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 AS DEATH LINGERS (RUSSIA)
Based on the EP: two songs of choppy edgy post-thrash with a stylish progressive edge on the creepy "The Hell Beyond". This is minimalistic stuff which holds water with its clever execution and a few more energetic moments. The vocalist has a rough deathly timbre which gets intercepted at times by a cleaner one.
The Hell Beyond EP, 2011 Official Site AS GOD CREATED (AUSTRIA)
Based on "Pandemonium", this act serve a relatively intense melo-death/thrash hybrid which is guided by intense shouty death metal singer who
strains his throat a bit unnecessarily at times. "Beast" is a beastly headbanger, a raging unrestrained proposition, and "A White Rabbit's Hole"
is a straight-ahead outburst, and "Scenario Green" is a nice more varied with laid-back semi-balladic tendencies in the spirit of Dark Tranquillity.
Evilution EP, 2011 Official Site AS HEART'S BLEEDING (HUNGARY)
An edgier thrashier version of Dark Tranquillity; so don't expect anything outside the well-established Swedish formula with the exception of several isolated classic thrashy riffs. The concentration on melody is more than obvious which contrasts with the brutal low-tuned vocals.
Existence Full-Length, 2009 AS HELL RETREATS (USA)
Based on the full-length, this is typical modern thrash/death metal of the Swedish school which keeps respectable speed throughout with a couple of mid-tempo songs occupying the middle (ironically they are the shortest ones) that seldom grow into the undesirable metalcore digression. There are plenty of chances for headbanging as well as numerous melodic hooks for the more tender hearts.
Catharsis EP, 2008 My Space AS LIGHT DECAYS (AUSTRALIA)
Groovy modern thrash/post-thrash which runs on a pretty dynamic engine for most of the time, with sincere attempts at fuller-fledged thrash ("Mercy Kill") showing their head quite often, the cool galloper "Chaos in Order" even hinting at not very overt speed/power metal possibilities. Don't miss out on "Rasstrelny", a more technical, also more melodic, proposition undermined a bit by the quarrelsome shouty hardcore vocals.
System of Division Full-length, 2021 Official Site AS THEY SLEEP (USA)
This band try to mix death and thrash metal with preferences to the more modern side and surprisingly don't suck mainly due to the clever sharp riffage, the predominant thrashy tempo, and the good sense of melody displayed all over. Don't expect any miracles in the vocal department, though: the so common nowadays mixture of gruff and clean vocals awaits you here, and not the best one of its kind. This is by no means groundbreaking stuff, but we have heard a lot worse examples of the blend, before and after...
Blacken the Sun Full-length, 2008 My Space ASACORR (SLOVAKIA)
A 4-song demo of heavy post-thrash which drags onwards in a not very exciting manner with repetitive mid-tempo riffs of the groovy variety. Those disappear on the final "Fool House", though, to give way to more dynamic guitars in the vein of mid/late-90's Forbidden.
Demo Demo, 2009 Official Site ASADA MESSIAH (UK)
Based on "Steel Coffin", this band play classic speed/thrash which marches onward with rowdy battle hymns ("Herbert West", "Iron Balls") and the casual sniff of the good old speed metal ("Steel Coffin"). The stoner/doom warmth of "San Bruno Mountain" is an interesting deviation, suiting well the very cool clean attached vocals, the latter becoming more belligerent with a death metal shade on the closing rock-ish energizer "Arson & Sodomy".
Grill 'Em All EP, 2009 Official Site ASATRU (UK)
This band is a project of Rob Engvikson who is also a full-time member of the British death/thrashers Cancer. With this demo he tries to inject into the already established as a genre viking metal a considerable doze of thrash. The result of such a therapy is mixed with a sound coming closer to a thrashy version of Enslaved's viking period, or Bathory's "Blood, Fire, Death" on the best moments. Downpoints are the keyboards which are overused and stifle the thrashy riffs, and the high-pitched black-ish vocals, not too far from Danny Filth from Cradle of Filth which don't suit the music too well.
