUS (FINLAND)

These Finns specialize in steady classic thrash staying quite close to the Bay-Area patterns with Metallica and Forbidden the prime targets for worship. The music is on quite a high level the leads being particularly striking. The sound quality is quite good, too, and the singer provides a cool attached semi-clean voice which fits the overall up-tempo approach. "Anus Reaction" is a cool technicaller, showing the more elaborate side of the band's repertoire, followed by the generally faithful cover of Metallica's "Hit the Lights" as a finishing touch. The musicians take part in various other projects around Finland: the folk metal formation Auringon Hauta, the black metal outfit Haive, the black/folk/pagan metallers Solgrav.

Anus Reaction Demo, 2013
Antabus EP, 2015

Official Site

ANTACID (MALAYSIA)

Based on the split, this is good retro thrash with black-ish vocals reminiscent of the Swedes Bewitched and Witchery, "supported" by elements from the more melodic power/heavy metal field, mostly in the lead guitar work.

Thrashing Mania Demo, 2004
Demon Seed of Thrash Split, 2005
Steel Thrashing Massacre Demo, 2006

My Space

ANTAGON (COLOMBIA)

Cool classic thrash with a dark, brooding sound, not very fast, sounding a bit like early Destruction and Sacrifice's "Soldiers of Misfortune", but the guitars are not that sharp, and the vocals are strictly in the death/black metal camp.

Mental Pollution Demo, 1992

ANTAGONISM (FRANCE)

Based on the full-length, this band play classic speed/thrash which races onward with crisp semi-technical walkabouts ("Uncensored Nightmare"), or stomps the neighbourhood with heavy steam-rolling riffs ("World on Disease"). The singer is a passable semi-cleaner recalling Chris Astley (Xentrix) who emits more passion on the intriguing 9-min progressiver "Remember What You Are".
“First in, First out” follows the same trajectory, the guys moshing with heavy reverberations, the title-track and “Harvests Misfortune” blasting through the speakers, the meeker epic “Biohazard” inserting a more melancholic, more melodic tone. Expect also pure speed metal joys in the face of “215’ and “City of Love”, the tender semi-balladic “Valley of the Monolith” the respite here.

Thrashocalypse EP, 2018
World on Disease Full-length, 2020
First in, First out Full-Length, 2023

Official Site

ANTAGONIST (GERMANY)

Based on "Demons", these guys pull out a dynamic mix of modern and retro thrash recalling more recent Kreator. The sense of melody is probably bigger here, for better or worse, but the approach is exactly the same as the one on "Violent Revolution" and "Enemy of God": a potent balanced blend of fast and slower numbers and vocals which are a dead ringer for the more recently acquired singing style by Mille. The blend gets broken near the end, but this brings the most entertaining headbanging moments on the album on the last two songs which are nice pure classic speed/thrashing delights.

Mosaik EP, 1995
Perfect Human Comprehension Full-length, 1999
New Zombie Dead EP, 2002
Demons Full-length, 2006

Official Site

ANTAGONIST (USA, OR)

An obscure 4-tracker which provides excellent technical thrash that can be quite intense ("Survivors Will Be Prosecuted") with hard lashing guitars which surprisingly become more intricate on the shorter numbers ("Atrocity") without losing any of the speed recalling early Coroner. "Eternal Darkness" is a nice creepy technicaller which accumulates speed with each passing second until it reaches more brutal death metal-ish parametres. "Evil On Two Legs" begins with the "Halloween" horror theme, a very often used gimmick in metal, before it turns to multi-layered technical thrash at its most shining best with twisting serpentine riffs, fast-paced orthodox "skirmishes", a myriad of time and tempo changes, dramatic progressive build-ups, and sparse cleaner vocal participation which opposes to the gruff semi-clean/semi-death metal main vocals.

Demo Demo, 1989

ANTAGONIST (USA, GREEN BAY, WI)

Based on "Antagonist", this is really good technical classic thrash which at times gets surreally hyper-active and aggressive with bold strides towards death metal. A bizarre, but highly listenable amalgam which enchants the listener from the get-go with "Black Sands of Time", an amorphous unpredictable shredder that combines impetuous intricate speed/thrash ala Savage Steel's "Do or Die" with more brutal surges in the vein of Hellwitch and Incubus, not to mention the surreal leaps and bounds that have only been heard on Cauldron Born's "Born of the Cauldron" and the Slauter Xstroyes exploits elsewhere. "Dead Priest" is another exemplary riff-fest with the more aggressive deathy escapades placed at the beginning this time, the jumpy oddball rhythms following suit, the alternation making room for a superb melodic tractate in the second half. "Lies After Death" is a short, marginally more linear frolicker built on US power metal etudes, a cool mellow proposition that flows into "Good Day To Die", a shape-shifting piece the guys dexterously juggling between power, thrash and proto-death to a dizzying, hallucinogenic effect. "Live In Fear" is the softest proposition here, a still technical power metal cut giving more freedom to the expressive semi-clean vocals to shine with the less flashy musical shenanigans the latter heightened admirably on "Cracking Skulls" with the same blend of the aforementioned three genres with wild speedy strokes creating fever-ish headbanging atmosphere amongst the bouts of exuberant, hectic technicality.
The band changed their style for their second EP into a Manowar clone (including also a cover version of "Kill With Power") by also throwing awkward more aggressive deathly tunes. A very mixed, underwhelming bag that has very little to do with the creative flair exhibited by the guys on the debut EP.

Antagonist EP, 1993
Open Face Surgery EP, 2000

Facebook

ANTAGONIST (USA, WHITTIER, CA)

"The Architecture of Discord": modern thrash/death with metalcore vocals; I know, it doesn't sound attractive, especially when I add that they also have the detrimental tendency to throw those clean vocals here and there although the music is not a total waste with a fair share of energetic fast-paced riffs.
"World In Decline" is an intense affair blending modern thrash with death metal; the guitar work is melodic and catchy, and certain metalcore breaks have sneaked in here and there. Still, this effort isn't a total waste relying on fast-paced rhythms which, combined with the melodic hooks and the sparse more technical decisions, will appeal to quite a few contemporary metal fans, mostly to those who are fonder of the Swedish trends in the genre.

Eschatology EP, 2004
Samsara EP, 2005
The Architecture of Discord Full-length, 2005
An Envy of Innocence Full-length, 2006
Exist Full-length, 2008
World In Decline Full-length, 2010

Official Site

ANTAGONIST AD (NEW ZEALAND)

Thrashcore mixed with a few more standard Swedish borrowings; pedestrian, not very imaginative, music with the faster breaks the more attractive side although the latter seldom last beyond the spontaneous outburst including the sparse nods to prime old school hardcore. Most of the time this is heavy proto-groovy stuff with jumpy riffs and some displays of more melodic sentiments those ultimately spoiled by the hysterical shouty vocals.

Nothing From No One Full-Length, 2012

ANTARES (ARGENTINA)

These Argentinians play melodic power/thrash which is classic in its core, but shades of the more modern movements can easily be caught here and there. This is happy, "eagle fly free" stuff, but without the soaring speedy melodies of the Helloween clones, and with gruffer and lower-pitched, but still pretty clean vocals.

Victim Of Possibilities Demo, 2011

ANTARES (CHILE)

Two songs of brisk classic speed/thrash with a few more stylish technical hooks; the guys lash with passion alternating between fast and slow sections with the technical insertions heard more than now and then. These two songs can be a good base for a longer effort, also to give the good passionate high-strung singer a bigger space to display his vocal abilities.

Destino Demo, 2012

ANTARES PREDATOR (NORWAY)

These guys were previously known as Wolf 327. The EP is a blend of black and thrash metal, quite furious and brutal, at least in the beginning: the orchestral black opus "Erosion of Eternity". Later things settle down for a couple of cool straight thrash pieces: "As Dragons Roam The Sky", the heavy mid-paced "Midnight Wolf", which are the more appealing side of this EP. "Sacrament" is a nod to the more eclectic, avantgarde side of black metal (Khold, Thorns, recent Satyricon) with its slow, doomy, ominous riffs.

"Twilight of the Apocalypse" is both an elaboration and an improvement over the EP featuring very fast (at least the two opening numbers), not as fast, and almost doomy compositions. A nice semi-technical edge can be heard throughout as well as a cool keyboard background on some tracks. Thrash is very well covered, and there is a death metal flavour on a few songs ("As Dragons Roam The Sky", "Wastelands"). "Sacrament" is a great composition mixing the moody doom side of black metal with fine haunting melodies. "Mark 13" is actually the only hyper-blasting track here, but the next "Orion" is excellent sharp mid-paced thrash with an epic touch. But the best on the album is yet to come, first with the technical thrash/deathfest "Through The Deep", and then with the progressive opus "Twilight of the Apocalypse", a compelling mix of galloping thrash and operatic keyboard melodies which create a nice "duel" with the leads at some point, remaining quite a highlight. The final "Death" betrays the energy experienced so far (after all it's "death" we're talking about), but in a cool way being an atmospheric lead-driven instrumental. This is a nice full-length debut giving a headstart to the Italian metal scene for 2010 with its encompassing diverse sure-handed approach.

Banquet of Ashes EP, 2008
Twilight of the Apocalypse Full-length, 2010

My Space

ANTCORPUS (BRAZIL)

Blistering invigorating retro speed/thrash from Brazil this way comes; nothing new, some may say, but the guys here mosh with force the soaring speed metal tendencies more accentuated on perhaps, but this is hardly a complaint the ultra-speedy rhythms creating a lot of memorable moments some also served with a pinch of death metal ("Chuva Acida"). Air guitars will tear the air on "Desordem e Regresso", a hooky speedster with some cool melodies. The rest is more on the intense bashing side, but few will be displeased with flying headbangers like "Violence" & "Tortura" roaming around. "Demencia" is a more serious piece although the speed/thrashing madness doesn't quite stop there, but run for cover on the final Slayer-izer "Decreto do Fim" which alone will cause you a headache. The screechy overshouty vocals may get on your nerves a bit, but this is music too good to be blemished by something like that.

Na Terra Do Metal Full-Length, 2013

Official Site

ANTECESSOR (SPAIN)

These Spaniards offer a power/speed/thrash mixture which is more on the classic side and relies on heavy riff-patterns with sudden outbursts of energy the latter more than welcome as well as the several more technical leanings ("Predicando en el Desierto" which is a cool nod to early Ktulu) and the cool acoustic flamenco guitar insertions ("Born into Metal Militia"). The music is varied and the heavy base isn't stale moving around with dramatic structures, short screamy leads and the strangely attached shouty death metal vocals.

Hijos de la Ira Full-length, 2012

My Space

ANTEMORTEM (COLOMBIA)

Based on the Split, this act offers evil misanthropic black/thrash metal of the fast extreme type, strictly old school. Still, the music is more thrash-based reaching for the early German models ("Through Death") on the more inspired moments. The guitar work is very simplistic, just above the amateurish level, the drums are very hollow, and the singer unleashes a sinister semi-whispered tone which becomes barely audible at times.

Through Death Demo, 2005
Galeras Thrash Assault Split, 2006
Blasphemy Thrashing Metal Demo, 2006
Unholy Mutilator of Christ Best of/Compilation, 2007

Official Site

ANTENOR (ARGENTINA)

Based on the debut, this young outfit, who were previously a Megadeth cover band, indulge in retro speed/thrash which is sustained in a more moderate manner without any speedy extremes although the high energy is present all over with some hard thrashing ("Despierta") encountered in the second half, standing right next to more technical exercises ("Atrapado En El Silencio"). The vocals are on the hoarse, semi-death metal side and don't impress as much as the cool unpretentious music which only stumbles on the mellow power metal closer "No Te Veran Caer", the only reminder of their aforementioned American peers, their lighter mid-period.
"Solo en tu Mente" is a more aggressive offering, the proto-death madness "Suicida" opening the proceedings with vicious panache, with more painful blitzkriegers ("Irrial") arriving later, the crunchy mid-paced stupor of cuts like "Abismo" and "Cadenas o Libertad" clinging more towards the modern canons, the closer "¡Cuanto mas!" raging with sophistication for an acceptable speed/thrashing ride.

Circulo Del Infierno Full-Length, 2016
Solo en tu Mente Full-length, 2021

Official Site

ANTERIOR (USA)

Another representative of the modern thrash/death metal wave trying to run away from the trite Gothenburg patterns with less melodic thrashing recalling Dew-Scented and another German act of recent years, Ravage. The tracks are mostly played on high speed with not very frequent slower insertions.

This Age of Silence Full-length, 2007

My Space

ANTESSER (RUSSIA)

This is classic-sounding speed/power/thrash, more on the melodic side, energetic and competently done, but the lack of sharpness in the riffs and the numerous melodic hooks will hardly make it the headbanger's first choice. Still the energy behind numbers like "Slavery Of Darkness" and "From Love To Hate" will not pass unnoticed, and "Buried Alive" is good doom metal with a nice organ tune in the end, cancelled by the closing 1.5-min furious grinding "Destroy The World": quite a surprise, featured on this not very hard-hitting album.

Demolition Star Full-length, 2006

ANTHARES (BRAZIL)

Pretty cool speed/thrash metal with nods to the German School: Vectom, Toxic Shock, Exumer, Paradox; this is fast energetic stuff with harsh vicious vocals along the lines of Tony Portaro (Whiplash). The very appropriately-titled "Furia" instigates the mosh with furious aggressive riffs resembling the Whiplash debut the title-track turning the tides towards the early German school, with "Paranoia Final" providing some mid-tempo respites amidst the blitzkrieg thrashing. Cool melodic pirouettes can be heard at the start of "Vinganca", but this is the next in line remorseless headbanger pairing well with the more ambitiously executed "Chacina" which touches the more intricate exploits of Paradox, a tendency also sustained for "Prisioneiros do Sistema", an appetizing conglomerate of impetuous speed/thrashing and more stylish walkabouts.
"O Caos da Razo": another thrash "phoenix" rising from the ashes. The guys disappeared after just one album, but here they are again ready to kill. And kill they do; for those who still remember the blitzkrieg riffs from their debut the surprises will be a few; still, this is prime old school speed/thrash with fast'n tight guitars, cool melodies, and vicious gruff shouty vocals. "No Poeo do Obscuro" is a cool more technical cut, and "Dor Imortal" is more direct speed/thrashing madness which grows into the excellent progressive thrasher "Marcador da Fe". Virtuoso lead sections overtake the aether on "Pesadelo Sul-Americano", and the closing "Canibal", which is a reworked version of an old song, is another stylish exercise in more complex thrash. The band have done a very good job and finally, after such a long wait, their name will hopefully be heard outside the South American underground.

No Limite da Forca Full-length, 1987
O Caos da Razo Full-Length, 2015

Official Site

ANTHARES (FRANCE)

The debut: most of the time these guys pull out heavy mid-paced thrash in the vein of the Germans Warpath or Slayer's late-80's period on the better moments which aren't that many in the first half. Some attempts at breaking the monotonous formula in the second one lead to one odd funky track ("Dance With The Fog") and one not very impressive heavy/power metal ode ("Soldier of Hell"). "Only the Best" partially saves the day being a really cool energetic thrasher (it's "only the best", after all), and the following "The World in Flame" also comes with brisk hard-hitting riffage. The ending is saved for a generally faithful cover version of Slayer's "Mandatory Suicide". The vocals are bad, shouted hardcore-ish ones.
"Addicted to Chaos": some 20 years after the first coming the band are showing up again for another spell. This time the approach is a tad more dynamic, and although pounders like "Prisoner of War" and "From the Cradle to the Grave" recall the debut with their heavy reverberations, there's no denying the visceral power of attacking pieces like "Counter Strike" and "Bitten by the Light" which gracefully carry the album on their shoulders, giving it a nice intense veneer. "Hail to the King" seems to be the only unmitigated pullback, a not very successful attempt at a more epic, less dynamic song-writing.
“After the War” is even less compromising in its fiery approach, “Arise the War Cry” moshing like demented with echoes of mid-period Slayer, whereas “Burning Light” displays some melodic sentiments alongside the blitzkrieg skirmishes. Arrive a bunch of “Invaders from the Outer Space” to speed thrash the environment to smithereens, the invasion mortified by the heavy dark stomper “Trance Thrash”. No such films in the second half where “Lost” and “Pain” with an iron hand and steel sharp riffs, the final “After the War” lifting the dynamics as a needed farewell gesture.

Pro Memoria Full-length, 1999
Addicted to Chaos Full-Length, 2019
After the War Full-length, 2024

Official Site

ANTHEMIC (GERMANY)

This is pretty decent classic power/thrash with covert progressive overtones, the calm pensive layout of “Red Canyon” winning a couple of points due to the presence of the ethereal female vocals as opposed to the main clean mid-ranged male ones. “Aviditas Argenti” is an edgier rowdier proposition, before ‘Sense of Frustration” goes back to the mellower semi-balladic patterns. The formula doesn’t tolerate any more brutal alterations, “Nocturnal Torments” coming out with a more aggressive riff-based veneer, but still this is an entertainment for the fainter-of-heart, those who also love purer progressive metal acts like Shadow Gallery, Angra, and Threshold.

Counter Clockwise Full-length, 1993

ANTHONY (FINLAND)

Based on the "Perfect Violence & Concrete Destruction" demo, these guys pull out cool fast-paced thrash similar to early Kreator and Toxic Shock. The guitar work is simplistic, but quite hard-hitting, and the vocals are gruff, semi-death metalish, recalling Martin Van Drunen (Pestilence, Asphyx, etc.).

Perfect Violence & Concrete Destruction Demo, 1989
Two Songs of Sorrow Single, 1991

ANTHRAX (USA)

A compulsory band, needless to say; "Fistful of Metal" was an inspired, rough around the edges debut, which virtually started the speed/thrash metal movement, along with the same year's works of Metallica, Exciter and Slayer. Two years later the band tested the soil with the excellent EP "Armed and Dangerous", which also introduced the new singer Joey Belladonna, whose clean, higher-pitched timbre gave a strong individual edge to the band's style. "Spreading the Disease" summed the best from the already established speed and thrash metal genres, featuring again the mighty semi-ballad from the EP "Armed and Dangerous". Then came the full-on thrash assault on "Among the Living", considered by many the band's finest hour, full with instant thrash metal hits ("I Am the Law", "Efilnikufecin", "Indians",etc.). "State of Euphoria" was a nice companion to its predecessor, but the guys reached their summit with the dark, haunting, progressive sound on the incredible "Persistence Of Time", which showed in a great way the band's more serious, thought-out side, introducing longer, complex compositions, leaving behind the hit potential which the previous material had (except, of course, for the excellent energetic crossover cover of Joe Jackson's "Got the Time"). Then Joey Belladonna left to form his own band, but Anthrax voted to continue, and recruited John Bush from the power metallers Armored Saint. "The Sound Of White Noise" followed a similar to the Black Album post-thrash pattern, and admirably hit the mark, but the later works moved into a direction which has nothing to do with thrash.

Joey Belladonna is again with his old comrades (although, based on the interviews he's been giving recently, the future of this reunion isn't very certain), and the fans will rejoice to hear one of the most characteristic voices of thrash metal back to the fore. Certainly, those same fans will have to settle for the fact that "Among the Living" or "Persistence of Time" can not possibly be recreated; and with that frame of mind they should approach "Worship Music". So, is this new offering from the legendary New Yorkers worth "worshipping"? The answer would inevitably vary from one song to another, depending on the listener's taste, who will come across a few influences here. The classic, "moshing" Anthrax is well mixed with the proto-groovy rhythms of "Sound Of White Noise" on the energetic opener "Earth On Hell", a promising beginning overall. "The Devil You Know" is a milder power/thrasher reminding of the Belladonna solo period quite a bit, the "cure" provided by the following "Fight 'Em Til You Can't" which is an edgier piece with a nice catchy chorus. Then comes a time for several softer tracks with a modern edge, "In The End" supplying the desirable retro galloping digression. A string of angrier, groovier compositions follows suit which get lost in repetitive, predictable riffs. "The Constant" is a post-classic "echo" from "The Sound Of White Noise", the closing "Revolution Screams" remaining faithful to the aforementioned album with its pounding, slightly alternative, delivery, and the good memorable chorus. As a whole there's very little to be heard from Anthrax of the 80's, the guys producing a mildly entertaining tribute to their 90's period with a passing retro twist. Belladonna surprisingly fits this material, pulling out a good performance without straining himself too much. The band's fans will probably hope for a more classic-sounding, post-reunion offering in the near future, but for the time being they will have to try and find an "antidote" for the aftertaste which this album would by all means leave.

The "Anthems" EP: just when one thinks that the cover mania is over for good comes another effort, from an old-timer at that, to pour more "niceties" into this utterly unnecessary vogue. Anyway, the veterans enjoy themselves serving (for those who care): Rush's "Anthem", the Canadians' most lacklustre composition probably, delivered quite faithfully; Thin Lizzy's "Jailbreak", again more in the faithful camp; AC/DC's "TNT" with Belladonna impressing quite a bit with his plausible impersonation of Bon Scott (R.I.P.); Boston's "Smokin'", the best song here, an uplifting rock'n roller done the Boston way; Journey's "Keep on Runnin'"; and Cheap Trick's "Big Eyes". Needless to say, there's no trace of thrash, even metal for most of the time. Oh, and there's a useless remastered/remixed version of "Crawl" from "Worship Music", coming in pair with the original both placed at the end of this not really valuable addition to the band's catalogue.
"For All Kings": music "for all kings" doesn't mean that it will suit all the metal fanbase around the world, but at least at the beginning the band have pulled out a nice surprise: the long progressiver "You Gotta Believe", a great reminder of the hard elaborate thrashing from "Persistence of Time". "Monster at the End" is a filler served quite early, a mellow power metal rocker, but the headbangers won't have to wait for very long since the title-track is a major ripper with a melodic speed metal flavour. "Breathing Lightning" is another longer, more serious cut, but its not very eventful mid-paced shreds would hardly ignite the atmosphere to a boiling point. The pleasant surprises aren't over completely, mind you, and here comes "Evil Twin" to thrash your world with brisk hammering riffs. All good, but who needed this bland 8-min ballad "Blood Eagle Wings"?! "All of Them Thieves" is only a partial "excuse" for this unforgivable waste of space and time with its energetic moshing delivery, ably supported by the short raging speedster "Zero Tolerance", the closer here which seems fitting in wrapping up this varied entertaining opus which is definitely better than the previous one, but is still miles away from the greatness of their 80's legacy.

Fistful of Metal Full-length, 1983
Armed and Dangerous EP, 1985
Spreading the Disease Full-length, 1985
Among the Living Full-length, 1987
State of Euphoria Full-length, 1988
Penikufesin EP, 1989
Persistence of Time Full-length, 1990
Attack Of The Killer B's Best of/Compilation, 1991
Sound Of White Noise Full-length, 1993
Worship Music Full-length, 2011
Anthems EP, 2013
For All Kings Full-Length, 2016

Official Site

ANTHROPHOBIA

Modern post-thrash borrowing from both the alternative and the hardcore arena; there's not much to delight the regular thrash fan, but those who are into the nu-sound of the 90's: Helmet, Biohazard, Tool, etc., will do no wrong checking these guys out.

Framework EP, 1996

ANTHY (MEXICO)

Surreal atmospheric thrash/death which prevalent dark serenity is rudely interrupted at times by wild blasters like "Murder Divine" and the more stylish bombaster "Osculum Obscenum". The vocals are two-faced: mean witch-like half-hisses; and brutal semi-shouty death metal ones.

Jester of the Fools Full-Length, 2016

Official Site

ANTI-CHORD (NORWAY)

Intense, also quite cool, lashing old school thrash with gurgling death metal vocals, and some really captivating progressive ideas (the lengthy atmospheric opus "Pathology"); "Casualties of War" is a more immediate bashing listening experience, and "The Sinful Past" is an effective semi-balladic heavyweight. "Parracidial Conquest" is a steady mid-paced stroller, and "The Afterthought" is a cool melodic stomper with a few more complex developments. Some of the band members also played with the death metal outfit The Flesh.

The Misanthrope Demo, 1992

Official Site

ANTI (BELARUS)

Light-hearted mellow modern post-thrash with a slightly rough sound which is suitable at least for the cool cover of New Model Army's "The Hunt", the same one which also fascinated Sepultura. The guitars have a certain punk/alternative edge which disappears on the best material, like the doom/psychedelic number "Green Hell" (which is not a Misfits cover).

Anger Full-Length, 2010

ANTI ANTI ANTI (GERMANY)

Based on the full-length, this act provide ripping old school thrash which is assisted by somewhat screechy, overshouty vocals. The band throw the odd merrier, crossover-tinged cut ("We Are Sublime", the cool uplifting shorter "The Cure Becomes The Poison"), and generally the approach is light-hearted and elevating, the hectic semi-technical nature of "Psycho A Go-Go" and "Alpha & Omega" a welcome digression, the exiting trio of brief explosive numbers a cool fitting closure to an entertaining hyper-active effort.

Anti Anti Anti EP, 2019
Burn Everything Full-length, 2020

Official Site

ANTI TANK NUN (POLAND)

This act is another vehicle for Titus, aka Tomasz Pukacki, the bass player who is also active with Acid Drinkers, Flapjack, Virgin Snatch, etc. On the first two albums (not listed here) the guys were flagging the classic heavy/power metal idea far'n wide,, but here the course has been hardened to admirable speed/proto-thrash proportions with some of the material ("Hitler Kaput", the remorseless ball of fury "The God Father") hitting as hard as the early Slayer heroics save for the friendlier semi-clean/semi-shouty vocals. Laid-back heavy/power metal pageants ("Every Single Morning") certainly roam around, but this is good headbanging fun all for the large part that should satisfy a wider gamut of fans.

Permanent Erection Full-length, 2017

Official Site

ANTI TOXIN (GERMANY)

Thrash/crossover of the more simplistic, raw type, with excellent bass performance; the style is quite close to early Prong and The Accused, with a badly disguised punk-ish attitude.

The Enemy Is You EP, 1988

ANTICHRIST (HUNGARY)

This formation, along with Tormentor, had introduced the black side of metal in Hungary and Eastern Europe in general, although these guys are more thrashy, but lesser musicians. The music on this demo is one-dimensional, very simple black-ish thrash, obviously influenced by early Bathory, mostly up-tempo, with horrible unholy snarly vocals which might scare someone, even nowadays. "Night of the Living Deads", which is a bonus track, is probably one of the first attempts at brutal death metal from Hungary although the musicianship there is also on quite a low level.

Dark Age... in the Very Beginning Demo, 1989

ANTICHRIST (SWEDEN)

Based on the "Put to Death" demo: cool retro thrash metal ala Possessed's "Seven Churches"; dark ominous sound, moderately fast tempos, vicious semi-death metal vocals, and a few attempts at more direct speed metal ("Virgin's Blood"). The riffs are a bit mellower carrying more melody which at times grow into really catchy memorable hooks (check "Virgin's Blood" again).
"Forbidden World" is a really good debut the guys having epitomized their style with more nods towards the German speed/thrash metal school, the fierce opener "Dark Sorcery" sounding like the song Angel Dust never wrote: a speed/thrashfest at its best, graced by fine melodic leads. "Militia Of Death" is less than 3-min of pure thrashing madness, with the next "Torment in Hell" bringing the "winds" of speed metal again. The title-track is 1.5-min of peaceful semi-acoustic guitars, and "Necropolis" is an ambitious 8-min composition of intense headbanging speed/thrash with slight progressive leanings and an imposing doom ending. Then the speed/thrashing madness carries on for another three tracks, and those who survive it (this is some ultra-furious stuff, folks!) will reach another larger-than-life number: "Minotaur", an instrumental-only opus which tones down the aggression concentrating on more moderate galloping riffs and beautiful melodic hooks, mostly in the lead department. The final "Terror Dimension" is a total early Destruction-worship, a fitting finish to this no-brainer of a classic speed/thrash metal which is very close to topping up the thrash metal movement in their homeland.
The band members keep themselves busy with numerous other acts: the classic heavy metal newcomers Witchgrave, the death metal outfits Eviscerated (which is on hold at the moment) and Awaken Horror, etc.
"Sinful Birth" is a more varied affair although the guys try their best to keep the pace up for most of the time. Still, squashing dramatic mid-pacers like "Under the Cross" work almost as well as opposed to vicious immediate speed/thrashers like "The Black Pharaoh". The title-track offers more elaborate rhythms on the hyper-active bashing background, and "Burned Beyond Recognition" gracefully continues them with rolling riffage and more technical decisions. "Chernobyl 1986" is an ambitious 10-min progressive behemoth which the band admirably sustain in the up-tempo parametres for most of the time, further evidence that they have the intentions on playing a more important role on the scene in their homeland, and not only.

Crushing Metal Tape Demo, 2009
Put to Death Demo, 2010
Forbidden World Full-Length, 2011
Sinful Birth Full-length, 2017

Official Site

ANTICHRIST HOOLIGANS (BRAZIL)

These hooligans indulge in classic "antichrist" thrash/crossover which is fairly energetic and intense a bit marred by the not very suiting screechy blacky vocals which scream like a banshee at every more or less appropriate moment. The album has a somewhat street aesthetics not far from the first two Hirax efforts although the songs here are longer also bearing some resemblance to the Swedish moshers F.K.U. due to the not very bridled hardcore attitude ("Nuclear Beer Drinkers"; the frolic speedster "Metal Punk"; "We are Antichrist Hooligans"; well, who isn't!?) at times. Some really serious hard-hitting thrash ("Nuclear Spell"; the intense closer "Toxic Invasion") comes served near the end making this release one of the more optimistic slabs of good old school fun to come out of South America in recent years.

We Will Piss on Your Grave Full-Length, 2013

Facebook

ANTICLOCKWISE (ITALY)

Based on "Carry the Fire", this act serve modern progressive power/thrash quite reminiscent of Nevermore and their compatriots Chaoswave. In other words, expect heavy dark riffage with a touch of groove. Sparse fast-paced escapades("The Road", the semi-technical shredder "Hour of Need") are inevitable, but the other extreme is also handsomely covered: the nice ballad "Leaves Fall No More"; the short piece of acoustic tenderness "Son". The singer is cool with his mid-ranged clean timbre which becomes more prominent on the aforementioned lighter material.
"Raise Your Head" is a more dynamic and more attractive affair the band now thrashing much harder the title-track a really potent opener with sharp cutting guitars and dramatic accumulations. More shredding drama with "The Gutenberg Plague", a seismic mid-paced squasher with sudden speedy outbreaks. "Mothertongue" is a brooding quasi-doomster, and "The Wire" is a more dynamic piece with more playful rhythms. "Into the R.A.M." is a nice progressiver with very cool fast-paced escapades the latter making this composition one of the finest the band have ever composed; another reason why this album can be rightfully considered the guys' finest hour.

Non Linear Dynamical Systems Full-length, 2009
Carry the Fire Full-length, 2013
Raise Your Head Full-length, 2016

Facebook

ANTICORPSE (FRANCE)

Based on the "The Great Fall of Humanity" full-length, this act serve clever semi-technical modern thrash/death which evolves around meandering mid-paced patterns and although there's not much speed present, the intriguing riffage will keep the listener hooked for most of the time. The guitar work is quite heavy and pounding recalling at times the marching battle-like style of Bolt Thrower (check out the closing "Korrils Dance"). Some of the band members are also involved with the black metallers Malysteria.

