The Thrash Metal Guide

Copyright (c) 2007 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

B.A.R.F. (CANADA)

Based on the demos, this band play raw aggressive thrash/crossover not too far from The Accused, but with a more punk-ish attitude. The music on "Tumulte" takes a slightly more aggressive edge, even treading into death metal waters quite a few times, but the punk-ish atmosphere still remains ("Mouton Noir", "Intoxicate") despite the presence of more vicious and brutal vocals.

Social Disorder Demo, 1986
Blasting All Rotten Fuckers Demo, 1990
Tumulte Full-length, 1992
Ignorance Chaos Suicide Full-length, 1993
Surprise... Full-length, 1995
Catharsis Full-length, 1998

B.O.T.

Thrashy hardcore with a very bad sound quality, and some surprisingly cool leads. The songs are very short (1-1.5min), and some are just instrumental variations, including the opening 2-min from Diamond Head's "Am I Evil"- yeah, that same one which Metallica covered two years earlier, and one noisy bass instrumental as a finishing touch.

Faster Thrashing Speed Demo, 1986

BAAL (GERMANY)

Based on "Confusion of Tongues": modern thrash/death, quite fast and furious, but having a genuine technical edge, which makes it stand out from the rest of the pack. The guys have the knack to combine raging thrashy riffs with some nice melodies ("(Heads Deep in the Ass of the) Red Dragon"). Some tracks are a nice take on the Bolt Thrower war metal style ("Vespertine Absurdity", "Pile Of Debris", with a more technical twist), but there are some, which are you average Swedish death metal ("Endeavor Bafflegab"). Often do the guys thrash without mercy ("Pink Tank Fantasies"- this is probably the next stage after the pink elephants... I guess?; "Blackwater Crusade"), and these are the times when the music really takes off. certainly, a release like that can not pass without some pure death metal pieces, but this is where the technicality shows more clearly: "The Throne of Nimrod", although the ultra fast parts might make you faint. The closing "Exodus" is a more melodic gothic thrash/death instrumental, adding more to the diverse, interesting nature of this album.

The Lilith Complex Full-length, 2004
Confusion of Tongues Full-length, 2008

BACCHUS (USA)

Based on the third demo, this band vary things quite well, always staying within the confines of thrash metal. "Hatchet Man" is a cool aggressive Slayer-esque number; "Mein Kapf" is a jolly thrash/crossover piece recalling Ludichrist and Leeway; "Reanimator" is a Bay Area influenced thrasher ala Vio-lence. The rest is fast and energetic, with cool sharp guitars and excellent vocals courtesy of Manuel Lopez- a former singer of the technical thrashers Ulysses Siren.

Demo 1 "Enraged" Demo, 1987
Demo 2 Demo, 1987
Demo 3 Demo, 1989
Demo 4 "Live and Learn" Demo, 1990

BACKMASK (USA)

Modern thrash/death with some technical tendencies, but not enough to make it really stand out. The riffs are crunchy and heavy, and the overall style could be described as more technical Pantera, mixed with Gothenburg-styled melodies, and some very cool leads. "Prisoner of Mind" is a cool attempt at atmospheric progressive metal ala Opeth.

Dark Fiber Full-length, 2006

BACKWATER (GERMANY)

One of the first thrash metal bands from Germany, Backwater are not of the aggressive type- their music is mid-paced and simplistic recalling Venom, Motorhead and the first two Flames albums, with some rock'n roll variations ("Green Eyed Woman" and "Smokin'drinkin'" from "Final Strike").

Revelation Full-length, 1984
Final Strike Full-length, 1986

BACKWATER (SWEDEN)

Alternative groovy post-thrash, with some cool alternative vocals, but its very melodic at times nature might pull the thrash fans back, especially after I add that there are hardly any intense, headbanging sections here.