2249 RE-Demos Demo, 1999 Official Site ASBEEL (POLAND)
Excellent dark haunting retro thrash metal which strangely reminds of the German underground heroes Criminal Justice, with very cool clean vocals similar to the ones used by Dax Riggs on the Acid Bath albums. The music is heavy and mid-paced with occasional more melodic power metal leanings ("Free Of Twilight"). "18" is a powerful more dynamic thrasher, and "Relief In Fight" tries to keep the pace up among the pounding doom riffage and the nice Oriental implements. The title-track is a crushing steam-roller never leaving the mid-pace, but the closing "Asbeel" is a fine galloping power/thrasher bringing the speed up along with stylish melodic hooks. The music sounds underground, the way the aforementioned Germans did, but this approach has to be exposed to a wider audience: there's a lot here which will appeal to the metal fan.
Stronger Than Destiny Demo, 2001 ASBEEL (VENEZUELA)
Intense classic thrash with a rough sound quality, not too far removed from the early efforts of the Brazilian scene from the 80's. This is really simplistic stuff, quite amateurish, with the instruments often going out of synchronicity; that's why to these ears the pure bashing suits the guys best: the uncompromising brutal thrasher "Pacto Con El Maestro".
Inification of Evil Split, 2008 ASCENDANCY (CZECH)
Based on the full-length debut, this act indulge in capable modern progressive power/thrash relying on hard-hitting riffs with a heavy abrasive edge which comes at times a bit computerized ("Burn"). The delivery is somewhere between Nevermore and Symphony X the guys never losing the plot seldom using more expressive keyboard sections to alleviate the dark mood, never elongating the songs unnecessarily. "Saboteurs Trial" provides the only more headbanging passages on the album being a short inspired speedster. The singer has a warm emotional voice reminiscent of the former Zero Hour vocalist Fred Marshall. Some of the musicians are also involved with the black/doom/progressive metal outfit Abstract Essence.
Out of Knowhere Full-length, 2011 Official Site ASCENDED MASTER (MEXICO)
This one-man, show, the name Cody Knarr, pulls out bombastic black/thrash that is clearly more on the black metal side of things. This intense but also melodic stuff which has its entangled, more complex moments ("Xenopaleontology") where the approach also acquires some death
metal tendencies, the thrashy aesthetics mostly showing up on the short dramatic "What Was ... and What Shall Be Again", and on the cool
speedy saga "To Behold Infinity". Knarr provides a vicious mean snarl behind the mike, perfectly accommodating his hyper-active musical
creations.
What Was... and What Shall Be Again Demo, 2020 Official Site ASCENDER (MEXICO)
These Mexicans provide intense melodic speed/thrash which is constantly played at very high-speed spiced by good short bursting
leads. "Revocation" tries to sneak some more technical riffs into the violent barrage and succeeds in varying the approach which
also remains more intriguing for the closing violator "Violent Strike". The singer semi-recites with a dramatic high-pitched
timbre with a more covert hardcore blend.
Methodic Annihilation EP, 2013 Facebook ASCENDING OLYMPUS (CZECH)
This outfit specialize in intense modern/classic thrash assisted by a growling death metal vocalist. Stopovers (the choppy heavy "Until the War Is Won") from the impetuous freighter are, needless to add, provided; as are more diverse melodic odysseys ("A Call to Arms"), the ponderous groovy dirge "The City Will Not Fall" the only seeming filler on this recording which also comprises the mechanical sterile closer "Fatal Nightmare". Some of the musicians are also busy with the power metal formation Jaded Star, the folk/power metal hybriders War Dance, and the tech-thrash outfit Verdict Denied,
Frontlines Full-length, 2023 Official Site ASCENDOR (MALTA)
The debut: atmospheric dark thrash with progressive overtones and forceful shouty death metal vocals; "Drive My Demons Away" is an exemplary progressive opus ably assisted by the rest which comprises of cleverly-concocted semi-technical pieces like "In the Hangman's Shadow" and "With Broken Wings". The closing "Turn Water to Blood" is an 11-min saga which overdoes it a bit in the balladic interlude department despite the presence of smart technical inclusions and several fast-paced sections. This is a really good beginning which should put Maltese metal on the world map. Some of the guys are also active with the progressive metal outfit Inner Grey.
Becoming Full-Length, 2013 Official Site ASCRAEUS (TURKEY)
Based on "Disgust": this isn't disgusting (pun intended), but is nothing more than derivative tedious groovy post-thrash recalling Biohazard, and Machine Head in the more intense sections ("Hate").