Power Through Chaos EP, 2009
Frenezy Full-length, 2011
The Great Fall of Humanity EP, 2014
The Great Fall of Humanity Full-length, 2014

Official Site

ANTICOSM (USA)

Based on the full-length, this act serve "anticosmic" thrash/death which is quite intriguing with technical/progressive tendencies which aren't fully epitomized at this stage another obstacle being the very fuzzy guitar sound. Still, the guys do their best to show whatever they have up their sleeves and pull it out on longer, more cleverly-composed numbers like "Through the Steppe". There's a lot of melody gracing almost every number, and the vocals are of the shouty black/death variety with a witch-like hiss applied at times. Some of the band members are also active with the death metal formation War Crime.
The self-titled is another stylish offering the guys death/thrashing with a lot of mind put into the recording so it's no wonder that the album picks up both speed and aggression from the very beginning where "Where Nightmares Breed" is a nice "cosmic" piece with lyrical digressions interrupting the brutal rifforamas. "Black Magic" is nothing like the Slayer hit, but is an engaging progressive saga with interesting operatic decisions which also stretch onto the remaining material among which "Killing Machine" is a nice melodic progressiver with great lead sections. The closing "The Season of Ill Wind" seamlessly blends brutal deathly passages with beautiful orchestral arrangements to wrap up the album after nearly 10-min of serious thought-provoking music.
"The Call of the Void" attempts something more elaborate and spacey, the band fully aware of Vektor's last on a couple of tracks, and meandering intricate technicallers like "Someone Must Suffer" are more effective than overblown extreme progressive operas like the opening "Viral". The shorter material ("Scorched Earth", "Somewhere Between Life and Death") is pure headbanging fun, contrasting with the more serious nature of the rest which borders on Swedish melo-death ("The Only Truth") more than just occasionally.

Against the Cosmos Full-Length, 2009
The Wreckoning EP, 2011
Anticosm Full-Length, 2015
The Call of the Void Full-length, 2019

Official Site

ANTIDOTE (FINLAND)

These late-comers on the Finnish thrash metal scene started quite well with "The Truth": nice, multi-layered semi-technical thrash with interesting, diverse compositions. It really offered an interesting approach to thrash, at times quite frenetic and chaotic ("Symphony of Death"), at times pure thrashing madness ("Act of Violence"), at times heavy and crushing ("Melancolia"). The fast pace predominates, and the very technical moments are not that many, so this work will be a sure pick for the headbangers.

Later the band abandoned this formula and stuck to heavy, mostly mid-paced songs somewhat along the lines of Metallica's late 80's period, also quite good, but less original. The compositions have been increased in length, and are decidedly more technical, obviously influenced by the approach on "...And Justice For All". Of course, there are speedy moments, but they could be viewed as breaks from the monolithic heavy wall of sound, created by the rest. Attempts at a more melodic, heavy metal-based song-writing are also made ("My Million Years" from "Total") as well as such at modern groovy post-thrash, again recalling more Metallica's Black Album ("The Aggressor Within" from "Mind Alive") rather than Pantera or Machine Head. Quite a few of the tracks border on heavy, doomy, semi-balladic thrash which create somewhat tedious atmosphere.

The Truth Full-length, 1992
Total Full-length, 1994
Mind Alive Full-length, 1996

ANTIDRASI (GREECE)

Based on the debut, this band plays intense thrash/crossover, clinging more towards the hardcore side. Some songs are pure bashing bordering on grind ("Gennimenoi Nekroi"), some, but much fewer, are more melodic punk pieces ("Genoktonia"), and as a whole the music of those Greeks is fairly more aggressive than the majority of the thrash/crossover acts having walked the Earth during the late 80's/early 90's. The tracks are short and vicious, and the sound quality, at least on this album, is bad, with a buzzy guitar sound. The singer is vintage Tommy Victor (Prong), and the overall musical approach of those guys is not too far from the early works of Prong.

"Pantou & Pouthena" shows the band in an inspired form to produce more aggressive hardcore-ish thrash, after a long 11-year absence. The music this time is more laid-back, very seldom reaching grinding intensity, also relying on more melodic patterns, taken straight from the efforts of Suicidal Tendencies and Lawnmower Deth.

Katastasi Kindunou Full-length, 1990
Enantia Full-length, 1991
E 7 EP, 1995
Pantou & Pouthena Full-Length, 2006

ANTIFIL (ARGENTINA)

Gruff dynamic post-thrash which switches onto less bridled thrash/crossover on the shorter numbers which occupy half the space and are nice invigorating speedsters. The sound quality is not great coming with a lot of side noise along with the angry quarrelsome semi-shouty vocals which are another detraction.

Demo Demo, 1995

ANTIGOD (CZECH)

Modern thrash which is both mechanical and more relaxed with a classic flavour; the band specializes in short blitzkrieg numbers in the beginning surrounded by a characteristic robotic aura largely created by the boosted modern production. The speed gets lost here and there replaced by nice melodic sweeps (the gothic semi-ballad "Shadow Dweller") which dominate the landscape for the rest of the album aptly assisted by deep semi-whispered, again mechanized, vocals. Some of the musicians are also involved with the death metal/grindcore formation Disfigured Corpse.

The Masquerade Full-Length, 2013

Official Site

ANTILLES (GERMANY)

Based on the full-length, this band play intense blitzkrieg modern thrash/death that is quite close to the one performed by their compatriots Dew-Scented and Final Breath. This is professionally executed but fairly generic stuff which features several more entangled, quasi-progressive ("Day of Reckoning", the title-track) attempts the latter not exactly favoured by the throaty death metal vocals. The times when death metal ("The Gift of Finiteness", "Angoris VII") takes over with more atmosphere, but also with quite a few misplaced blast-beats which don't fit that well into the anti-belligerent canvas.
The "Entheos" EP is a more aggressive affair, with also some progressive pretensions, the latter claim coming mostly form the epic length of the compositions. "Humanity Is Cancer" is a mechanical dystopian saga with abrupt melodic rushes, particularly from the lead department, and "All Terrestrial Must Vanish" is an atmospheric slow-burner, "The Sacrifice" belonging to the same category, only more epically-decorated. "Divine Illusion" adds more to the prevalent abstractism, a marginally more technical but equally sterile proposition, the band shifting towards more expansive, but also colder bleaker horizons.

Definition of Insanity EP, 2016
The Intricate Path of Creation Full-length, 2018
Entheos EP, 2022

Official Site

ANTIMEDIA (INDONESIA)

This is right as rain bashing classic thrash topped by by intense vociferous death metal vocals. The band slay the listener with remorseless numbers like "Hidup Dalam Kutukan" and "Kosong Zero Nol", but don't forget about the more technica side of the genre which is nicely reflected in the not very predictable chops of "Minum Baygon". There's some playfulness exhibited on "Apostate", and on the frolic unpretentious crossover close "Besok Kiamat".

Kosong Zero Nol Full-Length, 2023

Youtube

ANTIMON (GERMANY)

This obscure act indulge in rough aggressive thrash with a Slayer and Devastation vibe in the beginning before the guys lose it later on and start producing more modern-sounding music ("Children Of Today") with a heavy groovy edge only to wake up for one last shot in the face of the closing mosher "One for the Angels". The sound quality is really bad with a fuzzy edge accompanying the guitars, and the singer is another detriment with his unemotional punky timbre.

Children of Today EP, 1992

Official Site

ANTIPEEWEE (GERMANY)

Based on "Madness Unleashed", this act play modern-ish thrash with winks at the old school in a way not far from Dew-Scented and No Return. "The Misanthrope" is a pleasant heavy/power metal hymn, but the other material has the bite and edge to survive a wholesome thrash test, especially the numbers in the second half which are led by the relentless headbanger "Feeding The Breeding Mother" and of course the closing optimistic speed/thrasher "Thrash Metal Fist".
"Infected by Evil" is served with a more playful attitude and more melodic riffs, but the probing moshing qualities of the material remain as evident from the clever headbanging title-track and the raging shredder "Symphony of Doom". "Dreams in the Witchhouse" is a soaring "eagle fly free" speedster, but those optimistic overtones don't turn into the leitmotif on this rowdy effort which also boasts the presence of the more officiant power/thrasher "Dagon" and the blitzkrieg lashing closer "Obey Consume and Die".

Baphothrash EP,2013
Human Grill Party Full-length, 2013
Madness Unleashed Full-length, 2015
Infected by Evil Full-length, 2018

Official Site

ANTIQUE DOLL (JAPAN)

Based on the "Pleasure Land" EP, this act plays a decent mix of classic and modern thrash, blending fast uncompromising passages with more laid-back ones with a shade of power metal. "Pleasure Land" is a doom/semi-balladic sleeper, but "Another" is a compensation with its merry crossover rhythms. The singer is a high-strung emotioner, his style very close to the one of his compatriot Anchang from Sex Machineguns.
The "Maze" EP is a marginally mellower affair, the band grooving with style on "Devil Grudge" before "Deep Red" epitomizes a more classic speed/power stance. "Lost In A Maze" is a soulful semi-balladic proposition, and "I Believe" is a free-flowing speed metal hymn, warming up the audience for the arrival of "Sledgehammer", a noteworthy remorseless thrasher.

Pleasure Land EP, 1996
Maze EP, 1996

Official Site

ANTIQUUS (CANADA)

Another very talented technical/progressive act from Canada; the band's style is a potent mixture of progressive, power, thrash and doom. The music is mostly heavy, mid-paced, with not many faster sections; the compositions are lengthy, some of them easily reaching the 9-10min mark. The riffs are crushing and heavy, interrupted by nice melodic tunes (especially those on the debut are marvellous; this same album is permeated by a great Oriental atmosphere). The band's style has a lot in common with acts like Zero Hour, although the Canadians don't rely on technicality all the time; Communic, the Swedes Pathos, Memento Mori, the last Hexenhaus album. The lead guitar work is, expectedly, on a very high level, but it's the wide amalgam of riffs and moods which makes both works a wonder to listen to. The singer has a cool melodic timbre, coming as a slightly lower-pitched version of Messiah Marcolin, although he also does a good job when hitting the higher tones. "Ramayana" is the more technical and heavier effort, a fascinating combination of smashing aggressive riffage and enchanting melodies; "Eleutheria" is more conventional, but is more dynamic and faster, and there the guys produce some fine galloping riffs.

Ramayana Full-Length, 2005
Eleutheria Full-Length, 2006

Official Site

ANTIQUUS SCRIPTUM (PORTUGAL)

The single is only one song, made by just one man operating under the name Sacerdos Magus, and this is a question for the thrash metal fans in their early teens: who is the band covered here? Quite a capable cover, if you ask me, with very well imitated T. G. Warrior-like vocals. Otherwise the music is a faithful rendition of this immortal hit with the guitar sound having the same low-tuned funereal quality.

Abi In Malam Pestem Full-length, 2002
Immortalis Factus Full-length, 2008
Dethroned Emperor Single, 2010

My Space

ANTIRAIN OF CORPSES (UKRAINE)

This is modern thrash/post-thrash which tramples all over with heavy seismic riffs, the quarrelsome death metal vocals adding to the instilled belligerence. More playful catchier rhythms (“New Age”) take turns with rowdier more confrontational tunes (“Bloody Sunset”), the balladic sentimentality of “Song of Fate” violated by the up-tempo vigour of “Death Scream”.

U-2020 Full-length, 2020

Official Site

ANTISILENCE (TURKEY)

Based on "Suffer Hits": a mix of classic and modern thrash in almost equal dozes; the classic and shorter numbers seem to work the better ("K!E!S!M!E! S!E!S!I!N!I!") coming with a pinch of hardcore. The modern tracks are long, a bit boring, and come served with balladic moments ("Da H8 Song"), unpleasantly industrialized ("Let's Consume"), or punk-tinged ("Faceslap!"). "I Came, I Saw, I Lost" is the exception being a nice fusion of soft balladic parts and really cool technical riffs; "Somebody Call Me A Starship" is another cool moment: thrash/crossover with a twist. Near the end the guys completely lose it offering awkward melodic, long ("Tw Is Twastebreakhurt" alone is 11-min long), instrumental-only tracks, with no relations to metal.

New World Order Sucks Full-length, 1995
Suffer Hits Full-length, 2000

Official Site

ANTISYSTEM (RUSSIA)

This band was founded by the ultimate guru of Russian thrash metal: Maxim "S Boltom" Layko, who is also responsible for Korrozia Metalla, D.I.V., Manic Depression, etc. This is well executed speed/thrash of the more melodic variety with fast riffage and very cool leads. The German school- early Heloween, Warrant, Iron Angel, is an obvious influence, but there are shades of crossover, and even some Jeff Waters-like guitars can be heard from time to time. The second half of the album is less impressive and much more melodic with three ballads included and one classic heavy metal number ("Krev i Honor").

Memorial for Szczery EP, 2007
Worse Is Better Full-length, 2007

Official Site

ANTITESE (BRAZIL)

This band safely walk on the well trodden path of vicious brutal Brazilian thrash/death along the lines of Sarcofago and Sepultura. They're actually better than those acts' early efforts offering more laid-back, sensible and listenable material, and a more sincere approach expressed by song-titles like "Thrash", for example. The guitar work is simplistic, but catchy, sounding a little fuzzy, topped by vicious death metal vocals. Despite the somewhat one-dimensional delivery, some room has been found for more melodic moments ("Atlantis", which is a very cool speed/thrasher, reminding of the early German speed/thrash scene). The closing "The Infinity" is a cool change being an atmospheric mid-paced instrumental with very good leads which were hidden somewhere on the rest.

Antitese Full-length, 1989

My Space

ANTITESIS (INDONESIA)

This outfit indulge in retro thrash which sometimes races with the speed of light ("Thousand Lies"), sometimes trudges along in a steady mid-paced trot ("Galep"). "Korupsi" is a nice dramatic shredder, the highlight on this decent effort which also boasts gruff semi-clean/semi-declamatory vocals.

Batas Waras Full-length, 2022

Official Site

ANTITHEIST (UK)

Based on the full-length, this is melodic classic thrash/crossover accompanied by harsh guttural death metal vocals and not as prominent clean attached ones, everything cooked courtesy of one musician, the alias The World Controller. The headbanging streak is initiated by the merry hardcore-ish “Chaos Breaks”, and the uplifting tone remains thanks to short elevating tunes like “Total Fucking Meltdown” and “The Mathematics of Obliteration”. “Godhead Emulator” is an inspiring battle-like epicer, and “The Progression of Time: is a formidable unrelenting lasher, the most aggressive occurrence on this varied melodic roller-coaster.

Fortress in Space EP, 2018
Omnicide Full-length, 2023
https://soundcloud.com/antitheist-music" target="_top">Official Site

ANTITHESIS (USA)

A highly recommended progressive power/thrash metal band whose style takes the best from the 80's American power metal scene and the German progressive thrash wave of the early-mid 90's. "Antithesis" starts with a splash with the brilliant opener "Netherworld"- arguably the band's finest number, a magnificent progressive power thrasher with superb guitar work and a galloping rhythm. What follows is no less impressive; especially the guitar performance remains on a very high level. Some fine exercises in technical thrash are worth of note, "Sword of Mouth" and "Plastic", as well as the excellent acoustic ballad "Secret Fires".

"Dying for Life" goes in the same vein. The opener "Soul of Ice" again carries the best of the album; the tracks are longer and more technical, and the tempo changes are more frequent. "Times of Trial" is a heavy semi-ballad, which slows the album down, and is too long for the kind closing on 8.5 min. The following songs are more satisfying, but fail to capture the speed lost, and come with a more aggressive and heavier, but also slower riffage ("Politicide").

"Dreaming Reality" is finally a fact, after numerous delays, but is welcome to add more fuel to the guys' small, but impressive, catalogue. With some of them having honed their weapons with Dark Arena, it would come as no surprise the strong material here which starts with the forceful dark power/thrasher "The Madness", a crunchy moody piece with excellent passionate clean vocals courtesy of the new vocalist Matt Adkins. "Endless Circle" is faster and more aggressive, but "The Prophecy" brings the "darkness" back, as well as the more complex heavier riffs. The title-track is progressive power/thrash metal of the pensive doom type, and "Venom Divine" is another staple for the band heavy number with semi-balladic overtones. "The Bleeding" is a heavy crusher with shattering riffs, and things desirably speed up on the more vivid power metal razor "Final Season". Then follows "Blue" which is a more dreamy progressive piece, the seeming filler, before the closing "Breaking My Will" "breaks your will" with faster sharper riffs. Speed has never been the first word to come to mind when listening to this band, and those who were happy with the first two albums will find no flaws here although the song-writing has been simplified a bit with not too much complexity going on also resulting in shorter more immediate songs.

Antithesis Full-length, 2000
Dying For Life Full-length, 2001
Dreaming Reality Full-length, 2010

Official Site

ANTIVERSE (USA)

The debut: the "cosmic horror" here comes as intense retro thrash with shouty death metal vocals; death metal is also present on a couple of pieces ("The Expressionless") where some covert technicality can also be felt. The sound becomes a bit dry and sterile ("The Commutator") at times, and some engaging progressive thrashing can be felt on "Apex Predator". The rest is business as usual, intense mosh in up-tempo the only other surprise thrown on "The Beast of Bray Road" before the end: high-pitched Halford-esque shrieks come out of nowhere for a while in the middle to oppose to the main gruff semi-shouty death metal vocals.
"Under the Regolith" notches up the aggression with a few more brutal death metal strokes those matching the intense death metal vocals roaming the setting which is stomping and mid-tempo on "Ghostwinds", and fast and semi-technical on "Hallucigenia". The core of the album are the several more complex compositions on the middle where aggression is not exactly the order of the day, and atmosphere takes over, influencing the album on the remaining material, the fast-paced escapades considerably reduced by the end.

Cosmic Horror Full-Length, 2014
Under the Regolith Full-length, 2018

Official Site

ANTON (MEXICO)

Based on the "Bestiario" full-length, this act pulls out a decent mix of modern and classic thrash, energetic stuff with a couple of atmospheric semi-industrial elements. The singer is a gruff black-ish rasper who kind of doesn't quite fit the music. The modern and the classic elements alternate as well as the faster and the slower sections as the former dominate sounding close to more recent Kreator, but one can't possibly ignore the proto-death fury of "This Crippled Earth", or the sophisticated dry Voivod-esque technical aggression on "Mind Over".

Creador del Dolor Full-length, 1996
En el Umbral del Caos Full-length, 1998
Todos Morirfon Hoy Full-length, 2004
Adiccion Satanica EP, 2006
Bestiario EP, 2008
Bestiario Full-length, 2008

Official Site

ANTRACIT (CZECH)

The awful sound quality is a major detraction for one to grasp completely this intense thrash/death metal mixture which offers a not very balanced alternation between fast and slow riffs, the latter having a gloomy dark colouring. The vocalist is nothing special with his strained gruff death metal timbre who tries to overshout the instruments when in action which, fortunately, doesn't happen very often.

The Perfect Kill Demo, 1990

ANTROFORCE (BRAZIL)

This unknown act indulges in direct, simplistic Germanic thrash with early Destruction and Kreator the closest soundalikes. The delivery is pretty amateurish, the guys just bashing hard with very buzzy, thin guitars and unrehearsed, shouty death metal vocals. The sound quality is quite muddy with the bass almost non-existent in the beginning; but since this is a compilation of some sorts, in the 2nd half things start getting more stylish, the guys having found the right way to speed/thrash in a more cohesive manner although the music is still pretty derivative and not very exciting.

Compilation Compilation, 2009/2010

ANTROPOID (SLOVAKIA)

Based on the demo, this is good energetic classic thrash which has certain shades of the Bay Area scene, but most of the time it's close to Paradox's "Collision Course"; some Slayer-esque aggression is slightly hinted at here and there ("Frontline"). The music is speedy, the leads are great, and the riffs occasionally have this genuine technical edge; the only complaint would probably be the raw throaty vocals which are supported by not too good semi-clean ones from time to time.

Insane Bullets & Live Fuck Live album, 2005
Insane Bullets Demo, 2005
Danger Full-length, 2007

Official Site

ANTROPOX (USA)

Based on the "Time to Rise" EP, this outfit indulge in stomping blues/doom modern post-thrash which completely lacks vitality and dynamics. There's plenty of heaviness, though, and "Destroyed" starts thrashing sensationally at some stage, but this is thundering morose music which is ably surrounded by appropriate deep death metal vocals.

The full-length is another not very exciting post-thrash offering which stomps its way without any adventurous moves except for the faster-paced "Born Again" which crushes around before a string of stoner doomsters tears the air with heavy seismic guitars.

Infection Injection EP, 2009
Time to Rise EP, 2010
Antropox Full-Length, 2014

Official Site

ANTYRA (GERMANY)

Based on "Poiema", this band play energetic old school speed/thrash/proto-death with an intriguing semi-progressive flair, uplifting epic stuff marred a bit by the death metal side of the vocal accompaniment. Short pulverizing melodies ("Ischtars Rache") roar next to pleasant sing-alongers ("Hungry Lions"), the show acquiring a very minimalistic downbeat turn on the closing "Sumerischer Traum", 8.5-min of tranquil meditative ambience which would hardly delight the majority of the metal fanbase. Some of the musicians take part in the classic black/thrash hybriders BitchHammer.

In the Fields of Marathon EP, 2009
Pentachronist Full-length, 2015
Poiema Full-length, 2022

Official Site

ANUBIS (BRAZIL)

A 4-track demo of competent energetic retro thrash which sounds like a nice mix between less aggressive Death and the Germanic thrash metal heroes from the 80's (Destruction, Kreator). Apart from the fast-paced moments, there are quite a few slower, heavy parts, and the alternation between the two sides leads to some fine results: the complex "Anubis", but speed antics, like the vigorous "Forbidden Game", are almost as good.

"Legacy Of Humanity" elaborates on the sound heard on the demo, with all the four tracks from it included, as well as those from the preceding single so those who already had the first two short efforts, have almost nothing new to headbang to. Still, this blend of heavy stomping and fast blitzkrieg riffs has its moments, especially on the more complex technical numbers at the end "Slaves Of Misery" and "Dream Beyond The Mirror", the latter also "courting " the Swedish school being more modern-sounding. Those two, after all, had to compensate for the loss of dynamics on the preceding two tracks: the clumsy doomy "P.O.W." and the peaceful balladic instrumental "Under the Influence".

Anubis Demo, 2006
Dark Hope Single, 2008
Legacy Of Humanity Full-length, 2010

My Space

ANUBIS (HUNGARY)

Retro thrash/proto-death that is one aggressive melee for most of the time, the muddy sound quality also contributing to its not very decipherable character. The wild lasher "Konyortelen Megvaltas" leads the restless pack here, the gruff death metal vocals carving more burrows into the canvas where one can also detect vestiges of full-fledged death ("Nepirtok"), brutal Slayer-esque bash (the title-track), and more comprehensible gloomy doom sentiments ("Regresszio"). Some of the musicians were also involved with the old school thrashers Armageddon.

A Halal Oldalan Demo, 1992

Official Site

ANUBIS (USA)

Based on the full-length, this outfit specialize in an old school power/speed/thrash conglomerate, the forceful attached clean vocalist by all means an asset, soaring above the dramatic urgency of “Priestess of Dark Paradise” and the thrashing vehemence of the divers shredder “Fallen”, “Devour” another less restrained hyper-active occurrence. Please, welcome “Symbolic” in the middle, the excellent death cover from… well, which is nicely supplemented by the short ripping “Strife” and the more frivolous but equally pleasing “eagle fly free” closer “Thy Frozen Throne”. Some of the band members were also busy with the melo-deathsters Hydera.

Eternal Youth, Eternal Night EP, 2022
Dark Paradise Full-length, 2024

Official Site

ANUBIS UNBOUND (USA)

The debut: modern thrash with metalcore leanings following closely the path carved by their peers Killswitch Engage and God Forbid. Some of the hooks are melodic and catchy, but the sound gets tired after a while, seldom moving away from the not very interesting mid-tempo hectic song-structures the exception the nice more aggressive thrasher in the middle "Last Day of Darkness", and the closing extreme death metal moments from "When Innocence Dies".

"Treachery" brings nothing new to the scene: melodic laid-back post-thrash this time richer in melodies sometimes bordering on the semi-balladic. The more aggressive death metal touches are only slightly hinted at on the steam-rolling early Six Feet Under worship "Circus In My Head"; the rest is too toothless even for NWOAHM standards6 Treachery Full-length, 2010

My Space

ANUBLAR CETRO (ARGENTINA)

Based on the "Absolute Substance" EP, this talented Argentine act offers thrashy progressive metal sustained in a solid mid-pace with crushing, hammering riffs and a certain doze of keyboard tunes. The leads are pretty stylish, and in the meandering riff-section elements of both Symphony X and Zero Hour can be felt. "The Ultimate" is an excellent (maybe not the "ultimate") instrumental piece with a great technical rhythm-section and hectic time-changes. "Garden of Predator" is a dark power/thrasher with hammering doomy relieves, and the final instrumental "Disturbed Within" is a more dynamic number, managing to keep the listener's attention throughout its almost 9-min of running time with puzzling technical decisions, creepy melodies, and stylish keyboard insertions which "duel" with the great leads at times, the latter very close to being the highlight, both technical and melodic at will. The singer is another asset with his clean, authoritative blend hitting all ranges with confidence, coming close to the dramatic orchestral style of none other than Ronnie James DIO (R.I.P.) himself.

The Insurgent's Shadow EP, 2003
Absolute Substance EP, 2005

My Space

ANVIL (CANADA)

Anvil played a very important role in forging (in fire) the more extreme genres of metal in the 80's. "Hard 'n' Heavy" delivered exactly what the title promised: typical for its time pleasant hard'n heavy, not miles away (but definitely not better) from Motley Crue's same year's "Too Fast for Love", but on "Metal on Metal" things became really serious, and this work, along with same year's Accept's "Restless & Wild" and Raven's "Wiped Out", suggested at more aggressive dimensions to be explored by the metal genre. Of all the three bands, it was only Anvil who continued in the same vein, but one year later "Forged in Fire", albeit a great album, didn't sound as aggressive anymore, compared to the full-fledged speed/thrash debuts of Metallica, Slayer, Hawaii and Anthrax. It was interesting to see how the guys would answer to the challenge, but they took a low profile, obviously seriously thinking what their next step would be, but too much thinking has never produced very good results, and "Strength of Steel" was a big disappointment, going back to the radio-friendly sound of the debut, with very few notes to justify the album's "steel" title. However, Lips (the founder and the main face of the band) and Co. quickly realized their mistake, and "Pound for Pound" finally saw the guys trying their hands on some thrash. The problem was that, having been released in one of the strongest years for metal, this effort remained in the shadow of the works of the already established thrash metal forces.

Another time-out for re-thinking was taken, again lasting for about four years, and this time it offered much better results: the excellent "Worth the Weight", which showed the band hitting hard with exemplary classic power/thrash metal, at a time when most of its practitioners were shying away from it. Despite the warm reception, Anvil went underground once again, for another 4 years (this is what I call consistency!). "Plugged in Permanent" was another good work of retro thrash, the band being the "lonesome wolf" of the 80's style during the 90's. This time they apparently have decided to keep the inertia gained, and a string of strong albums followed, although by the time of "Still Going Strong" (well, not exactly) the band's approach has worn thin, repeating the same formula, also trying to break the pattern by inserting mellower tracks which completely took over on the very weak "Back to Basics", which richly deserved its title, going straight back to the sound of the debut with no ties to thrash.
"This Is Thirteen" is only slightly better than the previous effort with some songs carrying the thrashy charge ("Bombs Away", "Axe to Grind"), but the rest is pretty ordinary and not very impressive heavy/power metal. Apparently at this stage Anvil seem to have lost interest in thrash metal.

Hard 'n' Heavy Full-length, 1981
Anvil EP, 1982
Metal on Metal Full-length, 1982
Forged in Fire Full-length, 1983
Strength Of Steel Full-length, 1987
Pound for Pound Full-length, 1988
Worth the Weight Full-length, 1992
Plugged in Permanent Full-length, 1996
Absolutely No Alternative Full-length, 1997
Speed of Sound Full-length, 1999
Plenty Of Power Full-length, 2001
Still Going Strong Full-length, 2002
Back to Basics Full-length, 2004
This Is Thirteen Full-length, 2007

Official Site

ANVIL BITCH (USA)

A typical 80's speed/thrash metal band; the album starts in an impressive manner with "Rise To Offend"- easily the best song here, along with the follower "Lie Through Your Teeth" which show the band quite capable of thrashing with the best, but the rest isn't even half as good: odd heavy metal numbers are here as well ("Time To Die", "Argue With a Sick Mind"), and the speed gets lost completely at some stage. "Maggot Infestation" and "Shark Attack" bring it back with a more aggressive, hardcore intensity. Worth of note are the vocal attempts at the high-pitched screams reminding of Blessed Death's singer Larry Portelli. Later the band changed their name to Dominance, but the style remained pretty much the same.
The EP: another forgotten underground "dog" is making an attempt to capture lost glories although in this case the guys should have stayed down. These three cuts come with a more abrasive modern vibe although "First Act Of Violence" is a passable semi-speedster. "Gods of Fire" is a mild heavy rocker, and "Sanctify" is a very clumsy, boring doomster which sounds like an entirely new outfit playing here. A really unnecessary addition to the guys' minute discography, and by no means an example to follow...

Rise To Offend Full-length, 1986
Sanctify EP, 2008

Facebook

ANVILHAMMER (NEW ZEALAND)

THe EP: modern thrash/post-thrash which doesn't exactly hammer the riffs into the listener's psyche, and if we exclude the intense title-track, the remainder straddles between frolic hardcore-ish cuts ("Retribution Machine") and heavy groovy strolls ("Carbon"), the subdued but pronounced death metal vocals constantly accompanying the light-hearted music pageants. Some of the band members also play with the groove/deathsters Subtract.
The full-length mixes ripping classic thrash ("March of the Anvil Hammer") with 90's post-thrash walkabouts ("Visions of the Dividend"), the vocalist rumbling on the side in a subdued semi-deathly fashion. Speedy roller-coasters like "Generations" by all means keep the spirits high, and generally the dynamics so fairly big, with "Feel the Fire" and "The Fall" perfectly capable of stirring vehement moshpits even among the more demanding old school fandom.

Night of the Long Knives EP, 2021
Impression of Chaos Full-length, 2022

Official Site

ANXIETY (GERMANY)

This not very known German act provides energetic old school thrash which comprises fast pieces mostly with the exception of the merry punk-ish "An Abuse". The tracks are generally long (5-7min), and the guys pull sparse more stylish performance, mostly boosted by the strong bass bottom and the good lead guitars. The singer isn't very convincing singing in a semi-drunken clean manner, more on the declamatory side, taking quite a bit of space as well.
The full-length is a decent slab of hard-hitting old school thrash, the band moshing with passion on "Disease” and “Death Comes”, “Sometimes” being a moderately more complex proposition, the impetuous character of the title-track nicely complemented by the cool melodic undercurrents of “Possession”. The closing “Dreams of Reality” is a nice all-instrumental balladic etude, missing the hoarse semi-clean vocals but full featuring the excellent lead guitarist who steals the show big time here.

...Then It's Silence Demo, 1992
Voices of Pain Full-length, 1994

Youtube

ANXIUS (HUNGARY)

Based on the second album, Anxius play cool power/thrash metal with nice, melodic guitar work not too far from the Finns Mokoma (their first two albums), but the music here is more melodic, also acoustic at times.

"Szolgasors" is in a very similar vein, radio-friendly feelgood stuff now not very close to thrash relying on retouched riffs, very cool melodic leads, and catchy sing-along choruses. There are ballads, progressive opuses, and sure heavy metal hits here; soft unpretentious fun for a wide gamut of fans.

Histria Full-length, 2004
Az Full-length, 2006
Szolgasors Full-Length, 2014

Official Site

ANZILLU (FINLAND)

This act indulge in abrasive classic thrash spearheaded by passionate shouty semi-clean vocals, the musical approach varies from imposing heavy stompers ("Mental Graveyard") to steady energetic extrapolations ("The Cleansing Flame") to raging proto-death outtakes ("Dauntless"). "Vulture" is a brief thrash/crossover etude, matching the prevalent dynamic clout embalming this recording.

Ex Nihilo Full-length, 2023

Official Site

AONIKENK (ARGENTINA)

Based on "A Mi Argentina", this act pull out decent melodic power/thrash, predictably modelled after their peers and compatriots Hermetica and Horcas. The guys alternate laid-back mid-tempo compositions with more intense faster ones as the concentration is clearly on melody. Glorious speedsters, like "Desde Adentro" and "Juan que no Existe" will remind of the early exploits of the 80's German scene (Warrant, Helloween), but one wouldn't get a headshake from them: the band have taken care of that with a ballad, numerous catchy sing-along choruses, and other pleasant mellow moments.

Aonikenk-Gente del Sur Demo, 1998
Ruta del Sur Full-length, 2000
Sentir Metalero Full-length, 2001
Aun De Pie EP, 2004
A Mi Argentina Full-length, 2005

Official Site

AORTHA (INTERNATIONAL)

Please meet this new side-project of Denis the Snake from Voivod who here is in team with four different singers including none other than Kyle Thomas (Exhorder, Troubler, etc.), the drum guru Hannes Grossmann (Tryptikon, Blotted Science, Obscura, etc.) also joining for the ride. However, it seems as though the mainman behind this collaboration is the guitar player PredragGlogovac whose main act, the retro thrashers Monolit, are the godfathers of the album here. Style-wise this is brisk modern power/thrash which certainly possesses forceful pulverizing qualities “Those That Should not Exist”, “Last of Our Kind”), the hyper-active “Forging the Locus” ravaging the neighbourhood in no time before “Keep the Dream” provides more lyrical clout. The delivery in the second half is heavier and more intimidating, clinging between Grip Inc. and Altered Aeon, the short ripping “Divine Future” cancelled by the more complex behemoth “When All Around You Is Madness”. The singers all perform to the best of their abilities, making their fair contribution to the engaging musical exploits.

Monolit Full-length, 2023

Official Site

AORTIC REGURGITATION (CHINA)

A boy and a girl from Hong Kong indulge in fast old school Germanic thrash metal with a slight pinch of death and brutal not very intelligible vocals which sit somewhere between black and death metal, and one will be shocked to find out that it's the girl who provides them, sounding way more vicious than Angela Kossoff (Arch Enemy), for example. Slow more elaborate rhythms overtake on the very cool instrumental "Alien Worlds" which is a more complex exercise with more clever riffs and various tempos which doesn't lose much from the singer's absence also providing a couple of more thought-out technical passages. This is good stuff, and it could definitely serve as a foundation for a capable full-length.

Aortic Regurgitation EP, 2010

My Space

APATHETIC (TURKEY)

Dark classic thrash with brutal low-tuned death metal vocals; the more immediate energy of the opener "Create Puppet Murders" is suddenly replaced by a more stylish progressive delivery on "Feel This Sinergy" which is a captivating opus with fast lashing guitars and beautiful Oriental tunes. Those tunes stay around until the end, but the speed disappears almost completely for the sake of doom/gothic rhythms which carry a lot of melody, the latter not bad at all, but too overused stifling the biting riffage quite a bit.

Scream Of The Violence EP, 2006

My Space

APATHIST

Retro death/thrash, competently executed and all, consisting of largely short aggressive numbers, the vigorous fiesta interrupted by the odd tribute to the Six Feet Under heritage (the stomping quasi-groover "Being Ripped Apart") and the more intriguing progressive accumulations on "The Clergy of Destruction". The vocalist is a subdued semi-shouty deathster who sometimes attempts those unholy shrieks courtesy of Chris Barnes.

Clergy Of Destruction Full-Length, 2019

Youtube

APATHY (SWEDEN)

This is an obscure blend of thrash, death and doom metal which emphasizes more on the heavy/doom side, sounding quite close to early Crematory. "Corpus Delecti" is an imposing short technical thrasher with dark overtones, but the rest is morose and slower also assisted by a couple of cool short atmospheric, instrumental cuts. Some of the band members moved on under the name Engraved, and are still active with a series of demos released the style being more conventional Swedish melo-death.

Dark Shattered Death Demo, 1993

APATHY (USA, CA)

A very obscure 4-song demo of intense thrash along the lines of Slayer and Possessed; the tempo is fast, and although in terms of musicianship this demo can't score very high, it makes up with aggression and speed, but without any ventures into death metal. There is a cool cover version of Slayer's "Black Magic", too.

Demo Demo, 1988

APATHY (USA, NJ)

Classic power/speed/thrash is what's on offer here with one of the guitar players (Warren Conditi) having done service in Whiplash; the music is a very similar to the last two Whiplash efforts mix of speed/thrash bombs and laid-back heavy/power metal hymns which alternate throughout without leaving any lasting impression although the more hard-hitting moments will bang quite a few heads ("War Torn"; watch out for the nice slower melodic mid-section; the "violent" closer "Violent Nature", which is a nice "wink" at the Bay-Area scene).

A Decade Of Violence Full-length, 2009

Official Site

APATHY ARISING (USA)

This outfit indulges in modern abrasive thrash which doesn't lack dynamics and intensity shredding in a more brutal death metal fashion ("Portraying Poisons feat: J from Thy Will Be Done") at times, but generally this is very heavy pounding stuff which repeats samey seismic guitars throughout the latter particularly effective on the thunderous closer "Dreams Of The Reaper". The vocalist growls in the utmost death metal fashion, but his scary antics somehow fit the not very demanding music.

Mutatis Mutandis Full-Length, 2011

APEIRAGE (GERMANY)

This is modern semi-progressive thrash which is constructed around steady mid-paced rhythms and various melodic walkabouts, the overall delivery recalling Paradox's more restrained material, and also another German formation, Face Down Hero. The semi-balladic sentimentality of "Raging Storm" is a total contrast to the title, and "Annihilation of Death" is a handsome reflection of the band's lofty ambitions being a really cool progressive thrasher with a wider gamut of motifs. If only the overall delivery was a bit more dynamic...

Raging Storm Full-Length, 2019

Facebook

APES WITH HOBBIES (UK)

This young talented act offers an interesting combination of modern thrash and symphonic/progressive metal, instrumental-only, which develops in mid-pace with very heavy, pounding riffs and an omnipresent orchestral background. The "good tone" is rudely broken with "F**kface", which is a furious deathster, but on the rest the chugga-chugga riffage goes on unabated also assisted by surreal lead guitar work, which is quite good, despite the several synthesized insertions. "The Old Black" is a fine dynamic technical thrasher, but on the other hand there are four purely balladic pieces where the leads reign supreme. This is not bad, although the approach is a bit samey, and the keyboard sections may annoy the thrash metal fan due to their overuse.

2012 Full-Length, 2011

APEY AND THE PEA (HUNGARY)

Based on "Hex", this band play a modern, quasi-industrial brand of power/thrash which can be both lyrical and atmospheric (the title-track) and fast and blitzkrieg (the short exploder "Birth"). "Methusalem" is an officiant doom opus, and "Death" is a decent semi-technical variation of the groovy post-thrashy idea. The vocal variety is quite big ranging from guttural death metal semi-shouts to passionate clean tirades.

The Day Ends EP, 2011
Devil's Nectar Full-length, 2013
Hellish Full-length, 2014
Hex Full-length, 2017

Official Site

APHOTIC LAYER (FINLAND)

Melodic modern thrash/death not far from then Swedish school canons; the headbangers will certainly have a lot of fun on the shorter material ("A Man Without a Face", "Road to Perdfition"), but there are several heavy slow propositions ("Succubus", "Last Hamartia") which add ponderous doom gravity to the otherwise dynamic proceedings which are accompanied by harsh shouty death metal vocals.

Aphotic Layer Full-length, 2021

Youtube

APHRENETY (GERMANY)

Based on the full-length, this act provide modern thrash/death with both groove and technical elements inserted to create a dubious metalcore base. The former side is more prevalent, but one can't help but enjoy the less bridled energy of cuts like "Ghost of Slaves" and "Transgression", or the diverse contrasting character of the 7-min closer "There is No End Inside". Some of the musicians play similar stuff in Norkanoia, maybe more death metal-based.

Ghost of Slaves EP, 2013
The Underworld Path Full-length, 2014

Official Site

APITION (USA)

Based on the "Human Fear" demo, this band are probably one of the first doom/death metal acts although here there's only one track which fits the definition: "Human Fear". The rest is aggressive thrash/death although the doom elements are present on each of the other two songs.

The debut demo features very good energetic thrash in the vein of early Whiplash and Slayer, with a short doom section on "Vicious Kill". The single is only two songs both of which are intense death/thrashers in the spirit of early Death, graced by slower stomping passages, but having nothing to do with doom metal.

Demo I Demo, 1988
Human Fear Demo, 1989
Eternally Forgotten/Curse the Sunrise Single, 1990

APNEUMA (URUGUAY)

Based on "III", this band play modern thrash/post-thrash of the quasi-progressive variety, a somewhat ponderous affair which is centered around moderately complex mid-pacers, most of those placed in the middle, the vivid shredder "State of Disorder" brightening the proceedings a bit recalling Biomechanical, the dark doom clout of the closing title-track a cool tenebrous decision, the shouty death metal vocals not sounding very relevant on it.

Rise Above Mere Mortals EP, 2011
New World Dissolution Full-length, 2015
The Electric Hive Full-length, 2018
III Full-Length, 2021

Official Site

APOCALIPS (ROMANIA)

Based on "Gate to Infinity", this band plays melodic modern power/thrash metal which at times boldly ventures into the 90's power/speed metal fields. The music is graced by numerous melodic hooks a situation ruined by the more brutal death metal-laced vocals. The songs are lengthy affairs where gothic, doom, and industrial can also be heard as well as sparse clean vocal participation. They certainly border on progressive, but the riffage is a bit monotonous creating a dark depressing mood.

Depresie Totala Full-length, 2002
Gate to Infinity Full-length, 2010

My Space

APOCALYPSE (ITALY)

A black/thrash cohort which tramples all over with both hammering speedy cuts ("A Game to Die") and mellower semi-galloping anthems ("War and Death"). The rough gruff raspy vocals accommodate the dark cavernous rhythmic patterns, some of those recalling early Bathory ("Crushed by Death"), whereas others ("Genocide") are hospitable power metal heroics. The musical variety gets bigger in the second half, and apart from the vicious ripping "Death and Lust" there isn't much energy emitted, the closer "Collapse" trying something more abrasive and noisier along the lines of early Sacrilege.

Collapse Full-Length, 2020

Official Site

APOCALYPSE (SWITZERLAND)

This band could have outclassed Celtic Frost, and even Coroner, to become the most prominent Swiss band if they had been lucky (or not that lazy) to release albums on more regular terms. Their self-titled debut is a striking piece of semi-technical power/thrash with great riffs and memorable tracks; the opening track "Digital Life" is a truly impressive beginning, at the same time speedy, catchy and technical. What follows is equally as strong, including two great energetic technical instrumentals ("Smash" and "Dark Sword").

The long 6-year break between the two albums was detrimental to the band since most of the fanbase had almost completely forgotten about them. However, they reminded of themselves in a fairly convincing way with "Faithless" featuring the same flamboyant style of the past, immediately shown with the very first track: "House of Confusion"- a blistering fast-paced technical thrasher, with a long, and slightly annoying quiet ending; the sound is more aggressive with mighty intense, speedy pieces present: "Division", accompanied by others, slower, but graced by really stylish technical breaks: "Extreme Sensation"- the most technical track on the album. "Shoot You Down" is perhaps the odd song: longer and slower than the rest, apparently designed as a semi-ballad, with a more restrained guitar presence. Another great aggressive thrasher ("Bad Breath") closes this fairly entertaining album, which, alas, remained the band's last work.

Apocalypse Full-length, 1987
Faithless Full-length, 1993

APOCALYPSE (USA)

Fast, aggressive thrash metal along the lines of Slayer and Dark Angel with grindcore moments ("Scientific Force" from the first demo) included.

Demo Demo, 1987
Demo Demo, 1988

APOCALYPSE (USA, CA)

These obscures acquit themselves with clever semi-technical thrash and elongated compositions which contain eventful riff formulas the latter mixing the pace well leaving the most headbanging sections for the shorter finalizer "Criminal Infection" which lashes majorly the main drawback being the very screamy leads. The singer is not a bad semi-cleaner with a slightly drunken note, and the sound production is not great giving an obtrusive hissing edge to the guitars.

Demo Demo, 1991

APOCALYPSE CONSPIRACY (PORTUGAL)

Modern power/thrash which features both abrasive raucous headbangers ("Resist") and impetuous semi-gallopers ("No One Wins"), the rough semi-clean vocalist spitting the lyrics with the appropriate panache, trying to actually sing on the more tamed material ("Servant of Evil"). The second half loses the aggressive thrash idea, settling for one-dimensional chuggers, the closing "Radioactive Chaos" livening the environment a bit with another portion of horse-riding tricks. Some of the band members are also busy with the hard rockers Wicked Edge.

Apocalypse Conspiracy Full-length, 2023

Official Site

APOCALYPSE NOW (FRANCE)

Based on "Empires Fall", this act, who features Boban Tomic- a drummer who has taken part in both Korum and No Return, specializes in intense thrash/crossover which stays more on the modern side with annoying shouty vocals. The dominant delivery recalls Madball, but more melodic Swedish melo-thrash elements ("The New Icon") can also be felt on occasion, and the guitar players as a whole seem well-equipped to handle both the more direct, and the more melodic sections with ease.

Confrontation With God Full-length, 2006
Empires Fall Full-length, 2008

Official Site

APOCALYPSE WARHEAD (FINLAND)

There are only two men involved here, one of them being the death metal stalwart Nate Gould (The Rotted, Gorerotted, etc.). So it should be no wonder that the style is clinging more towards death metal with a frequent participation of thrash, but expect no mercy either way, the band lashing out fast, fiery riffs to no end, graced by stylish technical insertions and very good melodic leads. The guitars have a certain mechanical, sterile edge, but this only helps in the process since the delivery is pretty intense, with grinding sections inserted at the most appropriate times. There are attempts at a more progressive song-writing: "Experimental Warfare", where the barrage is just a tad less intense than on the more immediate material. The all-instrumental masterpiece "Rk 62" is the other place where more clever arrangements can be felt, and this one is a major technical ripper of the Sceptic, Quo Vadis (Canada) type with puzzling riffs and piercing leads, a state-of-the-art affair which influences the remaining two songs where another portion of stylish technical performance can be heard, among the no-bars-held speedy approach. This is a really cool effort, which may cause you a headache due to the super-fast delivery which never falls apart supported by very brutal low-tuned vocals.

Opening The Silos Full-length, 2011

Official Site

APOCALYPTIC ANNIHILATION (AUSTRALIA)

Retro black/speed/thrash is exercised here, the band racing onward with little remorse, shooting the customary for this hybrid fierce agressive jolts ("Necrothrash"), trying something overtly blacky and brutal ("Submit to Undeath") on occasion, "Motormaster" a clear nod at the Finnish brutalizers Impaled Nazarene, as well as some of the less bridled numbers ("Blood Sacrifice") in the second half, those pieces deftly assisted by the hysterical overshouty black metal vocals. Some of the band members are also active with the black/doom hybriders Tyrannic.

Necrothrash Full-length, 2023

Official Site

APOCALYPTIC REMNANTS (AUSTRALIA)

Based on "Eaten Alive", this act serve passable intense retro thrash/death with more playful mid-tempo strolls ("Harbingers of Death") taking turns with more dynamic roller-coasters ("The Pestilential Scourge"), the aggressive neck-sprainer "Kill or Be Killed" flattening the ground around, although "Massacre" inserts a needed doze of technicality, but the closing "We've Come for Your Brains" is a pure punk joy, severely disfavouring the really raspy blacky witch-like vocals.
"No Way Out" is a more consistent, more convincing effort, the band coming up with a few nicely technical pieces ("Lost in Time", the hectic choppy "Born into Bloodshed"), but don't run away on the death-laced violator "Hundreds of Dead Bodies" as the thrash-run engine is pretty much intact elsewhere, "No Way Out" and the slightly more lyrical mid-paced trot "Dead Man Walking" keeping the mosh going by also offering a different, less scholastic perspective from the remainder.

Eaten Alive Full-length, 2022
No Way Out Full-length, 2022

Official Site

APOCALYPTIC SALVATION (ITALY)

Based on the "Skulls' Collector" demo, these guys provide energetic ripping old school thrash with elements of death metal recalling Torture Squad and Defleshed. The sound quality is crystal clear ably supporting the relentless musical approach on perennial moshers like "Hunter" and "Skulls Collector". The singer is a brutal death metal growler, but matches the aggressive music. If the previous demos are of the same high quality then the band shouldn't waste any more time, but summon their powers for a full-length production.
The full-length shows the band in a pretty decent form once again, playing the same brand of music, the more intricate meanderings of "The Last Hope" not meeting a match later on, but one would do no wrong checking out the wild unbridled rhythms of "Here Is the Love" and the exhausting near-death explosion "Cannibalistic Salvation", the steam-roller seismicity of "To Rise Above the Clouds" a needed deviation from the vigorous brutal formula.

Beginning of Destruction Demo, 2008
Celebration of Destruction Demo, 2010
Skulls' Collector Demo, 2012
L.O.V.E. Full-length, 2023

Facebook

APOCRYPH (FINLAND)

Classic speed/thrash spearheaded by both guttural death metal and mean spiteful semi-shouty vocals; brisk invigorating stuff accentuated by ripping headachers like “Sands of Time” and “Reign Forever”, the chuggy pounding “Rat Race” instigating a more moderate showdown in the middle, the short explosive “After Life” and “The Swarm” begging to differ later, merging with the title-track for a sizzling fervent melee.

Down to the Crypt Full-Length, 2023

Facebook

APOCRYPHA (ARGENTINA)

Based on "Conviccion Salvaje", this power trio pulls out a more classic mix of speed and thrash metal, heavy and dynamic, and surprisingly don't sound like their frequently imitated peers Hermetica or Horcas, to these ears offering better, harder music. Moments of the Bay-Area can be heard mixed with proto-modern pounding riffs, and almost every track in the 1st half crosses mid-paced crushing sections with faster headbanging ones. "Dictadores Divinos" will shock you in the middle with its short super-blasting death metal passage, and is an overall quite cool more elaborate speed/thrash composition. After it the album really takes off: "Vendepatria" is exemplary intense speed/thrash; "El Lamento del Traidor" is nice jumpy technical thrash with another very short blasting section; "El Milagro" is a cool epic thrasher with a great chorus and striking lead guitar work; "Odio" and "Mentiras" are short aggressive thrash killers; "El Dolor de tu Ausencia" is speedy optimistic thrash/crossover with much more stylish for this kind of music leads. The singer has a very good emotional semi-clean timbre which handles both the more aggressive and the more melodic vocals with dexterity.

Cabeza de Metal Full-length, 2002
Conviccion Salvaje Full-length, 2008

Official Site

APOCRYPHA (USA)

This band boasts the presence of the guitar wizard Tony Fredianelli. The debut is in the power/speed metal mould with the band's style still shaky and not very convincing although the guitar pyrotechnics of Fredianelli are quite impressive to completely ignore this effort. However, the machine started working quite well just a year later on the sophomore album which was stylish, heavy technical power/thrash with excellent guitar work and characteristic high vocals sometimes reminding of Rob Halford; some tracks are in the spirit of the debut being cool melodic speed/power metal ones (there is also one very good ballad: "Mystic"), but heavy stomping riff-fests like "Father Time" and the smashing up-tempo thrasher "The Hour Glass" raise the level much higher. "The Man Who Saw Tomorrow" is another heavy piece, but with a more technical, but equally as intense guitar work (check also the superb leads on this one). The closing "West World" is a raging speed/thrasher with a heavy break accompanying the chorus. Actually the overall tempo isn't fast, but mid-paced to slow on the heavier numbers, and some might consider this a pullback since Fredianelli kind of submits his flamboyant style to the not really demanding delivery, still shining all over, whereas the debut was virtually a one-man-show for most of the time, but it had its downsides as well.

"Area 54" is the band's magnum opus with a more aggressive (but also slower) approach featuring great crushing, but at the same time quite technical, riffs. Even "Area 54", apparently intended as a ballad, will squash you with its ultra-heavy riffage. "Catch 22" is a 10-tone steam-roller which crushes everything in its way; seldom can a band sound so aggressively without adhering to a very fast or brutal play. On the other hand we have more dynamic, more technical, but equally as heavy songs: "Terrors Holding On To You", and the marvelous technical riff-fest "Tian'anmen Square". There are, of course, more melodic, heavy/power tunes to take away the pressure: "The Detriment Of Man" (the final cords from this one will remind you of Judas Priest's "Electric Eye", intentionally or not).

The Forgotten Scroll Full-length, 1987
The Eyes of Time Full-length, 1988
Area 54 Full-length, 1990

Official Site

APOKALYPTIC RAIDS (BRAZIL)

Based on the debut: the band name already suggests a lot and it doesn't mislead; Hellhammer-worship this is, but it also goes beyond that, including up-tempo intense parts ala Bulldozer; some of the more twisted song-structures will even remind you of Burzum ("Voyeur"); this is really an interesting listen. The delivery is often chaotic and hectic (on the faster tracks), but the band's sincere approach to song-writing is simply charming including the 1.5-min drum bashing "Skullkrusher".

"Vol.4-Phonocopia" is a brutal unpolished affair concentrating on the faster side of the genre, and as such seldom slows down, but when it does, it goes straight to doomy waters ("Remember the Future") or produces awkward hard'n heavy fillers ("The Unquiet Grave"). The approach is very stripped-down and simplistic with a shade of hardcore in both the guitar and the vocal department.
"The Pentagram" is another decent by the band's standards as the focus is again on the more bashing side of the genre with vitriolic headbangers like "Victory Beyond Imagination" and "My Triumph" keeping the mosh going. The shadow of Celtic Frost boldly shows on the more ambitiously-executed "The Story of Pope Joan", a potent sinister stomper that could easily qualify for "Morbid Tales".

Only Death Is Real... Full-length, 2001
The Return of The Satanic Rites Full-length, 2003
The Third Storm - World War III Full-length, 2005
Vol.4-Phonocopia Full-length, 2010
The Pentagram Full-length, 2018

Official Site

APOKALYPTIK WARRIOR (CANADA)

This Canadian trio play crusty abrasive, but still mostly classic-sounding thrash/crossover which is more on the welcoming, friendly side with frolic jump-arounders like "Motherfucker" and "Zombiewhore" providing the requisite fun with lively dynamic rhythms which turn into something more openly hardcore-ish on the more frivolously executed "Scum of The Earth" and "1983". The vocals are harsh shouty deathly, the guy rending his lungs at times without much care about his vocal chords.

Payload (Reloaded) Full-length, 2017
Straight To Hell Full-Length, 2018

Official Site

APOKATASTASIA (SWITZERLAND)

This is progressive all-instrumental thrash with numerous nods to other styles including several outside the metal spectre. This is avantgarde eclectic stuff which will remind you of the first couple of works of the French Misanthrope, among others. An instrument which takes a considerable room from the sound, is the violin, but this is far from the folk metal of Skyclad. Certainly, tracks like the 9-min long "LysergSureDithylamid", which has no shade of metal, let alone thrash, and could have been left out. If you manage to stay with the album after this one (some of you would definitely turn the players off), you will enjoy awesome progressive thrashers like the great "Raped Visions" where a cool duel is formed between the violin and the guitars, ending with a brilliant lead near the end. Just when you start filling with joy and expectations, comes another non-metal number: "Rebellion"; those compositions are actually very close to the Finns Apocalyptica. It's followed by the highlight: the 10-min progressive opus "Nothing", a heavy stomping song with meaty smashing riffs, and again, great violin themes. "Empty Flower Vox", the bonus track, features vocals, and is a nice technical thrasher of a less elaborate nature. This is a fairly interesting approach to thrash, but it might not be a full-blooded entertainment for the regular fan.

Shedding Full-length, 2005

Official Site

APOKRISIS (BRAZIL)

Modern progressive thrash which is spearheaded by a vocal duel, gruff semi-shouty death metal and hoarse semi-clean. Lengthy sprawling sagas like "Souls Collector" reveal quite a bit of the guys' skills, but there are a couple of moments (the clumsy not very eventful "Without Absolution", "Memories") that don't bring much to the table, the shorter more ripping material ("Bloodlust") delivering in a better, more convincing manner.

Misanthropy Full-length, 2020

Official Site

APOKRYPHA (GERMANY)

Based on the full-length debut, these guys play a decent mixture of black, death and thrash metal, with the three styles well mixed together (maybe black metal dominates a bit). The pace is never very fast, compared to other similar blends, and the guitar work contains really good thrashy riffs.

Black Demons EP, 2003
To The Seven Full-length, 2004

Official Site

APOLLYON (USA)

This is energetic early Germanic black/speed/thrash which is spearheaded by husky demon-ish black metal vocals. More brutal propositions like "Bastard Intoxicator" are that close to crossing over into death metal realms, the shorter material ("Death Lust", "Ecstasies of Violence") not shying away from black metal at all. The friendly stomps on "We Came from the North" are surely welcome, with all the nuances coming together on the closing larger-than-life opus "Threshold".

Built for Sin Full-Length, 2020

Official Site

APOLLYON SUN (SWITZERLAND)

After the Celtic Frost guys were unable to erase the stain thrown over their name with the disastrous "Cold Lake", with the much better "Vanity/Nemesis", split-up was the next logical step, and the band was no more. However, Tom G. Warrior wasn't happy just sitting around, waiting for better times to come, and he founded another act, along with Marky Edelmann from Coroner, and his old comrade from Hellhammer and the early Celtic Frost days Stephen Priestly. Don't expect anything like Celtic Frost here, based on both the full-length and the EP; this is strictly modern industrial/post-thrash, a distant echo of Coroner's swansong "Grin", mixed with electronic nuances from Die Krupps, KMFDM, Front Line Assembly... the music has its edge although it very seldom goes over the mid-pace, and the electronic samples and the quiet, almost quasi-progressive, moments are quite a few, leaving a not very positive impression in the long run. Warrior sings in an unemotional synthesized manner recalling the US experimentalists G.G.F.H. which better suits the slow doom sections that the lethargic delivery has aplenty as well. There are a couple of pure ambient electronic tracks, too, a very debatable presence, and the thrash fan may lose his patience while waiting for something more exciting, respectively more dynamic, to occur. This confusing project was fortunately put an end once Warrior joined the reformed Celtic Frost in 2002.

God Leaves (And Dies) EP, 1998
Sub Full-length, 2000

Official Site

APOSENTO (SPAIN)

Good old school thrash/death metal with black metal elements. The band took a break after this EP, and when they resurfaced in 2012, the style had already moved towards the old school death metal canons with another EP and two full-lengths released.

Welcome to Darkness EP, 1997

APOSIOPESE (GREECE)

Modern choppy post-thrash with a disparate vocal duel embedded, one side of which is a harsh overshouty semi-deathster, the other being a more acceptable cleaner one. The music acquires more melodic shades (the semi-balladic sentiment of "Between You") at times, but by-and-large this is a gruff recording that also offers grunge ("Scars"), dark doom overtones ("Into The Darkness"), and short brutal grinders ("Thy Flesh").

The Lost World Demo, 1997

APOSTASY (CHILE)

The debut: this is by all means one of the highlights of the whole Chilean thrash metal scene: classy dark, brooding thrash akin to Slayer's late 80's period, and Infernal Majesty. The guys vary things nicely, alternating between aggressive play and crushing heavy riffage. The songs are long, especially the 11-min monster "Malignant Beauty", and the music isn't overtly technical, but by no means boring with the frequent change of tempos and stylish guitar work. At times the sound acquires slight death metal tendencies recalling early Death, but as a whole the music doesn't stray too much from the thrash metal path.

The band are waking up for some more dark death/thrash tunes, and "The Great Apostasy" EP is a reassuring testing of the soil although it only contains two new tracks: "I Killed The Priest" which is an intense thrash/death metal cut, not bearing any surprises (for the better), featuring the staple for the band heavy dark mid-break although the vocals may take time to get used to: now they are of the low-tuned death metal variety, well conformed with the morose tone of the music. "The Great Apostasy" is 2.5-min of first-rate doom, instrumental-only. "Fraud In The Name Of God", "Deceased In Funeral", and "The Night" are already familiar from the full-length, here presented without any major changes.
"The Sign of Darkness" is an intense blitzkrieg affair retaining the somewhat pristine sound quality from earlier recordings. The latter is by no means an impediment for the guys to unleash hell the style closer to death metal this time with at least half of the tracks racing with the speed of light ("Virgin Sacrifice", "Strike of the Tormentor") with the spirit of Rigor Mortis and Massacra nicely resurrected. A few interesting atmospheric stompers ("Satan Ascends", the catchy proto-groover "Armageddon is Near") are also provided to alleviate the pressure from the downpour witnessed on the remaining material.
"Death Return" is another wild, not very restrained offering, the exhausting downpour reflected in furious cuts like "Jus Primae Noctis" and "Son of Hate" on which the death metal sting is way more prominent. The respiteful mid-pacer "Deceased in Funeral" will remind of late-80's Slayer, but expect no signs of such compromises, even on the 9-min odyssey "The Great Apostasy-The Night", a wild raging number with seldom a mellower moment.

Sunset of the End Full-length, 1991
The Great Apostasy EP, 2011
The Blade of Hell EP, 2017
The Sign of Darkness Full-length, 2018
Death Return Full-Length, 2021

Official Site

APOSTASY (USA)

An underground effort comprising of raw aggressive, classic black/thrash/death metal with some of the most husky, witch-like vocals ever encountered on the scene. The music is both slow and fast, strangely recalling Malhavoc's debut, and there's a certain presence of more quiet atmospheric moments, the latter ruined by the muddy sound quality.

The Seven Eyes Of God Demo, 1994

APOSTASY (USA, CN)

Based on the full-length, this act specializes in modern thrash/death with brutal death metal vocals. The twin guitar melodies are worth mentioning as well as the more lyrical lead-driven moments ("Transcension"), but the rest is just your trite Swedish stuff with annoying ambient/electronic variations near the end which are so much off-context that sound like an entirely new band/album, and will fill in the dance floors on many discotheques around the world. Oh, and let's not forget the brutal hardcore, all-instrumental, rape of the Christmas carol "Jingle Bells" as a finishing touch.

Godcrusher EP, 2009
A Means to an End Full-Length, 2011

Official Site

APOTEOM (BRAZIL)

Good intentions ultimately ruined by the horrible production; this is supposed to be a progressive form of thrash, and it is as a matter of fact, but it's served with the most muffled sound of the past few years which gives the whole recording a dark archaic aura deafening the guitars to the point that some sections are just thundering bass, and very little else. This same individual touch is the main detriment here since it's really hard to penetrate this boosted bass-dominated noise which is probably at its best when it adheres to doom ("Alienation") more. "Welcome to Insanity" is another winner, a fast-paced shredder with again a thundering bass bottom. The headbanging qualities of the latter are solely matched by "Extinction" near the end, and partly by the closing "old schooler" "Old School". The singer merges into the dark wall of sound with his not very emotional, mid-ranged semi-clean voice.

Alienation Full-Length, 2013

APOTHEOSIS (MALTA)

Based on the full-length: one guy, the alias Sauron, is responsible for this cacophonous concoction of black, thrash and symphonic/ambient elements, the latter too frequent to make this short effort an enjoyable listen for the thrash metal fans. The guitars are not very clearly heard, and are often stifled by the very noisy drum machine which is often turned on blasts. The vocals are barely heard being vicious raven-like ones of the declamatory type.

Shadows Eve Demo, 1995
Promo Demo, 1997
Farthest from the Sun Full-length, 2002

My Space

APOTHESARY (USA)

Based on the full-length, this US trio offers intense retro thrash/death which moves from the brutal, semi-technical approach of Torture Squad to the seismic, war-like one of Bolt Thrower and Benediction, with the casual reference to the Swedish melo-death school. The leads are on a particularly high level and surpass the messy riffage which is at times stifled by the thunderous bass bottom. Guitar virtuoso sections will meet you on the short technicaller "Trials", but expect also sorrowful, melancholic gothic rhythms on the appropriately-titled "Autumn". The singer is the ultimate low-tuned growler, interrupted at times by screechy black metal inclusions. "Ashley" is an explosive death/thrasher with several "faces" moshing quite hard for most of the time with sudden technical insertions; and the closing "Wrath" is another exercise in more thought-out music with clever, crunchy riffs and several tempo-changes.
The "They All Carry Ghosts" EP is a more brutal affair now adhering to death metal more, but preserves the more intriguing semi-technical hooks which are a bit harder to get this time because of the fairly fast-paced delivery. "Parting at Morning" is a more serious attempt at a more progressive song-writing, and the final cut is a faithful rendition of At the Gates' "Blinded by Fear" also aptly reflecting the modern character of this recording.
"Accept Loss Forever" continues with the band's death metal-ish infatuations although thrash has more than just two minutes of fame here as evident from "Two Minute Hate" and the intense Sepultura-sque piece "You've Met With a Terrible Fate Haven't You" which also "flirts" with a couple of softer melo-death elements. The rest is the good old melo-death metal as known from the works of At the Gates, In Flames, Dark Tranquillity, etc. with one gorgeous progressive masterpiece ("Expressionless Me") at the end.