Dare To Live Full-length, 1994 Official Site ASEDIO (MEXICO)
Swedish thrash/death metal made in Mexico; decent energetic music with good melodic leads and intense dense riffage. The tempos shift, too, as the faster ones dominate although they never break the sound barrier with a very sparse blast-beating participation.
Somos Nada Full-length, 2009 My Space ASENBLUT (GERMANY)
A 3-song demo of sharp intense black/thrash which still leaves room for a few melodic sections and hooks; when the guys speed up they come close to the unbridled fury of the Finns Impaled Nazarene (parts from every track), but there are epic/pagan shades to be felt ("Klingenschmiede") as well which should be further developed on future releases.
Kampfruf Demo, 2008 Official Site ASEPTIC (USA)
Two guys are in charge of this noisy outfit, indulging in one-dimensional crusty barrage taken straight from the mid-80's, think the South American scene, above all. Rending shouty death metal vocals soar above intense melees mixing early Bathory with Possessed, sticking to the old school thrash formula with a few more brutal death-prone exceptions ("Severed").
The full-length is full-on modern thrash/death metal with a strong nod to the Gothenburg school in various tempos and again a
certain shade of progressive which here is better covered. Some groovy post-thrash remnants are still around ("Die For Pleasure",
etc.), mostly in the second half, and before the boredom settles in comes the energetic closer "Last Redemption" which offers a couple of intense faster-paced riffs. The cleaner vocals aren't present this time, and the singer now is too synthesized shouting
unpleasantly with computerized effects amplifying the artificial nature of his antics.
Retrospective Full-Length, 2013
Creation's Crowning Glory Full-length, 2012
Monarch in Slumber EP, 2016
Pandemonium Full-Length, 2021
Revival Full-length, 2010
Cross Contamination Full-length, 2012
Steel Coffin Full-length, 2019
"The Amazing Ascendancy Versus Count Illuminatus" is a hard-hitting beast and the opening "Pitch Black" will leave no stone
unturned with its impetuous fast riffage, aggressive in-your-face thrash to the end. But this is just the beginning since later on
one will encounter the brutal proto-deathster "Relentless" and the relentless steam-roller "Power Imprisons All". There's not
much progressive to be heard here the band marching on with intense thrashy guitars, slowing down a bit near the end for the
production of several heavy abrasive pieces, the closing "Eyes of the Tyrant" being a really heavy squasher with a reverberating pounding rhythm-section.
The Amazing Ascendancy Versus Count Illuminatus Full-Length, 2014
"Disturb the Dust" isn't radically different from its predecessor, the band moshing with seriousness and sophistication, mixing
fast-paced semi-aggressors ("Phoenix Rising") with stomping officiant hymns ("Hell Is Burning in Your Eyes"). Pieces like "War" are
quite effective in their crossover ability to blend the two mentioned sides, overriding the somewhat clumsy elaborations on the
final "The One to Bleed".
"Circle of Violence" is another decent offering, the saga spearheaded by the galloping wonder "Silver Bullet". Later on the guys add the impetuous speedster "The Creation", the razor-sharp shredder "Feed off Me", and the more technical and more dramatic "The Ancient", also raising the impression with the nice vivid closer "Ruler of the South", the highlight on this interesting but not exactly very surprising opus .
Drive My Demons Away Full-length, 2015
Disturb the Dust Full-length, 2018
Circle of Violence Full-length, 2020
The debut is a much better affair still echoing of classic tunes and hooks aplenty also producing pretty clever technical moments. "Dare to Live" is a very cool dynamic opener with excellent melodic passages and expressive, albeit a bit low-tuned, semi-declamatory vocals. "Imitation Is Suicide" is a great technical speedster with echoes of both Paradox & Sieges Even submerging all into this inimitable Anacrusis-esque atmosphere. "Inevitable End" is a good, but a bit overlong (6-min) ballad after which the speed/thrash carnage continues with "Lack Of Sleep" which boasts a fine atmospheric mid-break in the best tradition of Anacrusis for the umpteenth time. "Never Ending Maze" is another blend of slow and fast sections, this time accompanied by sparse keyboard insertions. Heavy steam-rolling thrash comes with "No Pain No Gain" which is also a pretty technical piece recalling another quick disappearance from the scene, the Swiss Apocalypse. "Pessimism Inside" is raging technical thrash with proto-death overtones, but "Screams Behind" is slower and more thought-out with atmospheric keyboard-ornate passages again. Another nod to the moody progressive thrash of the legends Anacrusis is made with the closing "Soldiers of Attrition" which is a brilliant combination of breath-taking atmospherics and razor-sharp riffs, the best possible finish to this masterpiece which put this act right next to their compatriots Mezarkabul, Cultus, Blaster and Anaflaxia.