The Unthinking Masses EP, 2009
EP EP, 2010
A Harsh Reality Full-length, 2011
They All Carry Ghosts EP, 2012
Sensory Overload EP, 2016
Accept Loss Forever Full-length, 2017

Official Site

APOTROPAICO (SPAIN)

Based on "Under Control", these lads serve modern power/thrash which is generally on the melodic side although less restful pieces like the title-track try to stir more drama with more vivid riffage. The very melodic clean vocals are another side of the story, lacking the emotional depth to pull this saga through, more suitable for poignant semi-balladic pageants like "Voice of Power" and the slightly bumpier "Piss Me Off".

A Reason to Exist Full-length, 2018
Under Control Full-length, 2020

Official Site

APPALACHIAN TERROR UNIT (USA)

Based on the full-length, this act offers intense thrash/crossover with mean semi-whispered vocals. The music stays more on the hardcore side with a few more serious attempts at thrash made ("Legalize Or Die"), including the 7-min long "Greenwashing" which is an ambitious cut combining the ballad with more aggressive mid-tempo thrash with better female vocals added.

Armaggeddon Won't Be Brought By Gods...But By Men Who Think They Are EP, 2007
Greenwashing Full-length, 2008

My Space

AQUAMORTA (BELARUS)

Very good retro thrash metal with a pagan atmosphere which brings it close to Bifrost and even the great Sabbat. The songs are heavy with up-tempo galloping rhythms. The singer has a gruff, but attached, voice which is at times intercepted by higher semi-operatic vocals. There's an unexpected choice for a cover version at the end, but an excellent one: Destruction's "The Ritual" from "Infernal Overkill", done in a brooding doomy manner, the latter preceded by the jolly take on the rock evergreen "In the Mood", also done quite well.

Zaklik Kryvi (Call Of Blood) Full-length, 2001

Official Site

AQUER (CHILE)

Based on "I'e4", this band bashes old school black/thrash which is pretty close to the early unsuccessful efforts of Sodom to play. The music of the Chileans makes more sense, mostly on the moments when they manage to come up with genuinely heavy riffs ala early Celtic Frost ("Nova Orden Imperium Sathanas"). "Nuptiae Sabbatti" awkwardly falls into meaningless blast-beats, and "Alcohol" is a jolly crossover track. "In thy Crypt... I'e4" tries to conquer the doom metal arena, and could have succeeded if it wasn't for the awful hollow sound of the drums.

I'e4 Full-length, 2003
Atomic Watts Live Demo, 2005
Athanatos Full-length, 2005
Unbited by Demoniacal Obsession Split, 2006

Official Site

AQUILON (FRANCE)

An intriguing mixture of atmospheric gothic metal and thrash (based on "Intramedia"); the riffs are razor sharp, but the tempo is slow-ish and doomy. There is a good vocal triangle formed by two male (one clean, the other one harsh) and the nice clean female ones. Music of such various nature tends to cling towards the melodic t, but here the thrashy guitars will keep you on the alert.
"Immobile" is quite a disappointment; it doesn't lack the aggressive thrashing riffage but it's much less adhered to, and has a strong shade of groove, and the pointless melodic, keyboard-driven deviations are much more frequent, accompanied by awful clean vocals. There is a main alternative theme running through the album, broken on the quirky, "electronic-versus-thrash" piece "A Demi-Mot", which is sustained in the best tradition of the German industrial veterans Die Krupps. No more "highlights" of the kind as the rest merges into one big ambitious, but ultimately flawed, gothic metal opera with bad industrialized clean main vocals, among other shortcomings, and numerous stretches into electronic/industrial territories, bringing even more confusing results.

Les Ombres de Quatre Murs EP, 2003
Intramedia Full-length, 2004
Immobile Full-length, 2008

Official Site

ARACHNID (USA, OH)

Light-hearted retro speed/thrash which is generally optimistic and energetic, the epic power/thrasher “Vertigo” arming the audience for battle, the latter bracing themselves for a more stylized semi-intricate skirmish on the choppy varied title-track. The abrasive “Schizoaffective” is a semi-success, though, the more amateurish production on it betraying the guys’ garage-based operations, the not very rehearsed thin clean vocalist another relative weakling.

Web of Lies EP, 2023

Youtube

ARACHNID (USA, OR)

This band was formed by members of the speed metallers Cruella. The style presented here is way more aggressive thrash ala Morbid Saint and mid-period Sadus so expect a few more technical leanings added to the incessant barrage. The singer is a husky vicious rasper, and the bass is really good aptly assisting the excellent screamy melodic leads. An interesting moment is the more pagan-inclined "Webs Of Doom" which will remind of the Brits Sabbat's exploits with its escalating drama. Later on one will come across the dark brooder "Near Dark" which blends fast and slow rhythms in a manner quite close to the Infernal Majesty debut. The shorter speedsters ("Fear", "The Reaper Within") deliver the goods, but "In Trance The Witching" seems to be the brightest "gem" with its more complex arrangements and ever-alternating tempos. Galloping riffs will overtake you on the closing "Water Burial" which is a fitting epitaph to this quite cool offering seeing a band rehearsing for a full-length break which sadly never materialized.

Arachnid Demo, 1992

My Space

ARACHNOPHOBIA (RUSSIA)

This is fairly interesting but sloppily-stitched stuff, mostly production-wise, as on the musical front one will encounter frequently clever technical thrash with an expressive bass bottom and some serious attempts at impetuous, less ordinary melo-thrash (the excellent "Dark Tendencies"), the final result recalling their compatriots Koma and Valkyria. "Geodezic Metamorphozic" is really cool amorphous surreal thrash, and "H.B. Night" is a nice intricate thrash/crossoverism. However, the highlight is "Hard Work at the Factory", a stupendous progressive saga with fast-paced accumulations intercepting the contrived setting which is close to reaching Mekong Delta-sque heights even. A few short relaxed jam sessions notwithstanding, this obscure effort can easily pass for one of the better exercises on technical/progressive metal from the very competitive Russian scene from the 90's.

Demo Demo, 1994

ARACNER (SPAIN)

Based on "Neura", these Spaniards indulge in long sprawling numbers with numerous complicated moments which create an elevated epic feeling. There are too many influences for this recording to be a sure pick for the regular thrash metal fan: power metal, Oriental motifs, bits of death metal, a lot of progressive, a strong keyboard presence, soaring high-pitched clean vocals (quite good and versatile), etc. Still, there are hard-hitting riff-patterns to be encountered the most intense sections being of the galloping variety with frequent stomping passages intercepting. The guys were formerly known as Avathar where they played classic heavy metal, and only had one demo released in 2001.
"Nacion Tierra" is another larger-than-life saga with numerous operatic arrangements which again shift the focus away from the more hard-hitting thrashy sections. There's a lot of atmosphere present as well as quite a few unnerving, djent-like jam sessions ala Meshuggah.

Aracner Full-length, 2004
Demencia Full-length, 2006
Neura Full-length, 2012
Nacion Tierra Full-length, 2016

Official Site

ARAGATHOR (CANADA)

Based on the debut demo, this band play choppy technical thrash obviously influenced by the Bay-Area (think Death Angel, Xentrix) with more intense rhythms ("Financial Sodomy") involved at times as well as more ambitious progressive walkabouts on the excellent "Doomed To Be Like Daddy" which precedes the intelligent thrashisms on Heathen's "Victims of Deception". "Save Me" is a more immediate shredder with pounding stopovers and nice melodic leads, the cool attached semi-clean vocals another asset worth mentioning. Some of the guys moved on in the 90's under the name Random Damage and produced two full-lengths of passable modern/classic power/thrash.

Aragathor Demo, 1990
Advance Tape Demo, 1992

ARAGON (USA)

Good speedy thrash metal with high vocals, similar to Blessed Death; there is a very fast cover version of Sex Pistols' "I Am Not Your Stepping Stone", and a very cool intro/outro with the suggestive title "Straitjacket".

Aragon EP, 1987

ARAKAIN (CZECH)

Arguably the most celebrated Czech thrash metal band; with a string of three strong consecutive albums they established their reputation as an energetic, but also technical thrash outfit which easily stood above the rest. Their debut was a strong piece of intense, but also technically-minded speed/thrash metal with great guitar work and soaring clean vocals, well fitting into the overall picture; this is probably the finest thrash metal work of the whole Czech metal scene (along with Crionic's "Different"): a blistering display of effortlessly played, but quite compelling speed/thrash.

"Schizofrenie" is a capable follow-up offering longer more complex compositions and more technical guitars; this time the speedy formula is broken ("'dekni A M'ea M'ec", "Kamennej Andec"), but this is done with smashing heavy riffs; "Sedmei Peche" is a marvelous instrumental piece, arguably the finest achievement of the band.

"Black Jack" was a lesser, albeit still not a bad effort, showing the band introducing more slower tracks (including one ballad), with a much less technical edge; there are actually only two all-out speed/thrashers; a transitional album, which set the scene for the coming of "Salto Mortale", which did not pretend to sympathize the thrash metal scene anymore, and despite the presence of a few classically-laced numbers, this was a more modern, and a more melodic work. Later on the band completely adopted this style playing laid-back modern power metal with just hints at thrash.

"Adrenalinum" is another reflection of the guys' infatuation with the melodic trends despite the inclusion of several edgier tracks ("Malej Vrah", the classic speedster "Rozsudek") which will make a few heads turn, but in an album of whole 13 songs their significance to the thrash metal community would be minimal. Otherwise the musicianship is on a fairly high level, and fans of all things metal, without any particular attachments to any specific sub-genre, should be able to enjoy this effort.

"Arakadabra" would hardly make the band too many fans among the thrash metal fraternity, but those who already fell for their friendly, pleasant modern power/proto-thrash should have no problems enjoying these merry rhythms which harden on occasion ("Nero", the cool melo-thrasher "Velkej je Svet") to produce the obligatory up-tempo deviation (check also the speed metal hymn near the end "Kazatel").
"Jekyll & Hyde": the modern/classic mixture is on full display once again, surprisingly having more verve than before thanks to more energetic cuts like "Dnes Jeste Ne" and especially the convincing speed/thrasher "Znal Bych Rad". Things soften a bit in the second half, but one can do much worse than providing the effective atmospheric "Hathor" or the entertaining melo-power roller-coaster "Hrich" where a couple of nice virtuoso leads can be come across.

Thrash The Trash Full-length, 1990
Schizofrenie Full-length, 1991
Black Jack Full-length, 1992
Salto Mortale Full-length, 1993
Thrash Full-length, 1994
Adrenalinum Full-Length, 2014
Arakadabra Full-Length, 2016
Jekyll & Hyde Full-length, 2019

Official Site

ARAKARA (USA)

The debut: this band play rough abrasive modern-ish power/thrash which dirges forward in a heavy mid-tempo the steam-rolling rifforama very seldom broken (the frolic speedster "Mass Master" one such exception). The title-track is a more ambitious piece, but it's the sinister doom-laden "The Chemist" which goes away with all the laurel" for the finest cut here. The vocals are gruff semi-death metalish, at times shouty, at times more melodic even making sincere attempts at singing.
"Shadow of Violence" is a more hard-hitting beast with more aggressive shreds ("Black Magic Marionettes") incorporated, with vigorous less ordinary thrashers like "Shadow Of Violence" even adding a tasteful technical flair to then proceedings. "Digging Graves" is a cool dramatic headbanger with covert shades of death metal, and "Your God" reminds of the debut's more moderate nature with milder mid-paced power metal-fixated guitars. This is a fairly good entry into the band's catalogue which sees them angrier and edgier.
The self-titled is a full-blooded thrasher, the guys moshing with passion, unleashing fast blitzkrieg cuts like "Hell Arrow" and "Lend Me (All Your Ears)", but there's quite a few slower stomping pieces ("Preachers and Profits", the frolic sing-alonger "Spirits of the South") as well,, such attempts overwritten by aggressive on-the-verge-of-death propositions like "Genocide". The cool semi-technical "F.E.A.R." is probably the highlight, a flexible less orthodox shredder with nice atmospheric accumulations.

Burial Ground Full-Length, 2016
Shadow of Violence Full-Length, 2017
Arakara Full-length 2020

Official Site

ARALLU (ISRAEL)

Based on "Desert Battles-Descending to the Sands", this Middle Eastern act offers an aggressive blend of black, thrash and death metal. The music stays closest to black probably, and at times manages to capture the magic of the Oriental style of their compatriots Melechesh (the band founder: Moti Daniel, actually had a short spell with Melechesh, but the "stars" decided that he was not good enough): "Old Form Of Evil", the creepy slower "The Demon's Curse". The thrash metal side is more appealing, though, and comes not very fast, in mid to up-tempo: "The Union of Babylon". Most of the time the guys prefer to play quite fast, actually, with a frequent inclusion of black hyper-blasts.

The War on the Wailing Wall Full-length, 2000
Satanic War In Jerusalem Full-length, 2002
The Demon From The Ancient World Full-length, 2005
Desert Battles-Descending to the Sands Full-length, 2009

My Space

ARALYON (CZECH)

Sloppy, messy thrash/speed/death with some of the most horrifying vocals you could ever encounter: the guy just rends his lungs to the utmost trying to keep up with the music's amateurish character. Nothing to talk about, just bashing mish-mash with a few more quiet, serendipitous moments "crawling out of" the very buzzy guitars and hollow, saucepan-like sounding drums.

Kill the Poets of Love Demo, 1992

ARAMIS (USA)

The EP: one musician, the name Nik Hayes, is responsible for all the musical expletives here, including the deep semi-shouty death metal vocals. On the music front we have old school thrash/death with both playful mid-paced excursions ("Pursuer") and sprightly more complex shredders ("Nebulous"). "Born of Man" is an academic tenebrous doomism, and "Insignificant Memories" is a similarly-executed elegiac sprawl with echoes of early/mid-period Cemetary and Paradise Lost.
The full-length expands the vistas from the EP, Hayes pleasing the audience with both intriguing Death-esque speedsters ("Crimson") and high-octane doom pageants ("Slow Burn"). Both sides keep intertwining throughout, the brooding anti-climactic "You Are the Enemy" canceled by the entangled fast-paced extrapolations of "Saturn Rising", the brutal "Sunder" starkly contrasting with the elegiac semi-balladic sprawl "A Lightless Mourning".

Insignificant Memories EP, 2021
Crimson Full-length, 2023

Official Site

ARANA (SALVADOR)

This act doesn't break the trite formula of the modern groovy post-thrash, except for the moments when the sound acquires more interesting doomy tendencies ("Teotl"), the latter more than just hinted at, also stretching into whole opuses ("Luciernagas en el Mozote") at some stage. The vocalist is a subdued guttural death metal growler but suits the heavy minimalistic approach just fine.

Teotl Full-Length, 2011

ARATIC (FINLAND)

These Finns offer energetic old school thrash with echoes of the "empty" Tankard with a crisp boosted guitar sound which may eventually bring "the winds" of proto-death metal ("I Am The Night") at times in a manner reminiscent of Corporation 187 and Maze of Torment. The band thrash with energy even on the longer more profound cuts ("Destructing The Light"), and the catchiness of some of the numbers ("Puritanist Of The Black Light") borders on the crossover. The singer shouts in a tolerable forceful way not standing too much on the way of the cutting riffs which sharpness is nearly hurtful.

"Secret Laws of Hell" is a much better constructed effort with a sharper guitar sound and short raging cuts which fall in quick succession leaving wounds on your body. "Possessed by the Dead Nuns" shows a little mercy with a few more laid-back mid-tempo passages. This is a real thrashing machine all the way through with with prime headbangers like "People of God" and "I'd Rather Burn", a short rager played at the speed of light. Speed metal is praised high on the closing "Crematory BbQ" which moshes onward in a clever, almost semi-technical, manner exiting this very cool effort which brings a lot of good memories from the glorious 80's.

To The Early Grave Full-Length, 2013
Secret Laws of Hell Full-length, 2015

Official Site

ARBITRATER (UK)

One of the latecomers on the British UK metal scene, Arbitrater play stylish old school thrash metal. There is not much variety at offer, but all the numbers flow nicely and pack a punch. The debut is the faster release with good guitar work and tight speedy riffs; on its best moments this album could reach Agent Steel and Toxik easily ("Allegiance", "The Treaty"). "Graveyard of Fools" slows down, increasing the technicality a bit, showing the other side of the band which was to find its full realisation very soon.
"Darkened Reality", depending on the taste, could be considered the better alternative with dark brooding atmosphere, heavier, slower and longer songs, more technical guitars and a more thought-out song writing. "Judge and Jury" thrashes with force and energy, though, recalling the debut, and it's on "Suicide Commercially" that the dominant heavy mid-paced approach settles in. "No Second Chance" brightens the "gloom" with more vivid, more technical riffs, and "Racist Nation" speeds up once again also adding a couple of catchy melodic hooks. "Deadline" is a revelation, a marvellous technical speedster with echoes of Ulysses Siren and Have Mercy; and "Choose Your Weapons" is an interesting dramatic stomper with intriguing more stylish decorations. The title-track closes the saga with more macabre heaviness refusing to elaborate on thne more intricate hints provided earlier, a somewhat downbeat epitaph to an otherwise entertaining recording.

Balance of Power Full-length, 1991
Darkened Reality Full-length, 1993

ARBITRATOR (RUSSIA)

The debut features cool aggressive thrash, but the awful snarls of the singer ruin things a bit. It starts in a merciless fashion, with the aggressive "Inhumanity", but the approach is more varied this time, and "In A Nunnery" is more melodic, slower, albeit not as satisfactory. Fortunately the bigger part of this release is speedy tracks, all of them "broken", but in a good way, by heavier, less intense passages. The band's style isn't as stale as some other contemporary Russian thrash metal bands, and these guys really have to remind of themselves more often. "Voice of The dead" diversifies the rigid formula from the debut, and the final result is a not very convincing mish-mash of influences among which classic thrash doesn't have the leading word all the time. "Children Of Apocalypse" sticks to the same larger-than-life amalgam, but the music is kind of less serious and more melodic, reminding of mid-90's Sodom at times: a mixture of power, speed and thrash metal, but not that engaging.

"Peace by Force" will at first strike you with the very screechy high-pitched tone of the singer who comes as a more hysterical version of Dan Beehler (Exciter), which accompanies decently done, albeit hardly impressive, retro speed/thrash which starts with two dragging mid-tempo tracks before "The Hell of Hiroshima" comes forward with brisk very speedy riffs. The tempo goes down for the rest of the remaining material which is longer, but less interesting, a situation slightly improved by the more speed metal-based "Hibakusha" and the energetic Exciter-esque closer "The Paper Crane". As a whole this effort is a bit superior to its lacklustre predecessor with more energy involved, but is still far from the higher standards set by the band's earlier output.

The "The Killing SSS" EP carries on with the vocal screeches from the previous full-length, but apart from that provides not bad energetic old school thrash which sees the guys thrashing with passion with a slight shade of crossover ("Gimme The Wings") and speed metal ala more recent Hirax (check also "World Under Control", a really smashing mosher). Kreator's "People of the Lie" is performed later, capturing the steam-rolling magic of the original quite well, preceding four live tracks from their previous recordings.
The "Involution" EP: the guys prefer the shorter format, but this should be all right with their predictable classic thrash approach which offers something for the headbangers on "Bodyhunters" before a bunch of live tracks follow, all familiar from the band's older exploits, taken from a support tour of Megadeth.

Kill Their Religion Full-length, 1998
Voice of the Dead Full-length, 2004
Children Of Apocalypse Full-length, 2007
Peace by Force Full-length, 2010
The Killing SSS EP, 2014
Involution EP, 2017

Official Site

ARBOGAST (USA)

Based on the full-length, this act specialize in a mixed bag of modern post-thrash, hardcore, and sludge/doom which has its moments but it pulls the proceedings more towards the heavy doom side consequently missing in the dynamic department. "Dethroned" is a cool proto-headbanger with Motorhead-ish overtones, and "Suffrage" is a wild exploder blasting for just under 2-min in the middle. There's a somewhat mechanical feel present also felt in the dispassionate shouty vocals, and songs like the closing "Soulsfate" suggest at more atmospheric Prong/Neurosis-esque horizons to be explored later.

EP EP, 2009
I Full-Length, 2012

Official Site

ARC STORM (USA)

3 songs of energetic, but rough and not very polished, modern thrashcore which inserts the casual slower gimmick (the inept grooves on "Evidence Furnace") to a not very positive impression. The singer rends his throat in an angry quarrelsome fashion reaching low-tuned growling dimensions with ease alongside the sparse hysterical shrieky ones.

Arc Storm EP, 2013

ARCADIA (ITALY)

Based on the debut, these Italians play intense industrial thrash/death quite reminiscent of early Fear Factory with the same dual vocal approach the singer trying to emulate Burton Bell and admirably succeeds. The abrasive guitar sound may get on the listener's nerves at some point beating the Fear Factory rhythm-section in this regard and generally the guys rely more on the industrial gimmicks. Still, there's enough hammering, pummeling riffage here to cause you a headache as well as several really speedy passages the latter missing on the quite cool atmospheric operatic "H.I.R.A." near the end. One of the band members, Dimitry, has a side-project under his name where he also involves some of his comrades from here for the creation of more technical shredding, all-instrumental metal/rock.

Synth Full-length, 2001
Fracture Concrete Full-length, 2005
Cold Cold Bodies Full-length, 2007
Roy Philip Nohl Full-length, 2010

Official Site

ARCADIA FORSAKEN (USA)

Progressive power/thrash which is usually on the more welcoming, friendlier side of the spectre, the bouncy feelgooder that is the title-track stepping aside for the more complex veneer of "Ambient Detritus", "Neon God" shredding with more verve for the creation of several intense headbanging moments. "Among The Wolves" is a goofy sing-along relaxer, and "The Sands Of Egypt" is a pretty fine leveled progressive thrasher with an atmospheric balladic break, which more fully epitomizes the cool but not striking mid-ranged clean vocals.

Blame! Full-length, 2021

Official Site

ARCAN (FRANCE)

Cool melodic speed/thrash metal with brutal death metal vocals: not a very pleasant mix the vocals completely overshadowed by the much better music; the riffs develop in mid to up-tempo with the leads a very nice addition, mostly melodic, also given quite a space. The slower moments ("The Fall") recall the gothic scene with their melancholic funereal atmosphere.

Legends Demo, 1992

ARCANA (UK)

Based on the debut demo, this act specializes in raw thrash/crossover with open hardcore overtones, the relief provided by the cool, clean mid-ranged vocals. Things get rougher on the more fully-blooded thrasher "Living Me From Hell", but "Children Of Fear" on the other hand is a pure feelgood heavy metal "catalyst".

Demo Demo, 1987
End of Conscience Demo, 1990

ARCANA MEA (BRAZIL)

Retro thrash that straddles between interesting meandering quasi-progressivers ("I Will Never Die") and more linear speedsters ("Beyond My Mind"). The stomping urgency of the short "Kill Them" is also well noted, but when said gimmick turns to pure doom on "Pray for Your Life" the accumulated inertia gets lost almost completely, the second half surrendering to the heavy seismic rhythms, the delivery coming quite close to the Asphyx repertoire, the association also made legitimate due to the throaty semi-shouty death metal vocals.

Endless Suffering Full-length, 2020

Official Site

ARCANE (USA)

The band's debut is power/thrash metal with progressive overtones, not too far from Liege Lord's "Master's Control" and Helstar's 'Remnants of War", beating those albums on the most inspired moments. It's far from a failure; on the contrary: it manages to keep an energetic tempo for most of the time, and some of the leads are really good ("Ancient Internecine"). "Life's Illusion" features stylish Oriental tunes, very well intertwined with the heavy galloping riffs. "Impasse of Humanity" is a marvellous technical power/thrasher with a nice balladic intermission in the middle followed by the equally as impressive instrumental "Mirror of Deception".

"Ambiguity" is great short piece of the same only containing three tracks, and the musicianship is tighter and more thrash-oriented. The guitar work is more technical and moves again in a Helstar direction, their late-80's period, touching "Nosferatu" with ease on the consummate galloping technicaller "The Truth Is?". These guys come up with stupendous sharp technical riffs here: really impressive stuff which shouldn't remain buried. This small gem could have been a rehearsal for a worthy full-length follow-up, but the band split up.

Destination Unknown Full-length, 1990
Ambiguity EP, 1994

My Space

ARCANE EMPIRE (GERMANY)

A 3-songer of energetic classic thrash with good expressive semi-clean vocals; "Soul Starving" goes into uncharted death metal territories for a bit, but the rest keeps up with the good thrashy tone also supported by the crisp bouncy production.

Corpsegod of the Skids Demo, 2013

Facebook

ARCANEBLAZE (RUSSIA)

Based on the full-length, this band, who only comprises the multi-instrumentalist Dmitrii Borodin, plays crisp fidgety retro thrash which suddenly branches out into wild black metal-ish landscapes, the picture pretty furious thanks to wild headbangers like "Midnight Mysticism" and "Soul Collectors", the mid-paced trudge "Vampyric Sleaze" a cool reminder of early Bathory. Thrash takes over completely on the shorter material in the second half, with a wider gamut of influences covered on the varied closer "Tundra Wraith".
"When Dogs Slay Over" carries on along then chosen path, Borodin lashes fast fiery riffs with little mercy, the delivery circling around short biting jolts ("Vernichtungskrieg", "Combat Mutilation"), "VX" a most intense brief explosion bordering on death, the Motorhead-ish relaxer "Reactor of Death" the only stopover from the remorseless freighter, if we also exclude the several heavy pounds featured on "Scorched".

Spawn of Putrefaction EP, 2020
Conjure Mysticism and Goblet of Eternal Fire Full-length, 2021
When Dogs Slay Over Full-length, 2023

Official Site

ARCANIA (FRANCE)

Based on the full-length, this is music which is very close to the guys' compatriots Lyzanxia with the inclusion of more aggressive death metal elements. Melody and intensity are well blended, but the lyrical side of the band shows up quite often with balladic/semi-balladic passages gracing at least half of the songs, where a certain gothic flavour (the really good ballad "This Man Failed") can be felt. Hats down to the guys for the closing 10.5-min "saga" "My Funeral", though, which is an encompassing composition full of emotion, atmosphere, and several good headbanging moments.

"Dreams are Dead" isn't radically different from its predecessor the band carrying on with their staple brand of modern melo-death/thrash thrashing harder on occasion ("Rise and Never Fall"). The melodic tunes keep flowing unendingly and the listener won't help but appreciate that although by the end of the album he/she will be oversaturated with them, especially on the closing romantic balladic instrumental "Days Ends All Dreams".

Arcania EP, 2005
Sweet Angel Dust Full-length, 2010
Dreams are Dead Full-Length, 2014

Official Site

ARCANIUM (USA)

Modern thrash with very angry semi-death/semi-hardcore vocals; the riffs pound with passion, but why have the guys decided to insert these utterly annoying clean alternative vocals, and these melodic metalcore leanings?! Near the middle the music takes off for a while with the edgier, even technical "Inclination", but soon does it degenerate into the previous generic material, with one lively moment at the end on "Metamorphosis", where the guys thrash with force.

The Architects Full-Length, 2009

ARCANJO (BRAZIL)

Based on "Evidence Of Persistence", these Brazilians take no prisoners with their old school brand of thrash which comes served with a pinch of death metal. The music is fast, but the guitars have an interesting pounding sound, and pointless proto-groovy numbers like "Desperated" and "Guide By The Wolves" could have been left out. On the other material the guys fulfill the expectations thrashing far'n wide seldom releasing the tension despite the relatively long songs (half of them close at around 5-6min). The other complaint comes from the vocal department: the singer is a plain angry shouter with an accompanying semi-death metal blend which at times mutates into an unpleasant death metal high-pitched scream ala Chris Barnes.
"Torment Alive" is a live recording, the guys playing songs from their early demos, and despite the muddy sound quality acquit themselves with vigorous retro thrash with a good alternation between fast and slow compositions the latter sounding both more deathly and more modern. The concert is finished with a good, albeit a bit noisy, cover of Living Sacrifice's "Reject".

Torment Alive Full-length, 2003
Evidence Of Persistence Full-length, 2010

ARCEYE (UK)

Based on "At First Light", this young British act provide diverse modern thrash which mixes the tempos on almost every song producing a lot of dynamics in the process not far from their compatriots Sylosis. The album has some technical pretensions, but at this stage the guys are not keen on going out with all the guns blazing although they by all means possess the skills to do that. The lengthy instrumental track "Sirius" is laid-back pensive riffage, kind of unfocused, and "Damage Done" later follows a similar pattern with nice melodic "excursions" immersed in an emotional semi-balladic setting. The second half isn't that impressive as though the band are still searching for their real face, but the musicianship and ideas are there, and the best is yet to come for them although it may not be very thrash-oriented having in mind the several digressions witnessed here.
The EP contains a more complex and more aggressive material which is mostly built on volcanic pounding rhythms which recall their compatriots Warlord UK and partly Cerebral Fix. "Blackmail" at the end starts raging, but this remains the only more dynamic moment on this squashing effort which smells death metal at times, of the more officiant war-like variety.

As the Ground Consumes You EP, 2007
The Divide Between Chaos and Order Full-length, 2009
At First Light Full-length, 2013

Official Site

ARCH-VILE (SWEDEN)

This is modern progressive thrash/post-thrash which is strictly on the calmer side without any speedy extremes, and the serene evolvement of the riffs and the melodies may make one lose concentration. "Cremated In Hellfire" gives a more dynamic boost to the proceedings along with a few really catchy melodic licks. More epic moments arrive later with "Castle Of Perdition" regardless of the tasteless growling death vocals used on this one, but they definitely fit the peaceful tone of this short curious effort.

Threshold of Pain EP, 2015

Official Site

ARCH ENEMY (SWEDEN)

From their Gothenburg-influenced beginnings, the band started moving more and more towards thrash metal, and despite the distinctive vocals of Angela Kossof which firmly belong to the death metal camp, the style on the four albums listed here is thrashier compared to their earlier works. "Wages Of Sin" still sounds quite death-ish, though. Mentioning "Wages Of Sin", their new offering "Rise Of The Tyrant" is a return to the faster and more aggressive sound of that album with the traditional stellar guitar performance by the Amott brothers, featuring some killer thrashers: "In This Shallow Grave", "Rise Of The Tyrant". Having established themselves as a potent force on the contemporary metal scene, Arch Enemy do not take risks by adding any innovations to their sound, but when the music works so well, this is hardly the most urgent step.

"Khaos Legions" is not a step into a different direction, and contains the same melodic blend of thrash and death metal with thrash again leading the pack although this album can easily pass for the band's most melodic effort. The guys (and a girl) take it easy for most of the time playing in a calm mid-pace with numerous melodic hooks, the Amott brothers shining all over producing addictive leads and riffs (check out the ones on "Under Black Flags We March", and everywhere else). However, one may lose his patience while waiting for something more dynamic to occur, coming across instead on the mild heavy rocker "No Gods, No Masters" in the middle. Things improve a bit after that with the aggressive death-laced shredder "Cruelty Without Beauty", and the speed metal joy "Thorns In My Flesh", both accompanied by short peaceful instrumentals. There's a lot of melody here, to the point of annoyance despite the high level of musicianship, and although the Scorpions cover of "The Zoo" at the end is well done, it hardly raises the level up a lot. This album is by no means a failure, but its strong concentration on melody makes it not even a distant echo of the band's earlier, much more intense, material.

"War Eternal" introduces the new singer Alissa White-Gluz, a former member of the metalcorers The Agonist, replacing the legendary Angela Gossow who had decided to concentrate on managerial activities, still remaining within the band structures. Thrash and death shake hands all around, sometimes taking more brutal proportions (the sweeping opener "Never Forgive, Never Forget"), sometimes catchy and sing-along (the frolic anthem title-track). Still, the highlights remain the cuts which stay closer to purer headbanging thrash: "As the Pages Burn", the galloping delight "No More Regrets", the dramatic death/thrasher "Time Is Black", etc. as the fans will have the chance to hear a ballad even: "You Will Know My Name", which later has a few supportive passages from other tracks in the second half, including the closing balladic instrumental "Not Long for This World". The new girl does an admirable job behind the mike, and one would hardly notice the absence of Gossow. The Ammott brothers are traditionally impeccable on the guitars, and they are the main reason why the fans should give this album at least one listen. Otherwise it's business as usual for the celebrated Swedes, modern melodic thrash/death quite typical for their repertoire without any particular surprises or deviations.

Wages Of Sin Full-Length, 2001
Anthems of Rebellion Full-length, 2003
Doomsday Machine Full-length, 2005
Rise Of The Tyrant Full-length, 2007
The Root of All Evil Full-Length, 2009
Khaos Legions Full-length, 2011
War Eternal Full-Length, 2014

Official Site

ARCHAIC (HUNGARY)

A strong debut of classic thrash metal; the vocals have a death-y edge, but the music is pure retro thrash for most of the time. The album starts in an awesome, fast manner with the raging "True Death of Life" where even blast-beats have been added as a final touch. The next three tracks follow in the same fast-paced pattern with great sharp guitars. Then comes "Cornu" which is a break with its gothic, doomy atmosphere and heavy riffs. "Memories" is a pure gothic number with a somewhat progressive shade, and is the only song which doesn't quite belong here. At the end the band pay tribute to one of the legends of Hungarian thrash: Tormentor, before the coming of the closer "Woodland of Black Treasury", another gothic-tinged number.
The EP: a full-on classic thrash attack awaits you here the guys not shying away from the Slayer-esque mosh ("Hidden Desire") with "Don't Say a World" brutalizing the environment to proto-death proportions the harsh shouty vocals also heading in that direction. After 11 long years the guys could have pulled themselves together for a longer effort; now these three tracks can only serve as a teaser for a potential high quality full-length.
"How Much Blood Would You Shed to Stay Alive": all the three tracks from the EP are here providing the backbone for this opus that shows that the guys haven't lost their penchant for the good old thrash which is also new this time the band having epitomized some of the more modern tricks, the boosted production in particular. There are plenty of vigorous headbanging moments here that will make the regular fan's day like "The Saw", "Lifebringer", "Don't Say a Word", etc. the guys intent on generating maximum aggression from this effort, "Bonded by Leeches" the only calmer proposition, a nice atmospheric doomster, with "Bulletproof" another relatively tamed piece with stomping quasi-groovy rhythms.
"The Endgame Protocol" is another relative winner, the guys moshing with passion, flirting with death metal on the stylish brutalizer "Behind", spicing the environment with the more relaxed mid-pacer "Lines", but preserving the high-octane thrashing for the shorter material ("Withstanding", "From the Undying"), the academic epic title-track pacifying the restless spirits, building up to the varied progressive odyssey "Until We Fade", an entertaining roller-coaster with a wide array of nuances and motifs.

Time Has Come To Envy The Dead Full-Length, 2006
In the Face of Pain There Are No Heroes EP, 2017
How Much Blood Would You Shed to Stay Alive? Full-Length, 2017
Back at You EP, 2020
The Endgame Protocol Full-length, 2022

Official Site

ARCHAIC MASS (USA)

Based on "Mortal Extremeties": Death's "Spiritual Healing" meets thrash half the way through; very good aggressive and fast stuff also reminiscent of Incubus' debut and Slayer's "Reign in Blood". Some blast-beats could be heard as well, but they aren't of the annoying type and are nicely compensated by the excellent leads. This EP flows in a merciless, uncompromising fashion until it reaches the last track: "Orchestrated Death" which is a fine complex piece of more technically-minded thrash/death metal.

"Canticles of Dissolution" is a 4-tracker of more brutal, but also more stylish thrash/death metal as the aforementioned influences remain, the Incubus ones more accentuated on, and the atmospheric moments more fully developed despite the more frequent presence of the blast-beats. The technical side is more evident on the final "Downfall of a Masochist" which is a longer, more complex cut with sincere progressive pretensions. The singer leads the show with his authoritative deathly shouts ala Andy Kaina (Messiah).

"Erotic Martyrdom" is a fairly faithful "companion" to the preceding effort toning down the aggression with better lead guitar work and more carefully developed technical sections with the shadow of mid-period Death firmly settled over the band (check out "Sleeping Flames" and the closing speedster "Shadowland"). This can pass for the band's finest hour with the interesting riff-patterns, the elusive atmospheric passages, and the seamless "marriage" between the fast and the slower moments. Unfortunately, the right time to join the death metal cohorts had passed by the time the guys had revealed their full creative potential, and the band disappeared soon after.

Mortal Extremeties EP, 1990
Canticles of Dissolution EP, 1992
Erotic Martyrdom EP, 1994

ARCHAIC PLAGUE (USA)

This is decent stuff clinging more towards the modern thrash/death metal hybrid which surprises at times with a more clinical semi-technical delivery ("Bloodbath"). Otherwise the approach is right as rain for most of the time with some groove added as well which helps reduce the speed in the second half. The vocals are quite nasty and shouty to the point of hysteria (check out "Innerself", which is not a Sepultura cover).

Archaic Plague Demo, 2007

My Space

ARCHAIC TORSE (GERMANY)

Excellent dark heavy retro thrash which also features aggressive proto-death pieces like the opening "Beyond The Great Divide" which easily recalls the steam-rolling belligerence of Bolt Thrower. A more dramatic deathly clout rises out of the short pulverizing "The Value of Your Soul" and "Message to No One", the latter a hyper-active showing leaving the heavy stomping doomster "Snuff" a bit on the sidelines. The title-track is another pounding drama, before the band return to the speedier parametres with the "A Valediction/Forbidden Mourning" combo, "Compulsion to Kill" also unleashing a pleiad of flashy virtuoso lead sections, the closing "Fraud" trying something heavier and doomier as a semi-fitting closure to this entertaining variegated saga, which also wins a few more points from the threatening shouty death metal vocal presence.

Sneak Attack Full-length, 1994

ARCHAIZE (AUSTRALIA)

The debut: dynamic and fairly cool modern thrash with semi-shouty angry vocals; the band steam-roll onward with passion easily capturing the manic intensity of Pantera and Machine Head at their best. Pieces like the squashing "The Gates Will Rise" and the headbanging delight "Bound to Die" will make quite a few eyebrows raise in wonder, and one would only be entertained on the several groovy fillers which still provide the requisite party atmosphere. "Sunset" is a dramatic shredder which riffage will nail anyone deep underground, before "Murderous Flattery" serves a small portion of stylish semi-technical virtuosity in a swirling dramatic fashion which reaches death metal heights near the end. "Metal Exorcism" rolls on like a Russian tank leaving ruins after it, and the final "In a Time of Need" speeds up in an admirable old school manner to finish off the listener who will be quite amused on this excellent effort which is also graced by some fine lead guitar work.
"Dusk Kills Dawn" is a more brutal offering with death metal having come to play, also bringing more abrasive guitar work to the fore with thrash groping its way through the thick mechanized miasma. Its presence is well noted on the stomping industrialized "My Inner Sanctuary", but short blitzkriegers like "Rest in Piss" and "Poisoned Desire" don't give it too many chances to shine. The melee is complete on the maddening "Along the Dotted Line", the band abandoning the more stylish embellishments from the debut for the sake of a much more direct, also noisier headbanging assault.
"In Dusk We Trust" returns to the more thrash-fixated roots but this is an abrasive mechanized affair so don't expect any classic moments here. The more dynamic "Death Elemental" is surely a hit, as well as the moshing delight "I Am Your God", the band wading through a few more melodic, more complex exercises ("Final Conflict", "Mechanical Shift") in the middle, the surreal expansive closer "The End" a sure aim at the extreme progressive metal genre.

Liberation Full-Length, 2014
Dusk Kills Dawn Full-length, 2019
In Dusk We Trust Full-length, 2021

Official Site

ARCHALAXIS (BELARUS)

This is modern thrash with casual references to the classic school supported by forceful angry vocals. The guys reach a hardcore intensity on the faster numbers ("Holocaust"; the classic mosher "Natural Born Killer"), and generally the band don't shy away from vigorous speedy arrangements which are slightly marred by the noisy guitar sound.

Two Years Underground EP, 2011

ARCHANGEL (ITALY)

Based on the debut, this act plays industrial thrash of the energetic playful type ala Die Krupps, mixed with heavy doom landscapes not far from Type-O-Negative. All of a sudden comes the headbanging piece of Pantera-sque mosh "Straight To Hell" to add up to the already varied nature of the album; as well the curious, but appealing, mix of electronic ambient ala Front Line Assembly and 90's power/speed metal "Christ In Chains", which comes with the best leads here. "Awakening" is another cool surprise: a very good lead-driven ballad which ends this slightly uneven, but frequently entertaining, nod to the modern metal school.

In Tears the Angel Falls'85 Full-length, 1996
Natural Born Messiah EP, 1998
Incarnate in a New Rebel Idol Full-length, 1999
La Vogue Noire Full-length, 2009
The Story of My Immor(t)al Life Full-length, 2010

Official Site

ARCHANGEL A.D. (USA)

Based on the full-length, this band play retro speed/thrash of the uplifting optimistic variety, the steady energetic shreds on the title-track standing proud next to outtakes from Metallica's first ("Celestion", "Bet on Death") and attempts at more complex, more epic thrashing ("Demonolith"), "Door to the Moon" the seeming filler, a bluesy doomy dragger which slightly influences the final 10.5-min epicer "The Coming of the West Wind". The singer is a passable attached semi-cleaner, who mostly semi-recites without trying to sing too much.

Warband EP, 2018
Casus Belli Full-length, 2021

Official Site

ARCHENEMY (USA)

The only known member from this obscure band, is the drummer: Kenneth Loiza, who later joined Bloodcum. This rehearsal shows another band determined to change the face of thrash the way quite a few bands tried in the distant 1985; along with another very unknown act: Mayhem, and another much more famous: Possessed, these guys introduce the proto-death metal on the scene. The music is brutal and very fast thrash/death metal bordering on grindcore; the tracks are short, relentless assaults, but one could distinguish really cool speedy riffs, recalling Rigor Mortis. Things would have been better if the guys had slowed down and had let these interesting moments develop beyond sheer speed; now this ultra-fast downpour might come too much, even for the contemporary fan.

Rehearsal Demo, 1985

ARCHETYPE (CANADA)

This is complex thrash/death which isn't very professionally executed, and at this stage the enthusiasm is decidedly bigger than the guys' actual musical skills. "Declaration" tries to achieve some virtuoso heights with more inspired guitar work, but this is just too all over the place to really capture the listener's imagination. The switches from thrash to death are quite sudden and to these ears the purer thrasher "Foundation" seems to be the highlight. The guitar work rises for one really good short rager, the technical "Surprise" which is indeed a surprise comprising a more stylish, very hectic delivery which should be more widely offered on future releases. "Episode" tries to follow the same formula, but at some stage turns to pure cacophonous noise on a brutal death metal base. "Glimpse" is a pompous operatic extravaganza which is closer to Bal-Sagoth and more recent Cradle of Filth than thrash, and is a good example of the overdone, too scattered approach on the whole album.

Mission Full-Length, 2016

ARCHITORTURE (FINLAND)

Based on the demo, these Finns provide aggressive thrash/proto-death quite close to mid-period Kreator and their neighbours Hypnosia and Merciless. The style is a tad more brutal than the one encountered on the two demos which the guys released under the name Treachery. The sound quality is very clear favouring the guitars, above all, which stick to lightning-fast tempos which seldom slow down graced by piercing leads and direct razor-sharp riffs. The vocals are the ones familiar from the Treachery demos: vicious shouty with a blend of death metal sometimes on the edge of hysterics.

Thrashing Through Your Mind EP, 2009
Circle of Aggression Demo, 2011

My Space

ARCHITECTURE OF AGGRESSION (SOUTH AFRICA)

Heavy stomping old school thrash from these awesome tech-deathsters in their spawning stages, marred by a sloppy sound quality. It's more of a death/thrash blend this one, especially with the intimidating guttural vocals, the approach being both melodic ("Nuclear Winter", the melancholic semi-ballad "Trip Flower") and blitzkrieg and intense (the deathly "Mark of Cain", the short chopper "Controlled Chaos"). "Serial Killer Song" is a cool attempt at a more progressive song-writing, a complex odyssey which is a precursor to the band's loftier exploits on the official releases.

Architecture of Aggression Demo, 1999

Official Site

ARCHITECTS OF THE AFTERMATH (USA)

Based on the debut, the modern industrialized intro-riffs of the opener "Letting Blood-Victim" are pretty misleading since soon after the band start thrashing in a sure-handed classic manner with only the gruff angry vocals carrying a certain modern flavour. The speed/thrashing saga continues unabated on "Red Swarm" and "I Can Kill Gods", both major headbangers the latter even carrying a slight death metal edge. "Avarice Mass" is a heavy stomper with a minimalistic doom edge, which completely disappears on "A.O.T.A.", another intense thrashing delight, followed by a very cool speedy cover of Celtic Frost's "Into The Crypts of Rays" from the "Morbid Tales" EP, the vocalist appropriately taking a more subdued tone, nicely capturing the early Tom G. Warrior singing style. With just six songs the guys manage to raise hell worthy of several full-lengths, and their creative parsimony at this stage could be excused. The guitarist Mike Gamm arrived from the retro thrashers Hammered after the latter split up.

Architects of the Aftermath Full-length, 2010
Keep Them Dead Full-length, 2017

Official Site

ARCHITORTURE (FINLAND)

This act were earlier known as Treachery when the style was classic thrash. Based on "World Peace", the name of the game is still old school thrash for most of the time, but the approach has been hardened the guys moshing with more verve reaching the borders of proto-death ("Necromancy Amplifier", "Addiction") with ease on the more brutal material. In fact, if we exclude the short mid-tempo pounder "Weapon with Consciousness" and bits and pieces of the over 8-min behemoth "Blood God" the rest is played with the utmost intensity the intense forceful death metal vocals another positive occurrence, the man leading the proceedings with authority and panache. Some of the band members are also active with the progressive death metal formation (Psychoparalysis).

Thrashing Through Your Mind EP, 2009
Spare No One Full-length, 2012
Mythomania EP, 2016
World Peace Full-length, 2018

Facebook

ARCHIVUM (HUNGARY)

Jolly melodic thrash/crossover; the riff work is sharp and supplements the gruff throaty vocals well. The songs are energetic up-tempo affairs with alternative and groovy elements also added here and there, plus one cool ballad ("Betty") at the end.

Archivum Full-Length, 2009

ARCHON (NORWAY)

This Norwegian act specialize in fairly cool melodic modern thrash/death which also evokes a lot of atmosphere with its dark riffs and haunting melodies which grow into the formidable thrasher "Semper Eadem" in the middle before the drama continues with the brooding "Utopia". "Birthmachine" introduces a more aggressive formula again, but those melodies are just way too many for the hard-hitting riffage to break through. Still, the final "Star-Crossed" acquits itself with a portion of more intense riffs which betray the guys' origins, but work well with their consistently heavy approach which doesn't wear thin, but has a nice vibe all the way also helped by the attached mean husky death metal vocals and the very good melodic leads.

Birthmachine Full-length, 2005

My Space

ARCHVILE KING (FRANCE)

Based on the full-length, this is a classic black/thrash combo created by just one musician, the alias Baurus, which relies mostly on catchy melodic tricks, those working alright in team with the intense blasting expletives and the hissing witch-like vocals. This is hyper-active tuff, much closer to black metal, the vehement "Dans La Forteresse Du Roi Des Vers" also jumping the death metal wagon, the closing "Cheating the Hangman" the finest thrash exponent here, a diverse brisk headbanger.

Vile EP, 2020
À la ruine Full-length, 2022

Official Site

ARCTIC CIRCLE (CANADA)

A vicious and quite fast blend of thrash and black metal akin to Suicidal Winds and Vexed; there is an almost hardcore-like intensity in the delivery with short mostly 2-min-or-so long tracks, except for "Horrible Impossible" which goes into the other extreme being a slow doomy song which speeds up a bit near the end. There are also a few quiet acoustic moments to relieve the pressure from the band's very aggressive approach.

Forcing the Astral Full-length, 2006

Official Site

ARCTIC WINTER (GERMANY)

Based on "CCCXXXIII", this batch play classic power/speed/thrash with verve and melody, the heavy atmospheric "The Scapegoat" eliciting some guitar virtuoso sentiments, whereas "Mr. Fister" is a merry-go-round power metal hymn. The album picks up quite a bit of inertia with "At the End of the Day", a fast-paced roller-coaster, its impetuousness contagious enough for "Whaaag", another thrash-prone occurrence, the closing "Demonface" moshing hard, too, wrapping on this entry in a lively invigorating fashion. Some of the band members are also busy with the death/thrashers Age of Distrust, the power/speed metal outfit Harridan, and the power metal formation Overfiend.

Uch Alder... Full-length, 2012
Plek Meddl Full-length, 2018
CCCXXXIII Full-length, 2022

Facebook

ARDENNE HEAVY (BELGIUM)

Based on the full-length, this act deliver laid-back, friendly power/thrash not far from more recent Annihilator; in other words, expect an uneven, but listenable blend of classic and modern sounds. It's the heavy ten-ton "hammers" ("Wolves") that seem to deliver the better, but even those volcanizers' merits are debatable since nearly half of the material clings towards the semi-balladic, thrash completely removed from the equation by the time the listener reaches the mellow rock-ish closer "The Maze". Not so heavy this Ardenne...

The EP with No Name EP, 2014
No Nuts No Glory Full-length, 2017

Official Site

ARDI BELTZA (UK)

Based on the sophomore, this is modern 90’s post-thrash whose crusty abrasive edge by no means works miracles but delivers a few intriguing moments like the dramatic “Jolly Roger” and the atmospheric melodic oddity “Quien Siembra Vientos”. The vocalist is a rough semi-clean croon with hardcore tendencies, notching it up towards the higher dimensions on the more vivid “Las Sectas”.

Ardi Beltza Full-length, 2017
Cinco Balas Full-length, 2022

Official Site

ARDID (ARGENTINA)

This is decent retro power/speed/thrash that is expectedly modeled after the works of the Argentine veterans Horcas and Hermetica. In other words, expect sprawling power metal anthems (“AunVives”), balladic escapades (“Realidades Sutile”), and fierce moshers (“ReclamandoTuHistoria”) to rock your worlds, the acceptable albeit a bit hoarse semi-clean vocalist doing his thing without shining very bright, the short technical burster “Victimas del Flagelo” matched every bit of the way by the ripping outrage “Egoista”.

...Mundo en coma! Full-length, 2023

Official Site

ARDKORE (UK)

An obscure thrash/crossover band with an ultra-fast aggressive style recalling Wehrmacht, and Recipients Of Death in the thrashier sections. This is ridiculously fast at times stuff that ever threatens to turn into something equally as wild as the Cryptic Slaughter debut on "Half Life" and the nearly grindy atrocity "Apocalypso". Semblances of normality can be found on the more thrash-prone cuts ("To Die Is Not Enough", "Seven Years") the vocals remaining punky and semi-declamatory throughout.

Napalm Stix To Kidz Full-length, 1989

AREA 51 (USA)

Based on the debut demo, these folks deliver friendly mid-paced thrash with mellower power metal references. Things go into a hard rock/heavy metal territory on "Holding Back", but this is to be expected on an effort like this which also tries to bond with the timidly showing groovy tendencies on "Horde of Torment". The singer is a hoarse semi-cleaner who is confident about his abilities which aren't that big, as a matter of fact, but he assuredly takes quite a bit of space.

Just Say Fuck Demo, 1991
Biscuits and Gravy Demo, 1992
Trick Bag Demo, 1993

AREA 54 (UK)

A band who mix modern thrash with more traditional metal passages; in the guitar department they will remind of Iron Maiden with the melodic solos and the guitar harmonies. Style-wise Area 54 are close to Hypnotic Face from the Czech Republic, but without the more technical, Annihilator-influenced passages of the latter.

Fear Inside EP, 1998
No Visible Scars Full-length, 2000
Beckoning Of The End Full-length, 2003
Bring Out Your Dead Full-length, 2007

Official Site

ARENDIA (UK)

Based on the "Trismegistus" demo, this British outfit provide a modern mix of black and thrash with a few pagan/epic touches added. The approach is more on the melodic side boasting some impressive melodic tunes (the majestic epic piece "Destroying Angel") which are well balanced with the more brutal "explosions" ("Forged Land"). Still, the sophistication prevails with the closing opus "Barleycorn's Lament" which is an encompassing number of epic thrash with a cool acoustic interlude. The vocals vary throughout the album some being brutal death metal shouts, others being deep clean ones both providing the requisite support to this epic battle-like effort which also scores high in the lead department with soaring melodic lines further adding to the officiant, awe-inspiring picture.
The full-length epitomizes the previous nuances and amplifies them for the production of this bombastic black metal opera which has embraced the epic dea quite tight leaving no room for thrash to flourish "White Gold Wielder" being quite an exception with its wild thrashing rhythms; and partly "Ryhope" with its paganism reminiscent of the Dutch Bifrost.
"A Radial to the Sea" is a much calmer recording, mostly holding onto the pagan/thrash idea, black metal put in tight reins for most of the time, the fist-pumping epicer "Nine Herbs Charm" best exemplifying the delivery on this effort, the rowdier "Novichok" trotting at the back with suppressed vigour, justifying the thrash tag at least partly.

Demo Demo, 2005
Anglezarke Demo, 2008
Trismegistus Demo, 2009
Wild Woods Full-Length, 2016
Sanctuary of the Moors EP, 2016
A Radial to the Sea Full-length, 2022

Official Site

ARES (GERMANY)

Based on the "Demonstrator 2.0" demo, this act indulges in a dark mixture between thrash and doom/death, with also a good alternation between deep death growls and clean operatic vocals. The music is seldom fast, clinging between mid-paced stomping and semi-balladic doomy passages, with a pinch of Amon Amarth-esque epic ("Morphic Fields") and a slight melancholic feel akin to later-period Katatonia ("Deuteronomium 31"). This is generally peaceful stuff rich in atmosphere and depression.

Demo Demo, 2003
Demonstrator 2.0 Demo, 2006

Official Site

ARES KINGDOM (USA)

The band's style is a mixture of black, death and thrash metal. Later-period Barathrum could be a good reference although Ares Kingdom are thrashier and more diverse. There are no ultra-fast parts typical for such mixtures: the songs are mostly mid-tempo, spiced up with slower doom parts ala early Katatonia.

"Incendiary" has gone up the speed scale and the opening title-track is a full-blooded headbanger of the up-tempo variety. "Descent of Man" tries to keep the pace up, but during its more than 7-min it's inevitable for one to hear the band's staple heavy proto-doom riffs. Those same riffs take the upper hand for a couple of tracks, but the guys do not give up completely from the more intense thrashing, and here comes "Beasts That Perish" to bang your head although the following "Consigned to the Ages" will hardly keep it banging being a peaceful balladic instrumental. Still, expect more faster surprises on the closing "Abandon in Place" which mixes the speed from the beginning with high-octane doom metal in the second half accompanied by short screamy leads.

"Veneration", as the title may suggest, is a tribute to the band's influences consisting of covers only starting with "Die By Power" of the Australian cult act Die By Power which is a brutal death/thrasher. Then comes "The Captive" of the Brits Sacrilege done in the expected hypnotic mid-paced fashion. Another aggressive deathly piece follows suit, of another underground legend, the Germans R.U. Dead?, with the rendition of their "When Your Heart Turns Black". The speed/blackers from Sweden Mefisto are next to be honoured with a brisk version of "Act Dead". Then comes two not familiar covers of a band called Nepente; the song-titles are "Celestial" and "Oblivion" and are lighter speed metal numbers with epic "decorations". As a "dessert" the rockers will have a surprise: a cool energetic cover of Dokken's hit "Tooth and Nail", the best song here, done faithfully except, of course, in the vocal department where the guys doesn't ever sacrifice his hoarse semi-shouty death metal delivery.
"The Unburiable Dead" is more on the epic side the guys concocting battle hymns to no end relying on heavy seismic riffage which acquires more intense melo-death tendencies ("Demoralize") from time to time. Numerous catchy melodic hooks have been implemented, especially on the colossal 11-min closing opus "Stultifera Navis (Armistice and League)" which also serves several black metal shades to ensure its larger-than-life appeal.
"By the Light of Their Destruction" moshes much harder the death/thrash fiesta instilled from the get-go with the brutal opener "The Hydra Void", the harsh abrasive production more suitable for the less aggressive, pounding material ("Dark Waters Eridanus"). The battle-prone swagger from the preceding saga simply can't thrive here with only "The Bones of All Men" managing to stand its ground with the more expressive melodic layout. Otherwise, this is a rough hyper-active offering that could easily pass for the band's most intense hour so far.
"In Darkness at Last" is one steam-roller listening experience, the band moving onward with tank-like determination, the heavy battle-like "Under Algol" probably one of them, the abrasive hardcore-ish "Basilisk Flame" one of the most dynamic pieces on offer here, the elevating epicer "Rapacious" the mildest offering, contrasting with the speedy playful "A Wolf on the Fold", another crossover-prone number. As a whole this is a much more controlled entry into the band's catalogue, a varied welcoming recording which may the better option for some.

Chaosmongers Alive EP, 2003
Firestorm Redemption EP, 2006
Return to Dust Full-length, 2006
Incendiary Full-length, 2010
Veneration Full-Length, 2013
The Unburiable Dead Full-Length, 2015
By the Light of Their Destruction Full-length, 2019
In Darkness at Last Full-length, 2022

Official Site

ARES KULT (CHILE)

Based on the full-length, this act serve a classic black/death/thrash concoction, an aggressive murky affair which closes on the black more ("Necrovisions") initially, the death-laced madness on "Will of Mayhem" another overtly brutal appendage, before the stomping heavy "Empalamiento" reminds of Celtic Frost's heydays. The sinister growling death metal vocals are another intimidating ingredient, this opus not for the faint-of-heart. Some of the band members are also involved with the death/black metal purveyors Black Goat Desecrator.

Rehearsal EP, 2018
Ritual of War Declaration Full-length, 2020

Official Site

ARGENTO (ARGENTINA)

Based on "Psicosis", this band play decent old school thrash that has both a vivid dynamic ("Melodias del Mal") and heavier more composed ("Sombras Inertes") one. The steady mid-tempo trots dominate the scenery, but make sure not to miss the speedy extrapolations on "Merece Castigo", the passable mid-ranged clean singer supporting his colleagues' efforts with in a leveled not overtly emotional manner.

La Primera Batalla EP, 2004
Involución Full-length, 2011
Tortura masiva Full-length, 2016
Psicosis Full-length, 2023

Official Site

ARGILE (FRANCE)

S.A.S de l'Argili'ere and Jean-Jacques Moreac from arguably the finest French death metal act of all times Misanthrope have decided once again to try their hands on a more eclectic avantgarde sound after the last couple of Misanthrope releases could be considered pretty straight-forward, even by more conventional standards. After having flirted with almost every metal genre on the Misanthrope works, the guys have finally decided to pay attention to thrash metal. Don't expect the experimental avantgardism of the first two Misanhrope albums, though: the style is still complex and progressive with the opening "Satanic Music" a very good example of the latter. "Pandemonic Necronomicon" follows suit, but is more of a gothic/thrash/doom mix, still quite cool. "Pyramid Paradise" is first-rate technical/progressive thrash, rich in both atmosphere and guitar pyrotechnics, including a couple (but of course) in the bass department expertly carried out by Moreac. "Heart Of The Celestial Empire" is a hectic frantic piece, combining very fast ts with nice melodic deviations. "In the Shadow of the Horns", which is a Darkthrone cover, is expectedly a hypnotic, monotonous composition, speeding in an early black-ish Celtic Frost fashion near the end, before exiting with furious, head-splitting blast-beats. "Danse Macabre Mist" is steam-rolling, mid-paced thrash, nothing too technical here. "A Lugubrious Funeral" is 6-min of orchestral operatic extravaganza, no shades of metal here, and the closer "God's Degenerated Angel" is another dark gothic thrash opus, enriched by fine melodic hooks. Overall the approach here is not too far from the one of the Misanthrope releases of around the same time, and actually comes as a more melodic, thrashier version of "Libertine Humiliations", plus an added doze of the band's old eccentric ideas; would definitely be of interest to the Misanthrope fans as well as to those thrash metal fans who like their music uncanny and weird.

"Monumental Monolith" continues the eclecticism on a full-scale dedicating different compositions to different genres; death metal, gothic, progressive thrash (the excellent "Fallen Angel"), but the mixture this time suffers from a lack of speed clinging too much towards the doom/gothic side with scattered "sparkles" of intensity here and there, and apart from the aforementioned song there's not much here to relate this album to thrash metal.

The Monotonous Moment of a Monologue Full-length, 2002
Monumental Monolith Full-length, 2010

Official Site

ARGONIST (MALAYSIA)

Intense fast-paced, but also quite melodic, thrash/death metal, staying faithful to the old school for most of the time; "Anthem Of The Unbeliever" tries hard to justify the "anthem" part of its title, slowing down providing mellower epic guitars and succeeds being a cool much less extreme offering. "(Un)natural Disaster" preserves some of those softer moments, and combined with another slab of aggressive riffs, is the most enjoyable song here.

Time To Change EP, 2007

My Space

ARGUMENT SOUL (JAPAN)

After the good power/progressive metal offered on the debut, these Japanese have decided to harden the course a bit later on in a way similar to Nostradameus, Squealer and Eidolon, and "Conflict of Crisis" is a nice blend of power and speed/thrash metal the latter being the leading "hand" in the beginning with two blitzkrieg numbers: the heavy up-tempo shredding title-track, a very cool tribute to early Iced Earth; and "Destiny", a lashing Paradox-esque speed/thrasher. Then things cool down quite a bit with a string of mellow progressive compositions recalling Queensryche, before "Belief Never Betrays You" strikes hard again, a cool mix of thrash, speed and power metal with good melodic leads. "SAMSARA" follows suit with heavy pounding power/thrash riffs "coupled" with the fine speedster "To Shine Your Life", a more aggressive nod to the 90's power/speed metal scene. Then progressive metal takes hold for two more tracks one of which is the nice semi-balladic closer "Memoirs Of Life", split by a solid doze of energetic thrash on "October 14". This is a capable varied effort with a wider appeal, but the thrash metal fan will by all means be satisfied also hoping that the transition to that genre might be complete on the potential follow-up.

Reviving The Truth Full-length, 2004
Conflict of Crisis Full-length, 2008

Official Site

ARHM3D (MEXICO)

This act serve retro thrash mixed with both proto-death (the confrontational "Insoportable Conciencia") and urgent galloping ("Mente sin Razon") arrangements disturbing the cool passionate semi-clean vocals. Expect more energetic mosh to flow out of both "Protector" and "Asolator", the closing "11" trying something more flexible and technical on a lively all-instrumental base.

Pesadillas Full-Length, 2023

Youtube

ARISE (HUNGARY)

Intriguing classic semi-technical thrash marred by muddy sloppy production; otherwise the lads try harder with fast ripping rhythms, the singer on the semi-rehearsed throaty death metal side. Despite the prevalent headbanging character ("Only Some Fools") of the recording, a few interesting more melodic atmospheric moments ("Claustrophobia") have been inserted for good measure, alongside stylish twisted leads on the less ordinary creepy quasi-progressiver "Shadows".

First Demo, 1991

ARISE (JAPAN)

The arise of Japanese thrash; with Ritual Carnage gone for good (presumably), and the other representatives of the movement releasing albums sporadically, Japan needed someone like these youngsters who unleash fast intense thrash/crossover with a timid experimental spirit which still doesn't stand too much on the way of the inspired raging thrashing witnessed for most of the time. The vocal delivery is also all over the place with several throats taking part "fighting" for domination. The eclecticism at times threatens to reach the one on their compatriots Gargoyle's albums, and maybe that will happen on the next installment. For now... "Don't Worry Be Happy!", and mosh till you drop!