"Red" "Begins with a Nightmare" which is a short 1,5-min intro after which the guys start thrashing in a dry Bay-Areasque tone recalling Defiance quite a bit. The singer is now a not very interesting angry semi-shouter. The guitar tone is a bit mechanical, but the technical moments are here as well as not many fast ones ("Past Life Dead" is a nice short headbanger with great melodies). Bit by bit the band slow down reaching doomy dimensions in the second half on the atmospheric closer "Past Life Dead". This sophomore effort isn't nearly half as impressive as the great debut the band having lost the speed with the technicality being not as spontaneous, the dry sterile riffs making it sound like a belated Meshuggah release. It was apparently intended as a transitional work the guys preparing to enter the aggro/post-thrash arena on a full-time basis.
Red Full-length, 1997
Disgust Full-length, 1999
The full-length is a welcome addition to the band's catalogue showing them playing with competence the good old Gothenburg thrash/death this time graced by a much better sound quality. The pace again varies as the dominant one remains in the up-perimetres the riffs lashing hard supported by shorter screamy leads. The melody is widely covered as well particularly obvious on the longer more thought-out material ("El Origen de Todos los Males").
El Oredgen de Todos los Males Full-length, 2012
Aversion EP, 2012
The full-length concentrates on black metal a bit more, and Swedish death metal-styled guitars ala Amon Amarth have been added, but thrash metal still finds room more than now and then aptly breaking the furious blast-beating passages even managing to stretch into two whole songs near the end.
"Von Worten und Taten"; the imposing epic intro to the opening "Was Angst Ist" promises something more restrained, but no: the band's hyper-active delivery is pretty much intact the guys rushing through, blending fierce blast-beating passages with razor-sharp thrashy ones to a slightly more positive effect compared to the previous efforts, the latter now occupying more space also handled with more care and consideration towards the thrash side of their fanbase. "Die Nibelungenmaer" would be quite a surprise for the band fans being a peaceful epic mid-pacer with catchy memorable rhythms; some of its ambitious operatic nature can be caught later on separate sections from the other compositions, including another relative moment of "serenity": the melodic thrash/black/speedster which marches forward with energizing galloping riffs. "Lebenswandel" may come as too much with its idyllic balladic approach, but heads will roll on the closing fury "The Last Battle of the Fifth" which is bombastic black/thrash, as bombastic this hybrid can possibly get nowadays. The musical proficiency is bigger here, some of the riff-patterns really striking even adhering to more technical tools which may take more time to adjust due to the omnipresent hyper-blasting aesthetics, which are surely an acquired taste although in this particular case one should have no problems tolerating them after a few listens.
"Berserker" serves berserker-like music courting black and death metal more, especially the more epic bombastic side of those two. "Offenbarung 23" is a merry optimistic speedster with addictive gallops, and "Auf den Feldern von Flandern" is a hard-hitting thrasher with an imposing epic interlude. The second half introduces power metal to further confusion, but overall the band manage to keep this wide amalgam listenable also thanks to the infectious melodic hooks applied on almost every composition.
"Die Wilde Jagd" is a more moderate recording with the melodic hooks now occupying the front seat, with more brutal (the black/death epicer "Codex Gigas") blasts from the past energizing the setting. Said setting is seldom perturbed by such spasmodic outcries, but watch out for brief melo-speedsters like "Weder Gott, noch Konige" and the more thrash-prone "Wolfshunger" which are more than desirable insertions into a largely academic, welcoming dominion.
Aufbruch Full-length, 2009
Von Worten und Taten Full-Length, 2013
Berserker Full-Length, 2016
Die Wilde Jagd Full-length, 2020