Don't Worry Be Happy! Full-Length, 2013

Official Site

ARISE (SWEDEN)

A typical representative of the Swedish thrash/death metal wave: fast and catchy but pretty derivative as well music. "Kings of a Cloned Generation" is arguably the band's most representational effort, energetic melo-death/thrash that spares no headbanging rippers ("Stains of Blood", the title-track) along the way, the maddening "Corroded" tipping the scales towards the death metal realm more, thrash restoring the hegemony with the lively "Nuclear Ray Infected" and the semi-technical shredder "Master of Gravity". The vocals are harsh shouty, occupying the middle ground between black and death, rending their lungs to the utmost here and there.

The Godly Work of Art Full-length, 2001
Kings of a Cloned Generation Full-length, 2003
The Beautiful New World Full-length, 2005

Official Site

ARISE AND RUIN (CANADA)

Based on "The Final Dawn": modern thrash/death metal with gruff hardcore vocals and metalcore breaks; nothing to catch the classic thrash metal fan's ear, although this effort doesn't lack energy: the short mosher "Unbound" and the softer hardcore-laced "Always The Same".

The Fear Of EP, 2006
The Final Dawn Full-length, 2007
Night Storms Hailfire Full-length, 2009

My Space

ARISE IN CHAOS (GERMANY)

This is modern power/post-thrash which suffers from the very unsuitable rough death metal vocals. Not that the music is anything special to write about clinging more towards the melodic patterns "braving" into the fields of classic hard'n heavy without shame frequently losing the little edge the guitars have here and there also "flirting" with stoner/doom on the relaxed closer "Roadkill".

Bombshelter Sessions Full-Length, 2012

Official Site

ARISE IN CHAOS (USA)

The debut: quite good jumpy semi-technical post-thrash which nicely intensifies (the heavy smasher "Xenocide") at times also "calling" melo-death for help on the really cool dramatizer "Nigh". Heads will start banging spontaneously on the mechanical shredder "A Body Within" before "Kali" serves another portion of heavy steam-roller riffs the latter very well covered all the way to the end. The vocals are of the forceful shouty death metal variety; expected, but not bad. The guys also have another project: the thrash/death metallers Wading Through Corpses who so far have only one demo released.

"Terminal Cognition" moshes with more passion and aggression although the sterile mechanical riffage is pretty much intact weaving dry, groovy tapestries on a more urgent rhythmic base. "Siren" is a more melodic thrash/deathster, a side not that extensively covered here replaced later by the headbanging stomps of "All We Know", and the progressive meanderings of "Reflections".

Civilization Decay Full-Length, 2012
Terminal Cognition Full-Length, 2016

Official Site

ARISE IN STABILITY (JAPAN)

The debut demo: 2 songs of typical modern thrash/death metal, melodic and generally fast although a couple of deviations can be heard on the 8-min long "Wheel Of Paradox" which digresses from the formula with sprawling quiet semi-balladic sections, heavy groovy ones, choppy semi-technical guitars, very melodic, albeit capable, leads, clean vocals, and a few metalcore breaks.
The full-length is a further elaboration on the demos pulling out predictable stable modern thrash/death metal accentuating on atmosphere with a long, but not very eventful, progressive compositions, but this style kind of doesn't suit the band's not as technical musical approach; consequently they rely on sprawling balladic sections, spacey arrangements, the obligatory metalcore pauses, and borrowings from other genres (the elegiac doomy closer "A Wheel Of Paradox", already heard on the demos).
"Dose Again" bears no big surprises the guys occupying this niche of theirs by softening the approach to an extent, the more intricate quirks on "Thoughts from a Wooden Statue" a positive innovation, and generally there's nothing inherently wrong with this offering, the melodic hooks on "A Decree of Life Mercy" and the feelgood leisurely atmosphere on "Pagoda of Reproduction" quite appropriate although the latter's sentimentalism has not much to do with thrash or death. The second half loses those two ingredients almost completely, though, including on the 13.5-min closing saga "Atyanta" which is one sprawling restless lyricism and not much else.

Over Humanity Demo, 2006
As Actual as a Desire Demo, 2007
The Future That Amnesiac Draws Full-length, 2011
Dose Again Full-length, 2020

Official Site

ARISEN FROM NOTHING (USA)

The full-length: alternative modern post-thrash offering both more dynamic and more morose moments; the guys have a good sense of melody implementing the odd memorable chorus and clean vocals as opposed to the gruffer semi-whispered main ones. Expect two speedy surprises as well: the more intense headbanger "Bulletproof", and the more crossover-based "Stalin's Well" the latter shocking a bit with a super-fast blasting ending.
The "Broken" EP is a harder offering the band moshing with more passion although the mid-paced realms are seldom crossed. The friendlier tones return with "Falling from Grace", but the abrasive, noisy reverberation coming from the guitars ensures a more intimidating listening experience.

Speed of Life EP, 2009
Prototype Full-length, 2010
In Nothing We Trust Full-length, 2012
Broken EP, 2017

Official Site

ARISER (RUSSIA)

These are 5 tracks of intense thrash metal mixing the classic and the modern trends, at times sounding close to mid-period Sepultura ("Hide and Run Away"), at times getting angry ala Pantera ("Breaking the Cage"), at others moving onto Germanic speed/thrash metal ("Burn"), or paying tribute to the Black Album ("Pyramid").

Posthuman EP, 2009

ARISSE (CROATIA)

Based on the "Nacht Traum" demo, this act plays quite cool retro thrash/death metal ala Pestilence's "Consuming Impulse" and Assorted Heap's "The Experience of Horror". The vocals are very close to the ones of Martin van Drunen, and the approach is generally fast with the casual technical hook. There is a sense of melody as well expressed mostly through the riffage. "Nacht Traum" is a nice turn to speed/thrash metal with imposing orchestral implements, followed by the more direct speedster "Whore". "Ritual" is a more aggressive deathster followed faithfully by the closing "Apocalyptic Sexual Confusion" which lashes fiery riffs far'n wide finishing with a great acoustic outro (the real outro lasts for just 3-sec, and is a mere vulgar swearing done by the singer).

"Ritualno Klanje" ("ritual massacre" in English) comes with an awful sound quality, but even from a musical point-of-view it hardly matches the previous effort. This is still a blend of thrash and death metal, but is done with much less imagination and inspiration the band bashing one-dimensionally through the four tracks the only saving grace being the clearly classic-sounding riffs which are again buried under a wall of fuzzy noise and other distractions like the bad shouty death metal singer, to give one example.

Nacht Traum Demo, 1994
Ritualno Klanje Demo, 1994

Fan Site

ARK OF PASSAGE (RUSSIA)

Two songs of decent modern power/thrash with acceptable hard, mid to up-tempo riffs and a few short, semi-progressive sections which could be elaborated on on a full-length. The singer has a cool clean timbre which has both an emotional and a more aggressive pitch.

Jivuie Niti Demo, 2010

ARKADA (ARGENTINA)

This Argentine act specialize in classic power/thrash spearheaded by slightly hoarse semi-clean vocals. The delivery is characterized by relatively samey mid-pacers ("Escapando a la Verdad", "Confusion Interior"), the heavy rhythm-section ruling the setting the whole time, occasionally letting the more vigorous riff ("Luchar y Seguir") to pass, but overall this isn't very exciting stuff, the band not looking further than the repertoire of their peers Horcas and Hermetica. The lead guitarist is clearly the star of the show with his stylish inclusions, coming close to the Steve Vai pyrotechnics at times. Some of the band members are also occupied with the power metallers Lughnasadh la Force.

Desatando furia Full-length, 2009

Facebook

ARKAIK EXCRUCIATION (SPAIN)

The musicians hide their identities under abbreviations; otherwise, this effort offers fast impetuous death/black/thrash of both the new and the old school displaying their talents in lengthy compositions where the stylish bash is assisted by atmospheric undercurrents, lashing semi-technical riffs, and beautiful melodic orchestrations. "Lunar Carnage" is a more immediate lasher but the rest weaves more complex pictures topped by not very intelligible low-tuned death metal vocals.

Among the Vortex of Chaos Demo, 2014

Official Site

ARKAM (ARGENTINA)

This formation indulge in cool diverse stuff which is at times quite intense (the violent shredder "Ves Lo Que No Es"), at others is crunchy and a bit chaotic ("Violencia Es Mi Voz"; could be a leftover from an older demo) with a worse sound quality. The singer is nothing special shouting hysterically with a lower-tuned death metal blend.

Demo Demo, 2011

ARKANGEL (BELGIUM)

Based on "Hope you Die by Overdose", Arkangel play mid-paced thrash metal with a classic vibe mixed with more energetic death metal as well as a few slower, doom-laden riffs; so don't look for speed or extreme aggression here. Still, there is quite a variety in this album, and this is good, if we exclude the vocals which are annoying at times with their high-pitched screaming.

Prayers upon deaf ears EP, 1998
Dead man walking Full-length, 1999
Hope you Die by Overdose Full-length, 2004

Official Site

ARKARION (AUSTRALIA)

Heavy crushing modern thrash spiced with a hefty amount of Swedish melo-death, some groove, but the resultant "therapy" works thanks to the proficient guitarisms, the more technical execution at times, and the very good sound quality. The dynamics is big and pieces like "Sons of the Blackened Star" will rock your world in a major headbanging way. "Trial By Battle" is an exemplary progressive thrasher which shreds with might also serving a few raging passages, the latter ably assisted by the shorter, but equally as engaging "Infinite Machine". Towards the end the approach becomes more laid-back with moments of the semi-ballad sneaking in, among other mellower gimmicks. The singer remains aggressive all over, though, with a harsh semi-shouty death metal timbre with echoes of Jan-Chris de Koeijer (Gorefest).

Lessons in Futility Full-Length, 2014

Official Site

ARKAYIC REVOLT (CANADA)

The EP: cool classic thrash crossing the intense thrashing of the Bay-Area bands with the more speed metal aesthetics of German metal (Paradox, above all); the EP is full of great sharp riffs and screaming leads, and the tempos change all the time. The guitarists add more melodic lines here and there ("Tread the Blade"), and generally the sound is not too aggressive, relying on up-tempo delivery for most of the time, and softer interludes where the vocals take a more melodic edge ("Undead Man Walking") as opposed to the mid-leveled semi-clean style heard for most of the time. "Immortal Visions" kind of betrays the overall mood at the end being slower and modern-ish, with clear allusions to The Black Album, and is a bit long for its kind (7-min), partially saved by the very cool bass performance in the middle.

"Death's River" arrives less than a year later and carries with it an entirely new material. This full-length continues the trends from the EP, but sounds decidedly better, sticking closer to the Bay-Area this time as is evident from the brisk opener "Blood Will Follow Blood" and the following mid-paced stomper "From Hell". More speed and rage with the blitzkrieg thrasher "Cohesive Disembodiment", before things become nicely technical on the twisting "Operation Overlord" which also preserves all the speed from the previous mosher which even goes up on the short explosive "Feed Them Fire". More pounding mid-tempo riffs come served on "Deadline", but run for cover for the next "Wrath of Poseidon", another short speed/thrash metal fury. Then the guys soften for the jolly crossover-laced "Dig Your Own Grave" which also contains a short balladic passage. No mercy, however, is shown on "Beware The Nothing" and on the smashing closer "Death's River" which exits the album in a heavy doomy fashion also adding a great surreal lead-driven outro. Some of the musicians also have another project: Lunacy, with which they play similar classic-influenced thrash.

Undead Man Walking EP, 2009
Death's River Full-length, 2010

Official Site

ARKENSTONE (GREECE)

"Dead Human Resource" is an explosive debut of classic technical speed/thrash metal moving towards the progressive field at times, which puts this young Greek hope right next to heroes like the Danish Manticora, the Polish Hellfire, and the Americans Cauldron Born; early Iced Earth (the first two albums) is another close call. "Fall" is a mighty fast-paced thrasher with forceful sharp riffs, followed by the more technical, but equally as intense "Psychopath's Salvation", which will also remind you of Helstar's "Nosferatu", as well as the 90's power/speed metal scene. "Blame" is more ordinary mid-tempo power/thrash, but the album gains inertia immediately with the next "Righteous Murderer": smashing galloping thrash with great vivid sharp guitars, a headbanger of the highest order. "Forevermore" is standout speed metal in the spirit of early Helloween and Gamma Ray, but the intense thrashing returns for "Eyes Of The Dark", after which the guys give way to their more progressive nature with "Majestic Tales Untold", which tones down the aggression, sticking to the power/speed metal patterns more. "World Of Corruption" thrashes with full force to the point of death metal extremity even, despite the melodic leads and the more technical guitars. "Pain Horror Stigmata" continues in the same vein, crushing everything in its way, setting the scene for the coming of the magnificent "Dead Human Resource": a progressive thrash masterpiece, an impeccable combination of aggressive thrashing (some blast-beats involved even) and intricate riffage; the peaceful break in the middle is outstanding, after which some of the catchiest melodic leads start out of nowhere, to give way to the galloping rhythms as a finishing touch. The singer is a bit gruff probably for this kind of music, but his efforts pay off; if you remember the first Iced Earth singer John Greely: this one is close, but more varied, trying aggressive proto-death metal singing from time to time. It's not very often these days that one can hear such a convincing debut; one of the main pretenders for "debut of the year" award of 2008.
The band's early demos have nothing to do with thrash metal, but are fairly enjoyable offerings of classic 90's speed/power metal with epic shades.

Both Of Demos (CD 2005) Full-length, 2005
Dead Human Resource Full-length, 2008

Official Site

ARKHAIKUS (BRAZIL)

Retro thrash is on offer here which is mostly sustained in a dynamic mid-tempo, but all is ruined on the overlong drag "Knives Storm" which lasts for whole 9-min without serving anything, but sleepy doomy rhythms; boring stuff. The vividness returns after this major pullback is over, and "Thrash Or Die" is already a complete headbanger ably supported by the shorter invigorator "Intra". The end is a bit underwhelming, first with the friendly rocker "Thrown To The Fire", then with the closing "Rest In Peace" which is a diverse number with power metal merits. The singer is too bad to be even mentioned unleashing unrehearsed semi-recitals which often go out of tune even when there's no actual singing involved.

First Step to Death Full-Length, 2014

Official Site

ARKHAM 13 (USA)

Based on "Blood Fiend", these guys specialize in heavy groovy modern thrash with seismic pounding guitars, and no post-tendencies. The problem is that the band is reluctant to leave the mid-pace, and the result sometimes is close to doom ala Down and Crowbar, the latter coming close as a very close reference in the vocal department, too.

The Wrath Full-length, 1998
Born to Bring Death Full-length, 2005
Blood Fiend Full-length, 2009

My Space

ARKHE (MEXICO)

Based on the debut, this Mexican act play first-class progressive thrash with hoarse, at times almost whispered, death metal vocals and atmospheric and fusion elements well embedded into the appetizing complicated picture. The guys rely on both technical arrangements and melodic "excursions" without speeding a lot the delivery being of the dramatic spiral-like type which never gets boring due to the ever-changing rhythmic patterns and the aforementioned fusion/jazzy gimmicks (check out "Perspective Quest"). "Sonic Arrival" starts thrashing with more force near the end also recalling Death's late period in the guitar department, but the fusion break on this one is outstanding superseded by a final portion of overlapping vortex-like riffs. The bass plays a major role on almost each track, and its supplements are quite thundering at times. It's a pity that such good music only lasts for half an hour with the intro and outro taking 4-min of it.

"Spirals of Life": the guys must have gotten really tired after the release of the very short debut, but 8 years later they feel well rested to strike again. This effort is another excellent offering the band having become more dramatic and a bit more melodic with several melo-death sections giving the album a somewhat more familiar "face" although the listener can easily get lost in the labyrinths of moods and time-changes which are cuts like "Nature" and "Shaman". "Black Heart" speeds up to less tamed blasting proportions, but expect another whirlwind of elaborate guitars on it later on. Then comes the progressive opus "The Path" which is a virtuous accumulation of rhythms with a strong Theory in Practice-esque feel, before the closing track turns to complex fusion to wrap it up also introducing the only clean vocal participation on the album. Mentioning the vocals, the guy has now acquired the screechy later Chuck Schuldiner's (R.I.P.) style and is way more suitable compared to his barely heard throaty growls on the debut. The bass continues to lead the show now an obvious nod to the master Steve DiGiorgio. Any flaws: the length again all the 7 compositions closing on just under 26-min leaving the listener literally begging for more.

Virtual Landscape Full-length, 2005
Spirals of Life Full-length, 2013

Official Site

ARKHEM (USA)

This is only two songs which show a unit providing energetic modern thrash/death with a Gothenburg flavour, up-tempo for most of the times except for a few slower choppy breaks on the second piece. The singer is not very pleasant with his ultra-shouty delivery which is not very intelligible. The musicians seem to spend more time on their main project: the heavy metal formation Heatseeker with whom they have 2 full-lengths and one EP released.

Arkhem Demo, 2006

Official Site

ARKHE (SPAIN)

An obscure demo of moderately complex speed/thrash which relies on lengthy (5-7min) numbers where fast and slow sections intertwine the whole time recalling Paradox and Angel Dust. "Arkhe" is an excellent 4-min dynamic instrumental, and the rest is not too far behind offering plenty of headbanging sections as well except on the heavy semi-balladic closer "Circle of Blades". The sound quality is a bit muddy, and the singer isn't very convincing clean semi-shouter who could have spent more time rehearsing.

Agony Demo, 1990

ARKILLERY (USA)

Based on "The Berserker", this is the viking/death/thrash metal sound of Bathory's (R.I.P.) "Blood Fire Death" mixed with his early efforts, brought into the new millennium. The musicianship, however, is on a lower level (only one person is responsible for it: the alias is Krom), and the majestic epic atmosphere of Bathory's work is somewhat missing, or at least rarely shows up; but this shouldn't be taken as a serious complaint provided that there is only one person behind it all going under the alias Krom. Otherwise this album offers a similar mixture of heavy, semi-epic songs ("Dragon Ships in Winter") and speed/thrash outbreaks ("Blood Spikes And Noise"). Krom sticks to the early Bathory rasp most of the time, but sometimes he uses his cleaner voice, and he definitely does a better job then. There's also a certain number of acoustic outros, intros and interludes which would have been a nice touch if they were fewer.
"Return Of The Wolves" is an inferior offering with a worse sound quality, with very buzzy guitars, contrasting mixtures ranging from early Cradle of Filth-esque hyper-blasts to cold misanthropic doominess akin to Khold. The songs are overlong without providing too much variety, and the noise coming from the guitars makes them sound like one big mish-mash. Atmosphere is totally out of the question, but the very underground feeling is by all means achieved: the early Bathory recordings sound like the cream of the mainstream compared to this one. It inevitably has its raw primal charm in a peculiar twisted way, but it would be of a much bigger interest to black metal fans.

"Dark Ages" is an inauspicious rough debut with the contrasting stylistic mixture already fully implemented favouring the more unpleasant fast side, and sadly cool atmospheric proto-epic pieces like "Brunhildas Bloody Ride" are not that many. "Samhain Night" is another song worth mentioning, a heavy twisted thrasher with a good speedy section akin to early Metallica; and probably the noisy, but intense, Bathory worship ("Sacrifice") at the end, which is not a cover.

Dark Ages Full-length, 2003
The Berserker Full-length, 2003
Return Of The Wolves Full-length, 2004

My Space

ARKOXIA (ECUADOR)

Fast ripping classic thrash which rolls on with lively speedy cuts (the title-track, "Hishpa"), the band occasionally spicing the delivery with the more seriously-constructed but less interesting stomping number ("Megamuerte", the more radio-friendly "A.T.M.M."). The singer produces curt spatout semi-declamatory antics, his participation overshadowed by the lead guitarist who supplies his short but effective licks without turning the setting into a pyrotechnics-oriented fiesta. Some of the musicians are also active with another old school thrash outfit, Arkoholic Priest.

Thrash Bomb! Full-Length, 2020

Official Site

ARKUS (CZECH)

Based on the Live, this female-fronted band play cool speed/thrash (more speed metal-based, as a matter of fact) reminiscent of the German acts Not Fragile and Iron Angel ("Winds of War"). The music is up-tempo, straight-forward, without any technical pretensions, never very fast, and there is a considerable presence of heavy riffs. The girl has a cool semi-clean, lower-pitched voice, and she could have tried to lay some higher screams which suit this style. The sound is very good for a concert recording, and the guitarists attempt interesting melodic leads, recalling Kai Hansen.

Live Live, 1992
Poutnik v Case Full-length, 2003

ARMA GATHAS (SWITZERLAND)

Energetic thrashcore ala more recent Pro-Pain with a few slower groovy implements; most of the time the guys mosh with gusto with direct lashing riffs topped by forceful angry hardcore vocals. "Depopulation" is a heavy dirgy hymn with pummeling punishing riffs, and "God's Wrath" is a friendly groovy mid-pacer, contrasting with the more energetic riffage delivered on the vivid Pro-Painesque "The Rise and Fall".

Dead to This World Full-length, 2010

Official Site

ARMA MATER

Modern thrash metal of the heavy stomping variety with choppy meaty riffs which surprisingly carry a sense of melody the latter ruined by the brutal low-tuned death metal growls. "Publifilia" is an intense number thrashing more aggressively, but right after it the band loses it completely even sticking to awful rappy passages near the end.

Arma Mater Full-Length, 2010

ARMADA (USA)

This is modern thrashcore of the direct, noisy type. Expect pretty basic musicianship spiced with punk and sincere hardcore at times, plus the staple unpleasant shouty, in this case quite hysterical at times, vocals.

Songs For Bastards Full-Length, 2011

ARMAGEDDAL AGE (FINLAND)

Based on the debut demo, this act plays raw messy primitive retro thrash with misplaced grindy and hardcore moments. When the guys stick to pure thrash, they produce some sensible music ("Deathfire"), but this doesn't happen very often, also due to the very bad sound quality and the awful screamy hysterical vocals which are much less comprehensive than the music.

Armageddal Age Demo, 2007
Deathfire And Other Atrocities Demo, 2008

My Space

ARMAGEDDON (FRANCE)

Based on "Pyromaniac", this one-man show (guess the alias) serves vicious intense retro black/thrash, the hellish shouty black metal vocals creating their own drama on the side. This is proficiently executed stuff, also boosted by very good clear production, the faster-paced material ("The Shadow Plane", "Per Ignem in Sangine") often served with a sniff of black, whereas the more laid-back moments ("Morbid Voodoo Congregation") are nicely epic-decorated. The end comes in the form of "Zombie Ritual"... yes, correct, a cover of Death's immortal hymn from "Scream Bloody Gore".

Necromantic Celebration Full-length, 2011
Pyromaniac Full-length, 2021

Official Site

ARMAGEDDON (HUNGARY)

Meet the deeply underground, amateurish, side of Hungarian thrash. This is raw evil thrash done with a lot of enthusiasm, but little musical skills the guys trying to make things more complicated with longer pieces where seemingly coherent sections suddenly get replaced by brutal proto-blasting ones. The thin melodic guitar lines could have been a cool touch on a more proficient background; now they sound almost surreal to the bashing messy rest. The singer deepens the misery with his unrehearsed semi-declamatory tone which lacks balls, dramatism, and everything else. Shades of Possessed and early Whiplash can be felt, but this is too remote even from the average standards for the genre.

Demo Demo, 1990

ARMAGEDDON BOUND (GERMANY)

This is intense old school thrash which suffers a bit from the muddy sound, even if the latter has been applied intentionally. This is simplistic, very direct stuff crossing mid-period Sepultura with Sodom with proto-death standing by ready to jump into the melee at any opportunity. At the end one will savour the apt cover of Sepultura's "Troops Of Doom" led by the cool forceful semi-death/semi-declamatory vocals.

Chaos Incarnation Full-Length, 2016

Official Site

ARMAGEDDON HOLOCAUST (INDONESIA)

Based on "Dies Irae", this outfit specialize in not bad dynamic old school thrash which also borrows freely from black and death metal the resultant amalgam having this original, semi-technical nature despite its constantly furious character (hyper-blasts and all). "Pools Of Blood" is an admirable achievement in the technical department, 5-min of raging technical shredding, but the raw semi-amateurish side is also well presented: check out the mish-mashy noise "The Deceiver's Last Stand". "Universal Doom" is appropriately-titled despite the several speedy moments inserted in the second half. Some of the guys are also involved in the groovy post-thrashers Doctor D.

Into Total Destruction Full-length, 2000
Radioactive Zone 245 Full-length, 2003
Nekrofonik Full-length, 2004
Dies Irae Full-length, 2013

Official Site

ARMAGEDOM (BRAZIL)

Based on the debut, this band offer a raw, undeveloped blend of early Slayer and hardcore. This is one-dimensional, up-tempo, unappealing music, with short, 1.5-2min tracks, and a hollow and fuzzy guitar sound. "Sem Esperaneas" 22 years later sounds more polished, and overall better. Still the attitude is pretty uncompromising, and the guys bash in a direct fast manner most of the time, but the approach is much closer to thrash, even touching the early German speed/thrash metal movement with revolving riffs here and there, although there is hardly time for them to go anywhere as the maximum song-length is just over 2-min.
"Apogeu Da Insanidade, Crep'fasculo Da Humanidade" is a wild thrashcore affair, the guys bashing violently with brutal death metal vocals attached to a really squashing effect. "Vomitando Adrenalina" is a short speed/thrashing fun, which remains the finest cut here, since after it come live recordings of old tracks, played faithfully, with the noise from the audience a light distraction.
"Das Cinzas ao Inferno", which appears whole 11 years after the debut, is another intense effort, but surprisingly the focus is not on speed as much anymore, and there's an inclusion of a couple of more moderate mid-tempo numbers which boast more professional execution although they can hardly stand on the way of vigorous thrashers like "Sofrer Demais" and "Mutilatoes", or the half a dozen short hardcore outbursts scattered throughout. The singer has metamorphosed into a brutal death metal semi-shouter, but is kind of fitting to the aggressive musical approach.

Sil'eancio F'fanebre Full-length, 1986
Das Cinzas ao Inferno Full-length, 2001
Pricipio da Agonia-1984 Full-length, 2003
Apogeu Da Insanidade, Crep'fasculo Da Humanidade Full-length, 2005
Sem Esperaneas Full-length, 2008

Official Site

ARMAGEDDONIZER (POLAND)

This act play heavy, moderately dynamic retro thrash which becomes nicely headbanging on "Forgotten Lands" despite the overlong lyrical balladic deviation towards the end. "Famines Dies with You" is a nice more complex shredder with pounding semi-technical guitars; and the final "Let Me Kill" is an energetic more progressive number with good melodic leads. The vocalist is not a shining star, but his semi-clean tirades are not harmful to the overall interesting musical picture.

From The Depths Demo, 2014

ARMAGEDON (USA)

Based on the debut demo, this band offers rough, primitive black/thrash akin to early Sodom and Celtic Frost on the heavier moments. Out of the blue comes "Lust For Death" which is a much more proficient cut with melodic licks and slower tempos; the rest is a noisy bash topped by vicious Tom G. Warrior-like vocals, maybe a bit more melodic.

The Final Conflict Demo, 1986
Rehearsal Demo, 1986

ARMAMENT (USA)

This is cool ripping old school thrash which relies on lengthy cleverly-constructed numbers which are still quite fast-paced not offering anything too elaborate even coming with a shade of crossover ("Metal Maniac") at times. This is brisk energetic stuff with a very good sound quality and decent semi-declamatory mid-ranged vocals.

Armament EP, 2011

Official Site

ARMATA (AUSTRALIA)

Based on the full-length, this band offer Bay-Area influenced classic thrash with a pinch of early Overkill crunch. The music swings between lengthy moderate shredders ("Destiny Awaits") and shorter more energetic pieces ("Affliction Humanity", "Riot") the latter side decidedly more attractive the guys stirring a few commendable pogo sessions on those. "We Failed" is a fine more serious proposition, and "Systematic Invasion" is the answer to the more contrived progressive meanderings of late-80's Metallica. The vocalist is a rough semi-reciter whose curt spatout antics can hardly pass for actual singing.

Pay to Pray EP, 2015
Destiny Awaits Full-length, 2019

Official Site

ARMATAGE (FINLAND)

Based on the "Conscience Decays", this band plays excellent technically-inclined thrash, which comes between Destruction's "Release from Agony" and Mandator's "Perfect Progeny". The tempo is quite energetic and fast but never too aggressive, and the steel riffs keep flowing from all sides. There are a few superb exercises in more complex technical thrash: "Uncertain Existence", but the rest is more accessible headbanging stuff, still with a certain technical edge. This is really good music which easily overshadows most of the more known names from the Finnish metal scene at the time.

Conscience Decays Demo, 1990
No Therapy Demo, 1991

ARMATUS (CROATIA)

Based on the full-length, this Croatian duo specialize in intense, but also atmospheric, black/death/thrash which contains plenty of music, from furious blasts to some enchanting melodies often within one composition. The guys are at their best when they play doomy epic rhythms as is the case on "Cosin Potok" although the folk-infused thrasher "Delmatski Celik" isn't bad at all. The vocals are rough death metal shouts, and are clearly the downside.
"Pjesme Mrtvog Guslara" is another eventful saga with numerous influences embedded into the scenery with black metal leading the way this time mostly in a furious blast-beating manner with the obligatory slower atmospheric breaks. The thrash metal fan won't find much to savour here except for the interesting melodic thrasher "Trijumf Krakog Zla i Tame" near the end which will remind of Bifrost and more distantly the Brits Sabbat with its pagan "decorations".

Kraki Kult Full-length, 2014
Lunarni Ritual EP, 2014
Pjesme Mrtvog Guslara Full-Length, 2015

Official Site

ARMED & HAMMERED (CANADA)

This is retro thrash/crossover the band moshing with reckless abandon the entire time, the delivery reminding of early D.R.I., the vicious semi-declamatory vocals emitting more belligerence than Kurt Brecht. This is intense one-dimensional stuff accentuated by short bursting hymns like "Chinatown" and "464", with full-blooded hardcore ("Censorship") frequently peppering the landscape.

Fully Loaded Demo, 1991

ARMED CHAOS (USA)

Intense modern thrash which alternates tempos at will the faster-paced side way more suited to the guys' simplistic, stripped-down approach, the short ripping "Scheduled For Termination" a very good example of the latter. "Spiritual Cleansing" is a more moderate minimalistic creeper, but the only other similar moment of respite is the closing stomper "Hateuary" excluding the furious death metal exit.

The Opposition's Crushed Full-Length, 2016

Official Site

ARMED DEATH (GREECE)

These guys were previoulsy known as Army of Death, before changing slightly their name. The style remains a death/thrash hybrid (based on the "Hellenic Cult" demo) with early Nightfall a very close soundalike; so expect also a lot of atmosphere plus gothic leanings and sparse progressive structures. The tempos change often blasting in a less tamed black-ish manner ("Ancient Soul") at times. The end is preserved for the good cover of Rotting Christ's early hit "Forest of N'gai". The vocalist is a not very intelligible guttural low-tuner.
The debut demo was released in the ancient times, but contains the same kind of music: atmospheric dark sounds spiced with faster thrash/death outbreaks the alternation between the two sides creating a somewhat progressive feeling only ruined by the ultra-brutal guttural death metal vocals.

Vaundoun Demo, 1993
Ancient Soul EP, 2008
Hellenic Cult Demo, 2009

Official Site

ARMED FORCE (FINLAND)

The first demo is three songs of choppy crunchy power/thrash, the band attempting some more ambitious song-writing on "War Without End", but overall this is simplistic immediate music with a pristine hardcore ("We'll Give It to You" also added for good measure, and also to match the declamatory punky vocals.
The second demo is a much more serious affair, the band pulling out some pretty intriguing progressive thrash which on "A Natural Door in Our World/Sprawling" is concocted with both sizzling energy and challenging meandering arrangements, the epic 10-min odyssey "Coffins In Paradise" slowing down the proceedings to a not very eventful mid-paced trot, the virtuoso lead pyrotechnics on "First Rays of Light" another illustration of bigger musical prowess, the latter completely missing from the short bursting hardcore closer "Flying Joe".

Demo Demo, 1988
Demo Demo, 1989

Official Site

ARMENIA (JAPAN)

Based on "Cocytus", this act indulge in not very conventional modern/classic speed/thrash with not very attached mid-ranged female vocals. The music ranges from all-out speedsters ("Never Come"), to overlong bluesy boredoms ("Flow"), to morose atmospheric doomsters ("Mindless"), to other eclecticisms which will keep the listener focused, but the final impression would not be on the very positive side: there are too many influences and styles blended here. The band members also play in the doom/gothic metal formation Albiorix Requiem, and the black metal purveyors Apocalyptic Slave.

Prodigal Flowers Full-length, 2000
Cocytus Full-length, 2002

Official Site

ARMIES OF DEATH (MEXICO)

Based on the full-length, these guys indulge in intense aggressive black/thrash with echoes of the Portuguese Alastor and early Kreator. More melodic respites (the excellent melodic epicer "Reborn from Ashes") can be caught all around, and these are the moments when black metal takes over before blitzkrieg moshers like "Thrasher Respect" and "Sinister Chaos" restore the dominant thrash aura regardless of the witch-like raspy black metal vocals which finally find their match music-wise at the end on the Dimmu Borgir cover of "Mourning Palace" from the Norwegians' masterpiece "Enthrone Darkness Triumphant", delivered surprisingly well with all its majestic, awe-inspiring grandeur.

Sinister Chaos EP, 2012
Heretic Dominion Full-length, 2018

Official Site

ARMIFERA (CANADA)

This young Canadian outfit indulge in fairly intriguing, and quite original in terms of execution, technical/progressive thrash which sits between the modern and the classic school with more "winks" at the latter. The guys try to mix fast and more complex rhythms on every song, and they achieve the expected puzzling effect, but the shorter material ("Serebral Slave", "Iron Entities") seems to deliver the better the cuts being short more immediate technical thrashers. "Blunt Force Trauma" is the most engaging composition here the band really excelling in creating elaborate pictures of vortex-like guitar duels which overlap each other in a way quite similar to the Danes Unleashed Power, maybe a bit more accessibly plotted. "D.M.H." could have sunk any other weaker effort being a really calm overlong ballad without any technical wizardry, but fortunately the guys get back on their feet quickly, first with the direct lasher "Metal Massacre", then with the excellent closer "Woven Mist" which is exemplary technical speed/thrash with echoes of Deathrow and Sieges Even, featuring a nice quiet break in the second half.

Canada already has a name for producing quality technical acts since times immemorial (although the guys are not from Quebec, but from Alberta, Edmonton), but on the thrash metal side things weren't looking too good recently; here comes an act to provide not only a worthy competition to the perennial champions Voivod, but to also claim a firm spot at technical thrash metal greatness on the world metal map for its homeland.

Eradication Full-Length, 2013

Official Site

ARMISTICE (GERMANY)

One of the representatives of the wave of German thrash metal bands which started in the late 90's; the band's sound is modern akin to recent Annihilator; professionally done, but a bit generic. The debut is arguably the band's finest hour also sharing some of mid-period Megadeth's sophisticated technicality consisting of mostly mid-paced shredders the latter not shying away from power metal as well. "Leaving The Battlefield" thrashes harder also recalling the 80's American power/thrash scene, but the second half is below par with mild rockers like "Inquisition" and "Stormtrooper" ultimately spoiling the mood not without the help of the weak thin clean vocals which totally fail to deliver on the higher notes.

Tied Full-length, 1997
Hot On The Trail Full-length, 2000
Roots of Evil Full-length, 2005

Official Site

ARMMAGEDON (BRAZIL)

Members of this band later (or before) took part in other more prominent acts (Sepultura, Holocausto, Sextrash, Overdose). The rehearsal shows them pulling out intense proto-death tinged thrash metal similar to mid-period Sepultura and Possessed, but with an awful underground sound quality which makes the singer barely audible, and the guitars often merge into a fusion of buzzy noise; which is a pity because the guys have ideas, and the songs are longer thought-out listens, still of the direct aggressive kind. It's finished with a cool cover of Celtic Frost's "Procreation of the Wicked", done in a brooding doom mode.

Genoc'eddio Demo, 1986
Rehearsal Demo, 1987

ARMOR COLUMN (USA)

The EP: excellent classic thrash metal, hard intense stuff with very good clean high-pitched vocals which scream sky-high quite appropriately, never overdoing it. "Dictator's Whore" is an explosive diverse piece thrashing confidently recalling Laaz Rockit in their prime, alternating fast and slow sections to fairly positive results. "Armor Column" is a merciless speedster in the best tradition of the Forbidden debut. "Where There's a War, There's a Way" is another heavy lasher, more in mid-pace with nice semi-technical hooks. "We Breathe Extinction" is a more relaxed power/thrasher with cool balladic stretches and unobtrusive progressive pretensions, but shows another, equally as appealing, side of the band's style. This short effort screams for a full-length follow-up, and hopefully this talented outfit will not get lost just after this EP: there's a lot of potential to be realised here... Some of the band members also aim at the modern crowd with their other act Held Under where the style is modern death/thrash with metalcore tendencies.

"Maximum Collateral Damage" is expectedly built around the songs from the EP which is kind of underwhelming since there are only four new tracks, some of which are sustained in a more controlled manner: the pounding power/thrasher "Rattenkrieg"; but expect no mercy from uncompromising ragers like the closing title-track which is killing thrash to the bone with a nice heavy, semi-balladic interlude. The guys could have added more new material after having been missing for over two years; now with just 4 new numbers they could be blamed in creative parsimony from which they will hopefully heal later...

Armor Up Your Ass EP, 2009
Maximum Collateral Damage Full-length 2011

My Space

ARMORAX (ARGENTINA)

Pretty decent power/speed/thrash metal Of the old school with hoarse semi-death metal vocals; the guys stick to the energetic galloping mid to up-tempo, wrappinG it up with style with a cool cover of their peers and compatriots Lethal's "Maza" which is slightly marred by the fuzzy guitar sound.

Del Metal Demo 2007

ARMORED (MEXICO)

The rehearsal is just one song, "Faster" + the intro, which is called "Bloodthirsty". The song is up-tempo black/thrash in the vein of early Bathory with bad synthesized vocals and simple raw-sounding guitars.
"Thrash Metal Inferno" switches onto aggressive thrash ala Atomica and Morbid Saint, with "Decadence City" jumping on the proto-death wagon for a while.

Rehearsal Demo, 1985
Rising From Hell Demo, 2005
Chaos & Violence Split, 2008
Thrash Metal Inferno Demo, 2008

My Space

ARMORED ASSASSIN (USA)

A commendable debut of classic speed/thrash metal graced by more melodic hooks ala Exciter and Motorhead; the opener "Forces of Evil" is a violent piece of speed/thrash, but soon does the sound acquire softer tendencies resulting in a cool string of catchy feelgood tracks. It's not exactly "Violence and Force" or "Stay Ugly" of the new millennium, but isn't too far behind.

Damaged Youth Full-Length, 2008

ARMORED ASSAULT (USA)

The debut EP: this band indulges in decent modern thrash which is both energetic ("Dead Before Dawn") and complex (the diverse opus "There's Only Dying Here"). The guys mix things up, and generally the guitar sound is edgy and intense with the obligatory melodic licks which are particularly good in the lead sector. The singer is an ordinary death metal semi-growler who at times tries something cleaner.
The "Call the Beast" EP is another decent "beast" which starts with the elaborate melodic opus "The Colossus" which is slow and melodic, but the carnage begins right after with the short explosive "Sewing Circle Pit", the aggression reaching the blast-beating peak on "Blood of the Slave" which regardless remains on the more complex, less intense side; an approach more thoroughly explored on the remaining two pieces which are epic battle-like hymns without any up-tempo surprises. The band apparently move towards a more progressive sound, and sparkles of brutality would be just casual nuances from now on...
"Blood Queen" is a decent effort, the guys warming up after a 7-year hiatus, the explosive belligerence of the title-track nicely pairing with the short ripping urgency of the speed/thrashing delight "Dead Before Dawn". "Winter's Arms" inserts a few more technical gimmicks, and "Call The Beast" is a more sprawling, progressive saga which tones down the dynamics, relying on mid-paced atmospheric currents. A second one ("Dead Man's Stare") of the kind doesn't generate very positive impressions, turning the second half into a not very exciting slugfest.

Dead Before Dawn EP, 2011
Call the Beast EP, 2014
Blood Queen Full-Length, 2021

My Space

ARMOROS (CANADA)

A good blend of aggression and technical riffs; a more technical and diverse Slayer would be perhaps a good description. The music gets quite brutal on some tracks bordering on death metal, but the technicality never gets lost. Fans of Gammacide and Massacra will love this one as well.

Pieces Full-length, 1988

My Space

ARMORTURA (UK)

Former and present members of the veterans Holosade have gotten together here for the production of this energetic modern thrash roller-coaster which "courts" power/speed metal ("Hellbound") along the way among the blitzkrieg headbangers which all come accompanied by a good sense of melody, both in the riff and the lead department. The vocals are quite cool forceful semi-clean tirades the guys well able to emit passion from such an anti-climactic delivery.

Armortura Full-length, 2018

Official Site

ARMORY (SWEDEN)

The debut: this new outfit specialize in roaring, roller-coaster classic speed/thrash which will throw into ecstasy fans of early Helloween, early Blind Guardian, and Iron Angel from the very opener "Cosmic War", an uproarious speedster with heroic/epic overtones. The attack only begins, though, and later on one will come across some of the definitive speed metal hymns of the new millennium, like "High Speed Death" and the explosive, more thrash-fixated "Hell's Fast Blades". "Spinning Towards Doom" "flirts" more with melody, but the lashing riffs bite all the same the only respite being the tad more moderate creeper "Without Days, Without Years". "Artificial Slavery" restores the speed/thrashing reign with flying colours, and "Phantom Warrior" is a frolic crossover merry-go-rounder with great melodic guitars and a memorable chorus. "Final Breath" stomps forward with a few more restrained sections, but its more officiant, battle-like aesthetics find no room on the closing "Space Marauders" which is glorious speed metal where the more nostalgic may shed a tear or two with flooding memories of the early Scanner meisterwerks. The band members are also busy with the thrash metal outfit Nuclear Agony, and the speed/thrash formation Resurrector.
"The Search" follows a similar path although the more aggressive thrash element isn't as prominently covered, the guys raising the early speed metal flag high with short ripping bursters like "Hyperion" and "Rise Above", with soaring infectious melodies ("Bringer of Light") keeping the entertainment fator high all over, the memories of the early Helloween exploits only too poignant. The variety isn't that big this time as the band's intention is clearly on generating as much energy from this recording as possible.

World Peace... Cosmic War Full-Length, 2016
The Search Full-Length, 2018

Official Site

ARMOURED ANGEL (AUSTRALIA)

This cool popular death metal act played good energetic thrash on their demos. On "Communion" the guys offer nice headbanging tracks, both of the heavy, steam-roller like variety ("Castration", "Communion") and of the speedy, energetic one ("Tergiversator", "My Fist, Your Face").

Baptism In Blood Demo, 1985
Wings Of Death Demo, 1989
Communion Demo, 1990

My Space

ARMY FORCES (MEXICO)

A Mexican trio who specialize in decent classic thrash with a heavy guitar sound, but hollow-sounding drums which ruin the musical delivery a bit. On the vocal side we have a subdued hardcore semi-shouter ala Efstathios "Staffi" Agoropoulos (Rumble Militia) with a bigger tendency to shout. Slower moments are not a rarity (the pounding proto-doomster "Hell Killing Machine"), and generally not many are the tracks sustained in a constant speedy manner (the Slayer-esque closer "Revenge", which for some reason is sung in German).

Hell Killing Machine Full-length, 2011

My Space

ARMS OF WAR (BELGIUM)

This is epic keyboard-infused modern speed/thrash which mixes the tempos wisely thrashing with passion ("Deus Amo") when necessary also having its more quiet moments (the doom/gothic saga "The Vampire King"). "Prophet of Destruction" is an invigorating hard-hitting piece, and the closing "Arms of War" is an apt display of the band's more technical side which wasn't given much room elsewhere. The vocals are on the harsh deep death metal side, and are not very comprehensive.

Legions Of Steel Full-Length, 2013

ARMY OF DARKNESS (USA)

This is brutal thrash/proto-death/hardcore which is more on the semi-amateurish side, the guys just bashing with little remorse, the more sensible material ("Possessed", "Trauma") decorated with more stylish lead sections and a marginally more flexible song-writing. "Psycho" is a cool dramatic speedster with nice melodic hooks, but such intriguing tricks are not amply provided, the intense shouty semi-death vocals not doing much except adding more noise to the vociferous delivery.

Army of Darkness Full-length, 2020

Official Site

ARMY OF FLYING ROBOTS (UK)

Modern thrashcore with very unpleasant hysterical shouty vocals; the music is nothing special, either, being fast and chaotic packed into short 1-2min songs some of which are pure blasting noise. The two longer ones in the middle lose the speed, and take a more acceptable industrial edge.

Life Is Cheap Full-Length, 2007

ARMY OF NOISE (MEXICO)

This is classic power/thrash which stumbles a bit on the clumsy quasi-groovy hymn "Take My Way", but makes up with the interesting semi-balladic pageant "My Blessing" and the melo-speedster "Reverie". The overall mood is on the welcoming side, this isn't very aggressive music, the decent mid-ranged semi-clean vocals trotting amicably on the side.

Down to Road Full-Length, 2022

Youtube

ARNION (BRAZIL)

A new act who plays a heavy, mid to up-tempo mix of classic and a bit of modern thrash. The classic riffs dominate, and one can't help but bang his head with joy on smashing Bay-Area numbers like "Get Ready For The War", or galloping thrashers like "Fall Like Rain", or all-out speed/thrashing delights like "Obtenetration". "Whitened Graves" is a cool closing track, longer than the others blending heavy, almost doomy riffage in the beginning, before exploding into another massive wall of Bay-Area headbanging sections.

Refuge EP, 2008
Fall Like Rain Full-length, 2008

My Space

ARRASIVA (ARGENTINA)

Brisk energetic classic speed/thrash will one come across here which tries to escape the shadow of the band's more renowned compatriots Horcas and Lethal by adding more aggressive riffage with a more abrasive edge which works well combined with the vicious semi-death metal vocals, especially on the roller-coaster "Corrompe El Sistema", a prime speed/thrasher, and could serve as a backbone for a promising full-length. Some work could be done on the leads, though: their thin sound is kind of annoying...

Arrasiva EP, 2013

ARRAYAN (ARGENTINA)

Based on the “Avance de la Produccion Naturaleza Muerta” demo, this Argentine trio provide crunchy modern 90’s post-thrash that can be pleasantly intricate (“Frontera”) on occasion, but the thick groovy stomps on “CiegaAmbicion” are the dominant leitmotif, as are the dirgy morose developments on the brooding “Mar de Sombras”. “Pain” brings in some vitality to this grave recording, and the setting nearly becomes a classic one for a bit, the cool semi-clean vocalist assisting the decent musical pageant subdued authority.

1995 Demo, 1995
Avance de la producción Naturaleza Muerta Demo, 1996
Naturaleza muerta Full-length, 1996

Youtube

ARRIVAL (HUNGARY)

Based on the debut demo, this band, who consist of former members of the power/thrash metal legends Akela, play music similar to the one of the father band, heavy and stomping on "Think of Somewhere", and more dynamic and aggressive on "Rage of Angels". The singer is a semi-clean semi-shouter who sings with panache despite his not very adventurous style.

Think of the Rage Demo, 1993
Demo Demo, 1995
Demo Demo, 1996

ARS MORIENDI (AUSTRIA)

A band with that name will probably make you dismiss them as just another gothic/doom metal act, especially after they come from the country which has all the claims to be the new motherland of gothic/doom of recent years, and this will be a mistake. Based on "Journey To Your Agony", this band offer a pleasant deviation from the modern thrash/death metal formula (which is the base for the band's sound) by adding intriguing technical/progressive riffs ala Pestilence and Death. The tempo is generally up-tempo to very fast with vocals which alternate between death metal grunts and higher-pitched screaming.
"Dissimulated" is mostly melodic death metal of the Gothenburg school; it's actually only five songs so it's a wonder why it has been listed as a full-length. It's not very fast or aggressive relying on melodic hooks quite a bit, without any shade of the technicality which graced the band's subsequent efforts.

Ars Moriendi EP, 2001
Dissimulated Full-length, 2004
Your Soul On Our Screen EP, 2005
Journey To Your Agony Full-length, 2006

Official Site

ARSAMES (IRAN)

Based on the full-length, this act serve pretty decent retro power/thrash with a solid pinch of Orientalism. The thick guttural death metal vocalist may have other ideas regarding this band's stylistic development, but at least on this slab the style is strictly on the thrash side, the melodic intensity of "Doomsday" pairing well with the jarring jolts of "Homo Sapiens" and the sudden technical explosions on "Immortal Identitiy". "Monotheism" moshes harder with sharp lashing rhythms, and "Xerxes" is a more brutal death-laden cut with superb melodic Oriental lead sections.

Cyclopia EP, 2006
Immortal Identity Full-length, 2010
Persian Death Metal Tribute to Warriors of Metal EP, 2011

Official Site

ARSEA (ITALY)

Based on "A New Dawn", these folks serve melodic power/speed/thrash as the three genres are well distributed around the album the band trying to give an equal share to each of them. Still, the melody is probably too much for the hard-core thrashers to be thoroughly entertained the whole time as the balladic interludes grace almost every composition often interrupting a nice hard-hitting passage without any warning. The vocalist has a not very striking mid-ranged clean tone which he never strains even on the more dramatic sections.
"Order of Mantis" is a more laid-back proposition, the guys still serving their staple mid-tempo power metal hymns, the brooding complexity of the dramatic semi-balladic "How It Happened" another relatively positive occurrence, the crunchy veneer of "Call Me Evil" arguably the most aggressive phenomenon here. Thrash occurs almost nowhere if we exclude the steel gallops offered on the final saga "All That Remains", a cool diverse slab with a wider arsenal of moods and nuances.

Dreaming a New World Full-Length, 2008
A New Dawn Full-Length, 2014
Order of Mantis Full-Length, 2022

Official Site

ARSENA (USA)

The debut: this band exercise solid stomping classic thrash which sometimes gets tempted to try something more aggressive ("Prophet for Profit", the rowdy speed metal joy "49 Minutes"), but largely this is more on the moderate melodic side, the vocals delivering with a steady clean mid-ranged timbre. "Black Lung" is a cool more complex proposition the band mixing smattering gallops with elaborate lead-sections.
"Blood Rusted Mother Earth" is a step forward in nearly every aspect, the guys unleashing their melodic fast-paced pieces some of which aren't strangers to more entangled decisions (the meandering wonder "Moth Priest"), with more complex energizers ("Kamikaze Sun God", the power metal-oriented "Tyrannicide") following suit later, the steel gallops of 'Black Lung" threatening the less prepared, this ferocious number nicely complementing the soaring speed metal pretensions of "Dreams in the Slaughterhouse". However, it's the varied sharp thrasher "Skin Hunter" that goes home with the laurels for the highlight here, a multifarious ride with appetizing nuances galore, the final shorter "Bloodrusted Mother Earth" just adding a desirable epic drama to this very good opus, a heavy hammering uplifter which stylishly winks at bigger stylistic diversity to be displayed in the future.

State of Affairs Full-length, 2019
Dawn of the Second Sun EP, 2020
Blood Rusted Mother Earth Full-length, 2022

Official Site

ARSENAL (COSTA RICA)

Based on "Abyssum Spectare": a curious mix of thrash/crossover and epic thrash with brutal low-tuned death metal vocals; the aggressive singer tries to compensate for the mild music which clearly relies on melody, boasting one very cool progressive epic thrasher: "Mendigando Ilusiones". Fans of soaring epic melodies fused with harder thrashier riffs will be quite happy with this one; the headbangers will find their faster numbers towards the end where the sound doesn't shy away from pure hardcore too much, with the cool melodic hooks inserted making them more listenable.

The debut is an even more surprising offering crossing their staple thrash/crossover approach with dark, atmospheric moments with a certain gothic spirit which is enhanced by the stylish keyboard insertions. Still, the guitar tone is pretty playful and laid-back (check the soporific semi-balladic instrumental "Yugoslavia"), the most aggressive side being again the really brutal death metal vocals. This time the faster moments are very few ("Heridas Abiertas" comes to mind with its bashing riffs; and the short hardcore-ish outburst "Prisioneros"), the delivery sometimes clinging towards the doom/death field.

"La Muerte Del Sol" is a muscular offering which boldly ventures into death metal with the very opener "Luna de Sangre" which influences at least 1/3rd of the tracks some of which ("Verdugo de Tiranos") cross the border towards grindcore even. The hard death/thrashing disappears to an extent in the 2nd half replaced by the staple for the band dark gothic rhythms, a situation largely mended by the aggressive shredder "Lluvia De Cenizas" which is served unheralded towards the end.

Almas del Olvido Full-length, 1999
Abyssum Spectare Full-length, 2003
Dogmas de Terror Full-length, 2008
La Muerte Del Sol Full-Length, 2015

Official Site

ARSENAL (PERU)

Modern feelgood power/thrash, not very hard-hitting or fast, kind of reminding of the early works of the Argentines Hermetica, but with a more modern edge and a touch of stoner/doom in the guitar work.

Resistiendo Full-length, 2006

Official Site

ARSENIC (SWITZERLAND)

These Swiss lads indulge in choppy semi-technical post-thrash which has its more intriguing side, but often does it move towards metalcore and the NWOAHM wave patterns consequently failing to develop them to the perfect pitch. As a result we have another product of the 90's served with a slight twist with crunchy quasi-groovy riffs galore and vocals which quarrel throughout with a higher pitch than the one which is standard for the style.

Pieces of A Decade Full-Length, 2013

My Space

ARSENIC (USA)

The "Seeds Of Darkness" compilation features utterly raw and amateurish thrash in the beginning that even the early Sodom and Messiah works sound like polished, professional music compared to that. Later things improve considerably, and apparently on the later demos Arsenic have managed to pull out technical and at the same aggressive death/thrash metal of a better, more technical, quality.
Yes, indeed, the guys had managed to find the right way to thrash/death as evident from the three songs on the "Souls Lie Screaming" demo, which are surprisingly stylish technical thrash/proto-death ala Revenant and Terrahsphere, with an appropriate alternation between fast and slow sections, the latter coming with surreal creepy riffs, which were pretty much one-of-a-kind in those times. The band find time to bash like demented, too, where the approach is pure death metal-ish. The singer is the ultimate at the time brutal death metal semi-shouter with strong resemblance to Martin Van Drunen (Asphyx, Pestilence, etc.).
"Hallucinations" carries on in the same vein, pulling out clever technically-tinged thrash/death metal which this time shares some of the atmospheric aesthetics of the later-released "Testimony of the Ancients". "Hallucinations" is a nice abstract technicalller with great bass performance, and "Harlot Earth" is one of the first attempts at more thought-out progressive death metal marred by the fuzzy guitars which despite this obstacle still manage to sound intriguing and sharp.

Beneath the Grave Demo, 1985
First Blood Demo, 1985
Souls Lie Screaming Demo, 1988
Hallucinations Demo, 1989
Seeds of Darkness Best of/Compilation, 2006

My Space

ARSENICO (CHILE)

Speed/thrash of the old school with shouty drunken vocals; this is merry roller-coaster stuff with a catchy potential, played with competence, cheerful atmosphere, and a pinch of crossover (the short uplifting "We Are Disstortion") finished with a cover of Whiplash's "Power Thrashing Mad" on which the not very pleasant singer tries to imitate Tony Portaro, but ends up sounding more death metal-like to mixed impressions.

Fucking & Gore Thrash EP, 2011

Official Site

ARSENITE (SWEDEN)

The demo: retro thrash purveyors who provide four intense thrashers concentrating on speed with a shade of crossover ("Stopping At Nothing"). The guys spice their blitzkrieg approach at times with the odd melodic hook (the galloping speed/thrasher at the end "Blood On Your Hands"). Two of the musicians involved here were also members of the classic heavy metal formation Unaffected, who released 2 demos a few years ago.

"Ashes Of The Declined" is built around the four tracks from the demo the rest of the material trying its best to match those in terms on intensity, and admirably succeeds. This is fairly inspired classic speed/thrash from beginning to end coming with the odd more stylish hook (the title-track) with the more lyrical side of the guys' repertoire (the semi-balladic galloper "Man-Made Hell") also hinted at. Several heavy stompers ("Take Out The Tyrant") also "roam" around to provide the requisite diversity among the raging numbers which come with appropriately screamy leads and decent semi-shouty/semi-clean vocals.
"Apophis" is more laid-back now power metal taking an equal share from the proceedings along with thrash. Consequently the hard-hitting thrashers are not that many although "Hell on Earth" will easily bring "hell on earth" ably supported by the title-track which rages on for over 6-min; sadly, its overt enthusiasm is only matched by the impetuous closer "City of Anarchy" at the end, logically making this effort kind of inferior to the previous output.

High Speed Thrashing Maniacs Demo, 2011
Ashes Of The Declined Full-Length, 2012
Apophis Full-Length, 2014

Official Site

ARSIAN (SPAIN)

2 songs both containing the word "thrash" in their title; the delivery is more on the rough speedy side, though, the guys seldom emitting a lot of force coming close to early Exciter and Laaz Rockit not really deserving those "thrash" tags since the delivery is really mild the only more brutal asset being the gruff black-ish vocals.

Furia De Ga'f1anes Demo, 2013

ARSON (USA)

Intense, also atmospheric, black/thrash which mixes aggression and serenity on almost every track although with each passing song the doominess and darkness increase bit by bit dispersed by several hyper-blasts on "A Rotten Cult to the Insane" which is an otherwise melodic epic hymn. The vocals are expressive death metal-ish with a gruffer, more guttural blend emerging at times.

A Rotten Worship to Madness EP, 2015

Youtube

ARSON ANTHEM (USA)

This is Mr. Phil Anselmo's new project with which the man explores the brutal relentless side of the genre providing aggressive chaotic hardcore which at times reaches Cryptic Slaughter extremes (the grinding outrage "Polite Society Blacklist", and elsewhere), but most of the time it's along the lines of early Madball and The Accused. Anselmo doesn't sing here, but handles the guitars; the vocal duties he has left to Mike IX Williams (Eyehategod) who acquits himself in a different from his main singing style pulling out a high-strung quarrelsome punkish tember, a perfect match to the wild frenetic music.

Arson Anthem EP, 2008
Insecurity Notoriety Full-length, 2010

Official Site

ARSONAL FURY (USA)

This is a nice 4-track EP of speed/thrash metal, reminiscent of Destructor and Blessed Death's debut. "Axed" is a furious little speed/thrasher, followed by the more temperate speed/power metal piece "Infected Brains". Another more intense thrashier number comes: "Toxic Waste", before the excellent galloping speed metal killer "Fall To Ruins" wraps it up nicely.

Demo Demo, 1987

ARSYN (USA)

This is the usual for the time modern proto-thrash in this case ornate with industrial and heavy metal borrowings. The resultant concoction is very close to mid-period Die Krupps and a few one-album-wonders from the industrial metal circuit, like God is LSD. The pace is mid with the obligatory dancey potential which gets lost on the slower, more atmospheric cuts ("Psycho Super Society"). "Hit The Ground" is a radio-friendly filler ala Aerosmith and Motley Crue, and in the 2nd half the album loses its appetizing industrial charge opting for a more conventional heavy metal style with rockish blues stepping in ("Succubus Blues") near the end which is preserved for two industrial remakes of two tracks from the same album. This is predictable feelgood stuff with cool clean mid-ranged vocals.

Degeneration Full-length, 2000

My Space

ART OF BURNING WATER (UK)

Based on "Love You Dead", these guys pull out a chaotic, but interesting, mix of early Celtic Frost and the Canadians Slaughter, and sludge this blend coming with a subversive core-ish flavour. There is not much peace to be encountered here, folks: the band mosh out like demented at the least expected time (check out the furious "Oh My Days") before swinging into more abstract waters ("Spiros Arion") with an industrial tinge ala Pitch Shifter and Soulstorm. Then comes chaotic, less controlled bash on a string of short, core-ish tracks which would make even EyeHateGod cringe. "Whiteman Price And Haddad" is gloomy thrash/sludge/doom which even touches Hellhammer before the closer "Nicaragua" squashes you for good with its 10-ton hammering riffs lasting for nearly 10-min; this one is a more surreal doomster with echoes of Godflesh. The singer is definitely an acquired taste since he doesn't really sing, but hisses in a vicious, mean manner distantly recalling the witch-like, semi-whispered "vocal" assistance on the early Malhavoc albums.

The Voyage of the Pessimistic Philosoph Full-length, 2006
Love You Dead Full-length, 2011

My Space

ART OF CHAOS (USA)

This outfit play a balanced mixture between classic and modern thrash (think Exhorder, both albums) both sides equally represented, both having a forceful intense character including a few more brutal blast-beating moments on the death metal-laced "Spearhead". There is energy aplenty on this little "fucker" which is full of spontaneous headbanging moments: "Human Sawdust", "Hero To The Stupid" which are vintage Bay-Area hymns with echoes of more recent Exodus. The singer has a suitably angry semi-shouty voice which he doesn't risk a lot, but provides the requisite attached antics. Some of the band members are "survivors" from the short-lived death metal formation Habeas Corpus who had one full-length released in 1995.

Victims Of Insanity EP, 2012

Official Site

ART OF DAMAGE (UK)

This band pull out modern post-thrash which relies on consistently bouncy riffs and occasional more intricate arrangements (the marginally more diverse "A Common Disease"), the catchy playful grooves of "Save My Kind" at least fitting the vocalist's attractive clean antics. The seventh song is a volatile proto-thrasher with steady rowdy riffs, the band coming alive at times for a less commonplace delivery. Some of the band members were also busy with the heavy metallers Prowler.

Hurt Is a Hole Demo, 1998

Youtube

ART OF FEAR (AUSTRIA)

Based on "Kill the Demon", this band plays a cool brand of power/thrash metal mixing the old with the new school producing a couple of nice moshing thrashers along the way. The album starts in a calm power metal manner with the first two songs before "Direct My Fate" starts moshing out with heavy up-tempo riffs, but "The Game" beats it all being a short dynamic piece with mighty sharp guitars. "Can't Break Me" is slower, but offers cool more technical decisions, a tendency continued on "Vertigo" which thrashes fast and hard near the end. "Torture Of The Soul" is a solid galloping closer recalling the Bay-Area with a great doom twist at the end. The singer delivers although he is inferior to the music, singing in a confident gruff clean timbre in the mid-ranged confines. This is good stuff which may arouse the fans' interest in tracking down the rest of the band discography.
"Master of Pain" stays strictly on classic ground for most of the time recalling the first two Overkill efforts quite a bit as well as early Meliah Rage with updated modern production, and the fan can't help but have fun on the dynamic dark opener "Face To Face" which boasts great bass support. "Prisoners of Hate" shreds with heavy chugga-chugga guitars, but there are a few faster moments as well. The title-track is a prime headbanger with ultra-sharp lashing riffage, but "Time To Pay" would be a relief with its laid-back mid-tempo. Dramatic spinning guitars await you on the next "Now Is Not Forever" which is another shredder recalling the slower material from Scanner's "Terminal Earth" ("From the Dust of Ages", in particular). "Another Lie" is "another lie" of intense smashing power/thrash metal as well as the bit slower "Follow Me". "Burn" is pure power metal ala mid-period Metal Church with the odd more aggressive riff, and the final "Braveheart" shows the band's more ambitious side mixing semi-ballad with more speed/thrashing energy creating an epic battle-like atmosphere. These guys seem like the real deal even on a booming scene like the one nowadays, and it would be interesting to see whether they have managed to keep the high quality all through their catalogue.
The debut establishes the later heard blend of power and thrash mixing fast with slower tracks seldom pulling all the stops speed-wise (the smashing blitzkrieger "Dust To Dust"; the speed metal energizer "Perfect Puppet"). Most of the songs develop in a mid-paced mode with epic overtones recalling early Omen and Jag Panzer with the singer reaching impressive heights in his delivery producing numerous emotional lines along the way.

Art of Fear Full-length, 1997
Kill the Demon Full-length, 2000
Pride of Creation EP, 2001
Master of Pain Full-length, 2004
Facing Hell Full-length, 2007
Powertrip EP, 2009

Official Site

ART OF SHOCK (USA)

Based on "Dark Angeles", this is a blend of modern and classic thrash, cool energetic music which occasionally jumps the mellower power/thrash wagon ("Execution Song"), but it's the hard-hitting thrashers ("Declaration of War", the title-track) that generate a more positive impression although the more epic-prone numbers ("Final Strike") aren't bad at all with their more inviting lustre. The less bridled deathly aggression on "Peace on Earth" is also more than welcome although the nice emotional clean vocals aren't a match to the brutal skirmishes epitomized on it.
“Shine Black Light” is another heavy hybrider, the pummeling rhythms of “Devoid” siding well with the urgent strides of “Death Stays Silent” and the epic catchiness of “Drag Me to Hell”, the proto-death brutality of “Be None the Wiser” and the hyper-active speed/thrashisms of “You Don't Know Me” spearheading a more pronounced moshing fiesta in the second half.

Live Forever Full-length, 2012
Dark Angeles Full-Length, 2020
Shine Black Light Full-length, 2023

Facebook

ARTAMENE (IRAN)

Modern power/thrash which also has its more lyrical side (the semi-balladic sleeper "Fear of Darkness"), but most of the time this is crunchy mid-paced stuff that occasionally releases the more dynamic classic gallop ("Mayhem"), "Inshushinak" staying on the more serious, quasi-progressive side, also with the inclusion of a few aggressive thrashy skirmishes. The vocal duel isn't very convincing, though, mid-ranged clean croons alternating with exasperating deathly shouts, the latter ingredient hardly very suitable for the milder musical vistas.

Ziggurat Full-length, 2022

Official Site

ARTAS (AUSTRIA)

A thrash/death metal hybrid (based on the debut) which hesitates between the modern and the classic school; the more classically-inclined compositions are more attractive and edgier: "Fick Das Fett", but fast modern melodic death/thrashers, like "Rhagenfels", are not too far behind. Make sure not to miss the very entertaining brutal speedy thrash/death metal version of the Coolio hit "Gangsta Paradise". There's another pleasant surprise near the end: the epic/viking thrasher "A Song of Ice and Fire".

"Riotology" is very similar style-wise, but death metal has almost disappeared and now the guitars are a tad more melodic although the guys try to keep things fast and energetic, and the headbangers will be entertained on at least half of the tracks; the other half is slower, but the riffs deliver as well as the soulful semi-balladic leanings.

The Healing Full-length, 2008
Riotology Full-length, 2011

My Space

ARTCHOKE (PORTUGAL)

Modern post-thrash mixed with doom/gothic; the vocals are vicious death metal ones, and the clean alternative ones which accompany them are more suitable for the music. Although the tempo never goes over the mid, some hard riffs can be heard, but the less intense metalcore breaks are not too far ahead.

Melodramatic Quests Blackened Jaws EP, 2009

My Space

ARTE SACRA (PORTUGAL)

This great Portuguese act plays state-of-the-art progressive thrash/death metal. "Land Divine" is more on the death metal side with great atmospheric sections, outstanding bass performance ala Steve DiGiorgio, and an overall style which recalls late period Atheist and Pestilence, but without the jazzy moments, and some faster parts in the spirit of later period Death plus a pinch of Coroner's "Grin". At times the music becomes too dreamy and "out there", seldom accompanied by cool clean vocals ala Opeth. Although there's absolutely no fast-paced play here, the slow-ish, meandering technical riffs will enchant you along with the stylish keyboard implements.

"Formula" is a stunning full-length debut. The music has become a bit faster and more thrashy, and overall more complex; imagine a more elaborate version of Death and the Polish Sceptic combined with the haunting keyboard presence in the tradition of Nocturnus and the later works of the Australians Alchemist. The atmospheric, dreamy sections are also present, and some of the most technical head-spinning ones will remind you of Coroner's "Mental Vortex" ("The Shores of the Cosmic Ocean", "Voyage at the Other Side of Time", the marvelous "Regressing"). Some songs are the peaks of the progressive thrash/death metal genre of recent years ("The Vision We Preserve", "Prophets and Shadows") although some may complain because of the overuse of keyboards which in those two cases give the compositions a somewhat gothic decoration. "Formula" richly deserves to carry the album title being exemplary technical death/thrash providing some of the finest guitar play around including a few faster sections. "Andromeda" is a cool laid-back "acoustic meets leads" instrumental.

Land Divine EP, 1999
The Infinite Law EP, 2004
Formula Full-length, 2006

Official Site

ARTERIAL PRESSURE (SPAIN)

"Human Brain": the music is firmly in the classic mould, quite fast with a certain shade of technical play similar to Kreator's "Extreme Aggression". The vocals also go into the Kreator direction sounding like a more hysterical Mille. The album has a peculiar structure: the aggressive songs are placed in the beginning, whereas the slower, heavier pieces occupy the second half, until the last one-"Mortal Crash": a fist of fury which will break your neck. Classic thrash in the new millennium seldom comes any better than that.

"Shadow's Embrace" is a very good follow-up albeit generally slower also moving up the technical scale quite a bit now "citing" Kreator's "Coma of Souls" as well. "Under Pressure" opens in an energetic fast pace, but the following title-track relies more on slower creepy riffage and atmosphere. Technicality and speed shake hands admirably on "Cage of Insanity" which is a wonderful technical piece with great headbanging sections. "Annihilation" contains the best leads on the album, but the rest is more conventional classic thrash. "Lord of War" hits the top in the technical sector reaching almost Coroner-heights without letting the fast pace go. "Demon Within" is excellent technical speed/thrash with a couple of vortex-like passages present. "Back to Saigon" carries on in the same speedy vein, killing everything around with an extreme section near the end. "Cortex" is exemplary technical thrash in the Sadus and Coroner vein, starting in an awesome twisted manner adding more and more speed to reach the up-tempo at the end where the leads score high again. "Still Asleep..." deserves its title creeping slowly in a doomy manner with an ambient orchestral interlude, a cool minimalistic finishing touch. Although the band aren't a very regular presence on the scene, again there are very few acts nowadays from Spain (although Killem come close style-wise) and even worldwide who can please the fans of all walks of thrash metal in such a sure-handed way.

Human Brain Full-Length, 2005
Shadow's Embrace Full-length, 2008

Official Site

ARTERY (BULGARIA)

Based on "Art Of Bleeding", this band plays really bad bland modern post-thrash metal of the repetitive very mixed type bringing alternative, funk, grunge, ballads, and what-not into the awful blend. Avoid at all costs...

"Mad Things" is a fairly inauspicious debut seeing the band "flirting" with all the trends of the 90's, mostly as a display of a bad taste, rather than any intentional aiming at originality. Groovy/funky post-thrash with multiple deviations, moving from bad to worse...

Mad Things Full-Length, 1993
Valley Of Sunflowers Full-length, 1998
Balkan Underground Full-length, 2000
Newtopia Full-length, 2003
Art Of Bleeding Full-length, 2006

Official Site

ARTERY (FRANCE)

This French outfit specializes in modern thrash/death metal with frequent metalcore breaks. This is generally melodic, and occasionally more interesting and technical (the good jumpy "Final Destruction") music, mid-paced with not very common faster sections, and prototypical semi-angry death metal vocals.
"Eternal Sanctuary" is much more professionally executed the guys now thrashing in a pure classic manner with an approach quite close to the Bay-Area. Tracks like "Nameless Fear" show how the band have grown in terms of sophistication and technicality producing clever progressive arrangements infused with a lot of melody the latter excelling on the excellent shredder "Go Back To Hell". "Condolences" is a superb exercise on hectic dramatic retro thrash also graced by amazing melodic leads. "The Greatest Slaughter"and "Under The Anger" are short more immediate speed/thrashers, before the coming of "Between Good And Evil" shows the guys' more ambitious side once again, a handsome blend of hard-hitting thrash and sweeping virtuous melodies. "Our Dying World" steps on the pedal introducing several brutal blast-beating passages those attempts at a more aggressive play stifled immediately by the brilliant closing instrumental "What A Horrible Night to Have A Curse", varied progressive thrash at its uncompromising best, aptly supported by the bonus track "Artery" which is another convincing melo-thrasher. This is a far superior effort seeing an act on the right way to realising their full potential.

Avoid The Unknown Full-length, 2009
Eternal Sanctuary Full-Length, 2016

Official Site

ARTERY (SLOVAKIA)

A two-man team specializing in a crunchy semi-technical classic/modern thrash blend which is built around numerous twisting riff-formulas and a very expressive bass bottom. From mid-paced puzzlers ("Lost Conscience") to stylish, albeit chaotic headbangers ("Cold-Blooded Beasts"), there's everything here including a fairly intriguing semi-balladic opus ("New World Dawn"), not to mention the surreal shape-shifting shredder "Sinners Of Past". The vocalist is a not very impressive gruff semi-reciter with a covert deathly flair.
The "Slavery Inside" demo is another commendable achievement, the musicians really pulling it off on the standout hectic technicaller "Helplesness and Fear", the more linear bashing side of "Slavery Inside" by all means a positive occurrence, before "Fogel" introduces a tender all-acoustic side of the guys, "U.R.O." excelling in the lead department with dashing melodic strokes.

A Child Who Has Lost Both ... Demo, 1996
Slavery Inside Demo, 1999

Demo Download

ARTES NEGRAS (ARGENTINA)

Black/speed/thrash metal; the style is close to early Whiplash ("Power and Pain"), but there are the obligatory brutal sections which will remind of Impaled Nazarene ("Tyrannica", "Corpse Tormentor") including the vocals that are strictly in the black metal camp.

Let there be Death Full-length, 2004

Fan Site

ARTHEMIS (ITALY)

This long-standing heavy/power metal formation have notched it up aggression-wise towards the modern thrash/post-thrash category resulting in several notable intensers ("Blistering Eyes", the excellent more classic-prone speed/thrasher "Warcry"). The staple for the band epic hymns ("Into the Arena") also deliver in their rousing, slightly cheesy way, but it's infectious power/thrashers like the closing "Rituals" that forebode changes for the better on future recordings. Some of the musicians also have a lasting career with the power metal stalwarts Power Quest.

Blood-Fury-Domination Full-length, 2017

Official Site

ARTHOIS (ARGENTINA)

Based on "Manifestacion Repentina de Una Verdad", this outfit provide an energetic blend of classic and modern thrash reflected in fast blitzkrieg riffs although stomping, more laid-back passages are inserted in almost every number. "Blackwater" is a cool epic speedster where nice clean vocals are brought to the fore to assist the main gruff death metal semi-shouts. Other highlights incllude the diverse shredder "Epiphany" (check the gorgeous melodic leads on this one) and the closing "Architects of Hate" which rages more clinging towards the Swedish melo-death school.

Quisiste Ser EP, 2008
Del Mundo Tu Mundo EP, 2010
Ideas Dificiles Full-length, 2014
Manifestacion Repentina de Una Verdad Full-length, 2017

Official Site

ARTHROSIS (ARGENTINA)

Based on the full-length, this band play modern thrash/death, switching between seismic semi-gallopers (“Mamon's Reign”) and corrosive fast-pacers (“Don't Let Me”), the throaty death metal vocalist accommodating all running currents, including the thundering doom-fixated “The Black Hills”.

Skeleton of Damages EP, 2017
Libri Septem Full-length, 2023

Official Site

ARTIFACT (UKRAINE)

This Ukrainian trio come up with retro thrash which is boosted by the modern production and the excellent bass support. Nice melodic dual guitars ala Iron Maiden ("Fire") can be heard, and the leads are generally quite impressive, both screamy and melodic. In the middle the album loses steam relying on slower semi-balladic ("Two Voices") at times patterns which stay around for the second half as well until the furious 1.5-min outro. The vocalist is passable with his not very emotional mid-ranged clean voice and assists well this decent, albeit workmanlike, entry into the not very prolific Ukrainian thrash landscape.

Dead Silence Full-Length, 2012

Official Site

ARTIFICIAL LIMB (HOLLAND)

Based on the demo, this act plays minimalistic death/thrash of the gloomy doom type. There are quite a few interesting, technical ideas scattered around ("Artificial Made"; the stylish twisted riffs on "Trapped In The Desert"), but the not very dynamic approach doesn't give them too many chances to shine. On the other hand, doom rises high ("Fag Out The Fauna") and when mixed with more energetic, technical performance ("Pathological Intoxication") things pretty much hit the top. The singer is just an assistant with his low-tuned death metal growls. This is an intriguing listen which may have taken a more concrete shape on the EP, but later some of the band members continued their career with the heavy metal act Non-Divine where the delivery is pretty conventional.

Surrounded Demo, 1997
Leaving Before Dawn EP, 1998

ARTIFICIAL PEACE (GREECE)

One person, the name George T., is behind this raw, but very well-constructed thrash/proto-death amalgam which at least shows the man as a very capable lead guitarist. His vocals need a lot of improvement, though, being hardly intelligible rough death metal grunts. The guy clearly focuses on his play and manages to produce the excellent short instrumental "Melancholic Death", and the technical title-track which could pass the test for Messiah's "Rotten Perish" even, the latter act's repertoire an obvious influence on George.

Beastly Instincts Demo, 1993

ARTIFICIAL TEETH (GERMANY)

If the songs have been twice as short, this demo would have been a winner. But six 6-7min long tracks of one-dimensional modern-tinged thrash metal without any hooks or twists, is too much for one to bear. The band's style has its merits, but even the best moments can not completely hide its plodding and forgettable nature.

Inborn Error Of Dental Doom Demo, 1992

Official Site

ARTILHARIA (BRAZIL)

This demo recalls the early efforts of the Brazilian metal scene: the works of Vulcano, Sarcofago, Sepultura, etc. This is aggressive thrash metal bordering on death with sinister black-ish vocals. The sound is dirty and raw recreating the old school atmosphere quite well. Some of the songs are slower with a darker quality bringing to mind early Protector and Celtic Frost.

Assassinos do Abissmo Demo, 2007

ARTILLERIE (INDIA)

The full-length: modern thrash/death metal which blends fast furious sections with heavy slower ones the latter more widely covered sinking the more attractive side of the album deep down despite the cool attempt at doom metal on the closing "Life To These Bones" where the angry semi-death metal vocals don't suit too well.

The EP is a 4-tracker which follows the same formula: modern thrash, but of the calmer, even semi-technical, variety which has sharpness and edge, but at this stage it's obvious that the guys are still fonder of the melodic hooks which permeate this short effort and are quite contrasting to the gruff death metal vocals. Still, the execution is not bad despite the less adventurous, compared to the full-length, mid-paced approach.

New Offensive EP, 2008
Eradefiled Full-length, 2010

My Space

ARTILLERY (DENMARK)

One of the stalwarts of European technical thrash metal; after the raw-ish, more standard, but promising debut, the guys pulled out two outstanding technical thrash albums which crushed almost all competition around, with "Terror Squad" arguably being their magnum opus. The demo "Mind Factory", which followed several months after "Inheritance", was a stunning piece of technical thrash which almost overshadowed all their previous material, albeit only containing four songs; it sounded like a rehearsal for a new strong effort, but instead the band split-up, with the Stutzer brothers (the guitar duo in the band) later forming the much less impressive, modern power/thrash metal outfit Missing Link. The band returned to the scene in 1999 with the appropriately titled "B.A.C.K.". This release, however, wasn't such a great return to form: there were the typical nice technical moments, recalling the guys' past, but there was also a lot of modern metal involved as well as elements hardly having anything to do with metal alone, something one wouldn't expect to hear on an Artillery album. I guess that's the reason why it takes so long for the band to come up with something new; this time they really should do better.

The "Jester" EP serves as a warm-up for the coming of "B.A.C.K.", featuring two tracks of a similar to the old days style: "Fly" is a heavy semi-ballad, reminiscent of "Don't Believe" from "By Inheritance" and the two more balladic songs from the "Mind Factory" demo; "Jester" is a truly satisfying piece of classic technical thrash sounding like a leftover from "By Inheritance", with the biting riffs and the nice Oriental melodies; even the best tracks on "B.A.C.K." cann't touch this great number which should have been included there.

"When Death Comes": one almost forgot that the band were "B.A.C.K." in 1999, but better late than never... The news, which may be quite a bad piece to most of you, is that Flemming R'f6nsdorf is no longer with the band, and I know that quite a few will stop reading here, because Artillery without Ransdorf is the same as Accept without Udo, Judas without Rob Halford, or Iron Maiden without Bruce Dickinson: everyone knows how "successful" these bands were without their frontmen. Well, one also shouldn't forget that the main creative force behind Artilley's music have always been the St'fctzer brothers, and they are here to do some more damage, although 10 years may be too big a gap to be filled successfully. Anyway, the album is a real winner in every department: "When Death Comes" is excellent speed/thrash opener, with the new singer Soren Nico Adamsen, who had honed his voice previously in a couple of power metal acts around Sweden, being quite a pleasant surprise with his melodic emotional high-pitched tone, not far from Leszek Szpigiel (Scanner, Mekong Delta). "Upon My Cross I Crawl" is even more crushing and faster, and will make you mosh around filled with joy and bliss. "10.000 Devils" slows down, but the heavy dynamic riffs are far from a disappointment; just when one adjusts his senses to the calmer delivery, starts some fierce thrash out of nowhere, occupying the middle. Another raging thrash bomb follows: "Rise Above It All", and this is where the first more technical guitars can be heard. "Sandbox Philosophy" thrashes like there's no tomorrow once again, with the technical edge retained, after which it's finally time for a break on the semi-ballad "Delusions of Grandeure", which still contains heavy intense sections, and shows the singer in a very bright light. "Not A Nightmare" is mid-tempo pounding thrash, probably the most ordinary composition here, slightly influencing the next "Damned Religion", which doesn't speed up, but the nice duel between the heavy and the melodic guitars is a good excuse; for the first time here can one hear the staple Artillery melodic semi-Oriental hooks. Enough with the breaks, and indeed "Uniform" returns to the more aggressive patterns, producing forceful speedy thrash. "The End" is a very nice "end" to the album, blending the speedy and the mid-paced riffage adding genuine technical moments plus the aforementioned Oriental melodies, summing up all that was heard up to this point in a fairly convincing way.

Yes, the 10-year gap has been filled more than well, and one could easily forget about the shaky "B.A.C.K." when listening to this. The technical leanings so characteristic of the band's past output are somewhat left behind, but this speed/thrash metal monster is so compelling that they are hardly missed. This is the real comeback for the Danish masters, and hopefully this time they will manage to keep the singer, to come up with something of the same high calibre, hopefully before 2019...

"My Blood": the success of "When Death Comes" sees the guys back with a brand new offering less than two years later so no more big breaks from now on apparently. "My Blood" follows the formula from its predecessor pretty faithfully, and the staple Oriental semi-technicality hits you from the opener "Mi Sangre (The Blood Song)" which closes on 7.5-min, a fairly long number compared to the band's previous output, but an enjoyable ride all the way, a dynamic mid-pacer with a strong emphasis on the Oriental side with a few purely acoustic Arabic motifs present. The actual mosh starts with the next "Monster" which is a little "monster" of catchy speedy headbanging thrash. "Dark Days" is a nostalgic piece with the opening hooks a total reference to "By Inheritance", but later on doesn't offer anything too striking developing in a predictable mid-tempo. The alternation between the two sides carries on with the ripping galloper "Death Is An Illusion", and "Ain't Giving In" is the obligatory semi-ballad acquitting itself with an invigorating speedy ending. "Thrasher" deserves its title being another short compulsive outburst which is nicely translated in a longer more technical way on the following "Warrior Blood", but don't expect three of the kind in a row "Concealed In The Dark" slowing down considerably bordering on the doomy and the modern, seemingly the filler here. "End Of Eternity" thrashes once again with confidence with a cool melodic edge and lashing sharp riffs. More great Oriental opening guitars on the final "The Great", but this time the continuation is way better, fast technical shred accompanied by nice choruses and the opening motif repeated several times throughout the song. There shouldn't be disappointed with this sure-handed addition to the band's catalogue which does exactly what a follow-up to a comeback album should deliver, not straying from its style too much. And, there are two remastered versions of the songs "Show Your Hate" and "Eternal War" from the debut as bonus tracks without too many changes although one may take some time to adjust to them without the inimitable vocals of Flemming Ransdorf.

"Legions": after the good, but passable and not that striking, "My Blood" the band have pulled themselves together for one more feat which may just be their finest hour since "By Inheritance". The opening "Chill My Bones (Burn My Flesh)" already shows quite a bit of promise with its hard lashing fast-paced riffs which still can't overshadow the enchanting chorus sung by the new throat Michael Bastholm Dahl who is a truly gifted vocalist with a big gamut of tones and moods, from emotional to macabre. More headbanging fun with "God Feather" which is a ripping shredder again with a few memorable chorus lines which make each song fairly distinctive. The title-track is the obvious slower pleaser, a tendency which partially looms over the next "Wardrum Heartbeat". "Global Flatline" serves a balladic beginning which later turns into an awesome speed/thrashfest lasting for nearly 7-min, giving a huge boost to the subsequent material among which "Dies Irae" is the definitive bursting mosher. "Enslaved to the Nether" is the semi-balladic reliever, but don't expect two in a row here as "Doctor Evil" is a blitzkrieger second to none standing proud next to the closer "Ethos of Wrath", a fitting epitaph with its fast sharp guitars which furious nature is subtly assisted by a sinister keyboard theme. The fear of the "conveyer-like" syndrome (a band churning similar repetitive albums to no end) of which "My Blood" was a kind of a hinter, should be cast aside: the veterans still have quite a few tricks up their sleeve, and they're yet to show all of them.
"Penalty by Perception": the previous album saw the band still going strong, and if one casts all hopes for "By Inheritance 2" then there's no reason why he/she shouldn't embrace this new offering from Denmark's finest. The band take no prisoners with the smashing opener "In Defiance Of Conformity", and the guys' purpose is to apparently keep those fiery riffs flying from all sides since "Live By The Scythe" is another major ripper followed by the even more aggressive title-track and the more speed metal-based "Mercy Of Ignorance". Later on the speed/thrashing melee is solely intercepted on the balladic "When The Magic Is Gone" the guys shooting a bullet after bullet in the form of impetuous cuts like "Cosmic Brain" and "Deity Machine". The final "Welcome To The Mind Factory" is a great reminder of the band's glorious demo remastering the composition from there, but at the same time it easily overshadows the rest showing how superior the earlier musicianship was compared to their present status. Still, it scores high from a nostalgic point-of-view maybe serving as an instigator for the band to reach higher on future releases.
"The Face of Fear" produces no glaring surprises as the band have by now epitomized their classic speed/thrash delivery, and have no intentions on changing it drastically. In other words, expect the staple, oftentimes predictable mix of fast blistering roller-coasters ("Crossroads to Conspiracy") and stomping more academic mid-pacers ("New Rage"), the entertainment factor traditionally high, especially on short explosive shredders like "Sworn Utopia" which have to compensate for the middle part that comprises not very eventful quasi-progressive exercises in power metal, the bottom nearly hit with the idyllic balladic "Under Water". Things get corrected towards the end with the galloping delight "Preaching to the Converted" and a couple of more similarly-styled cuts, but the guys were close to messing it up seriously at some stage, and not only because their style has become overtly familiar recently.
"X" sounds like a deal for at least half the time, "The Devil's Symphony" opening the saga with fiery speedy riffs, the evocatively-titled "In Thrash We Trust" aptly providing clever semi-technical developments on a still sizzling, hyper-active base. The more tamed mid-tempo shredder "Turn up the Rage" calms the ball down a bit, with more similar pacifiers ("In Your Mind", the semi-balladic melancholy "The Ghost of Me") offered later, the initial speed/thrashing spree in the second half reflected in the blitzkrieg "Force of Indifference" and the closing variegator "Beggars in Black Suits".

Fear of Tomorrow Full-length, 1985
Terror Squad Full-length, 1987
By Inheritance Full-length, 1990
Mind Factory Demo, 1991
B.A.C.K. Full-length, 1999
When Death Comes Full-Length, 2009
My Blood Full-length, 2011
Legions Full-Length, 2013
Penalty by Perception Full-Length, 2016
The Face of Fear Full-Length, 2018
X Full-Length, 2021

Official Site

ARTILLERY BREATH (USA)

The EP shows an act who move in a dynamic retro black/speed/thrash way opening with the short energizing instrumental "Ohio Uber Alles" before "Crooked Nub" introduces more complex musicianship as well as the husky gruff black metal vocals. "Frozen" is a brutal thrash/blackster, and "Abduction/Annihilation" is an atmospheric doom cut with echoes of early Dimmu Borgir. The final "Ice Picked and Dicked" is an aggressive shredder where the thrash metal idea is more strongly felt.

Inhuman Full-length, 2009
The All Seeing Eye EP, 2014

Official Site

ARTILLERY HELL (USA)

Based on the "Decay in Motion" demo, this act plays cool retro thrash mixing fast (the smashing speedster "God Damn") and slow (the excellent brooding "Humanity Wears A Burial Mask") passages in a way not far from Infernal Majesty's debut adding the stylish semi-technical hook here and there. The music is quite atmospheric due to a few quiet balladic moments. "Necropolis" slightly betrays the high level of the demo with more ordinary proto-modern rhythms, but all is forgiven on the final "Hell Hole", a galloping headbanger with fine technical implements. The vocals are suitable with their vicious mean semi-black metal timbre.

Demo Demo, 2004
Decay in Motion Demo, 2005

My Space

ARTISAN (USA)

This is an excellent obscure demo of competent technical/progressive thrash of the old school with good mid-ranged vocals which unleash the odd brutal death metal grunt here and there. The opening "The Stain Of Life" is an engaging moody track replaced by the more dynamic "The Sickness" which is graced by some really fine melodic leads. On both compositions the progressive motifs are more than obvious the overall approach not far from Control Denied with some of the guitar licks taken directly from the Chuck Schuldiner's ((R.I.P.) textbooks. "A Silent War" speeds up in a dramatic manner before "Goodbye" bids farewell to this short effort in a complex Death-like fashion now the delivery having moved towards death metal almost completely. The guys' infatuation with the Floridian maestro comes forward on a live performance of their "Pull the Plug" which is a worthy cover version despite the not very clear sound quality. The other bonus track is "Vindication Mine", an exemplary jumpy technical thrasher with a modern edge which kind of opens new vistas for the band to explore if it wasn't for their untimely demise. Their bassist and vocalist Mike Bear was later seen in Prototype for a short spell, and at present he pulls the strings in the doom/gothic project Shadow Projector.
The full-length arrives after a huge gap, with some of the tracks offered on the demo also present. Otherwise this is fairly cool again retro thrash/death with stylish technical tendencies, the choppy staccato rhythms on "Vindication Mine" sheer head-shakers, with alluring melodies circling around, driven away by the brutal fast-paced accumulations on the death metal-oriented "Contradictions", before "Invisible Empire" switches to more linear speed/thrash, before the title-track shoots some ambitious prog-thrash, the same level of complexity achieved on "I Own the Silence", the singer juggling between the various musical nuances with stretches towards more throaty deathly expletives on top of his not bad clean attached tenor.

Demo Demo, 2003
The Stain of Life Full-length, 2022

My Space

ARTISTS OF WAR (USA)

Based on "Peace, or God as Machine", this guy (since there's only one person behind this project, named Brad Olsen) offers an interesting progressive mix of post-thrash and power metal with a certain stoner/doom flavour. The music at times resembles a more aggressive Mastodon and has a surreal spacey feel to it also touching mid-period Voivod, but done in a contemporary setting. The man tries his hands on more intense stuff: the edgy Grip Inc.-esque "The Aerial Orbix" which thrashes in an intelligent, jumpy fashion. Later on we have "Orion" which is a cool power/thrasher with a dramatic, progressive structure which translates well on the following "Witness The Dawning of Cyber-Hulk": a nice epic pounder with weird, at times discordant, guitars. This is an unusual, eclectic stuff topped by cool emotional vocals of the clean type which seldom try something more aggressive (read deathy), and overall this fine effort can be considered the thrash fan's alternative to Slough Feg and Hammers of Misfortune.

The self-titled debut is another commendable offering presenting the same attractive blend starting with the dramatic pounder "Megadeus" again sustained in the best tradition of Grip Inc. Then the epic elements start sneaking in to make the next "The Judge (Artists of War)" an appealing power/thrasher with a fine progressive edge. "Warbird" is vintage early Omen and Manilla Road with a fine spacey vibe. The psychedelia and spacey-ness reign supreme on the weird "Bone Club", but comes "Eight Headed Fire-Dragon", and the more aggressive thrashy patterns are brought back with full force: this one is a major shredder with a touch of the old school. Time for a more doom/psychedelic sound with "March to Oblivion", a cool hymn with a touch of both Mastodon and the Italian doomsters Thunderstorm. The approach remains the same for a string of tracks before "Titan Rising" "rises" for a bit more thrashing which stays around for the progressive closer "Fall On The Sword", which is more on the epic power metal side, but is energetic enough to keep the fans jumping around, also adding nice melodic hooks, which sound cool even on the abrasive guitar background. This is multi-faced music which will surely please many walks of metal fans, and comes victorious from such an elaborate concoction, without messing it up.

Artists of War Full-length, 2011
Peace, or God as Machine Full-length, 2012

Official Site

ARTSONIC (FRANCE)

Based on "Fashion Victim": groovy industrial semi-thrash sounding like a poor combination between Die Krupps and Helmet; nothing special, with weak alternative vocals which harden the course on some tracks with harsher tones. There's also a strange, but not very impressive, cover version of Pink Floyd's "Another Brick in the Wall".

Sonic Area Full-length, 1997
Fake Full-length, 1998
Fashion Victim Full-length, 2000
Hacktivist Full-length, 2002
Recidivist EP, 2003

ARTWAR (MEXICO)

This band raise the lathe so high from the start with the excellent technical opener "Generation Kill" that anything which follows suit can't possibly impress much being more ordinary modern thrash pieces. Still, the guys try hard and one can hear impetuous headbangers like "Conspiracy" and "Covered in Blood". "Blinding Pain" rises to the challenge with a more technical performance still raging hard, before "American Justice" calms down the environment to more moderate speed metal parametres. "Mask of Insanity" introduces some gorgeous melodies among the steely gallops, but other than that the 2nd half doesn't have too many saving graces. The vocalist is a gruff death metal semi-shouter.

Covered in Blood Full-Length, 2016

Facebook

ARX (SOUTH AFRICA)

The debut: a more complex version of the good, now old, 90's post-thrash which delivers at times due to the more dynamic presentation which seldom leaves the mid-pace, but the heavy riffage and the more interesting arrangements will keep the listener hooked. The main singer is a throaty semi-death metal shouter his antics at times interrupted by more attached clean vocals.
"History Repeats Itself": "history" doesn't quite "repeat itself" here as the guys have hardened the delivery and the rougher edge of the guitars now give a more aggressive boost to the music overall. Still, there are hardly any particular surprises to be come across although the dynamic riffage on "Die Rejected" and "Calm Before the Storm" will make any headbanger's day with ease. "So Be It" is a cool fast-paced ripper near the end before a Russian version of a song from the debut ("The War is On") wraps it up in a milder more optimistic fashion. The singer shouts less this time, and his rendings can be deciphered for most of the time without a big effort.

Ordo Ab Pax Full-Length, 2013
History Repeats Itself Full-Length, 2013

Official Site

ARZZEN (CZECHIA)

A generally classic mixture of power, speed, and thrash which blends fast-paced energizers ("P.P.I.") with balladic pleasantries ("StojiZa To Zit"), the cool mid-ranged clean vocalist particularly impressive on the latter material, scaring the unprepared a bit with his unleashed deathly semi-shout on the speedy hymn "Malo Se DivameNahoru".

Horizont Zmeny Full-length, 2022

Official Site

[ Updates | Index | Links | Contact ]

Copyright (c) 2007-2024 THE THRASH METAL GUIDE