Revenge Full-Length, 2007

BACKWATER BURIAL (USA)

A 2-song demo of a modern/classic thrash mixture: "American Dream" is a good up-tempo track, with some groovy implements; "Under a Blood Moon" is mid-paced, heavy, recalling the more recent Venom sound.

Under a Blood Moon EP, 2007

BACTERIA (ARGENTINA)

Melodic power/thrash, of course influenced by Hermetica and Horcas (their early works). Sometimes the music picks up speed, and becomes quite good: "En Decadencia", "Cansado de Luchar", "Dueno de las Calles", which are excellent energetic thrashers with cool melodic leads and sharp riffs, but the rest is less striking, with balladic moments and a softer guitar sound.

Cansado de Luchar Full-length, 2005

BAD ACID TRIP (USA)

Based on "Lynch the Weirdo", this band offer a wild, frantic mixture of thrash, death, hard and grind-core, which is quite entertaining, with short, explosive tracks, often blending all of the aforementioned genres in less than 2-min. The vocal variety is also quite big, and again tries to take part in most tracks. So prepare for 17 pieces of total death/thrashing grind-core madness! The guys play it fair, and give equal chances to each style, with death metal being the not very obvious favourite.

Live From the Fudge EP, 1995
For the Weird by the Weird Full-length, 2002
Lynch the Weirdo Full-length, 2004

BAD BLOOD (USA)

Modern, slightly technical power/thrash, which has its twists, but lacks energy and sharpness. Still some numbers offer more intense play (the galloping, jumpy "Bad Blood"; the good heavy closer "Welcome To My Nightmare"), but the concentration on the rest is clearly on melody. "The Burning Truth" is the other place where your head may headbang a bit, but the second part is even more interesting, which is softer, but there is a very cool acoustic guitar inserted, contrasting on the heavy riffs. "Extreme Metal Attitude" doesn't really deserve its sinister title, being another modern power/thrasher in the Black Album vein.

Bad Blood Full-length, 2007

BAD HEAVEN (USA)

A very good demo of speed/thrash akin to early Exciter, with some touches of American power metal (Savage Grace, Helstar). The tempo varies throughout, but tracks like "Cavern" and "Reigns of Fate" are mighty speed killers with great sharp riffs.

Dragon Lord Demo, 1987

BAD KARMA (USA)

Good semi-technical thrash, with frequently changing tempos, and a really good lead guitar. A somewhat awkward choice is to put an 8-min ballad, which although slightly reminding of the Testament variations in this direction, could have been avoided on just a 3-song demo.

Demo Demo, 1989

BAD YODELERS (USA)

Some songs sound like pure pop-metal, but the band have enough powerful thrashers to pull it through; melodic stuff- will not appeal to all thrash fans. "I Wonder" is clearly the better achievement, with even some interesting semi-technical moments, sharper guitars and more intensity involved, recalling Mordred's "In This Life". The guys have a penchant for ballads, and produce good results ("Queen", the excellent heavy semi-ballad "Life"); at least half of the songs actually are of the semi-balladic type. One could see them as the inventors of the modern gothic style, which later was picked by acts like Sentenced, Century, H.I.M., To Die For, Razorback- check out "Forgotten Face", which is probably the first track of this kind, and the more thrashy, but still quite melodic and atmospheric "Goodbye". "Beyond" is an exemplary smashing, pounding mid-tempo thrasher, with great guitar work, both technical and melodic; if only there were at least a few more of this kind.

I Wonder... Full-length, 1990
Window Full-length, 1991

BAGHEAD (USA)

Fans of the darker, more technical side of modern thrash, will love this. Yes, I know you think of Obliveon almost immediately, and this is a good reference point, but Baghead's songwriting is more ambitious and more complex. There are occasional shades of death-metal, but used with taste and style. The sound is crushingly heavy, and it's a good thing that the band have included one purely atmospheric, acoustic piece near the end- "The Soul Within", to take away the pressure. Watch out for these guys- they haven't said their last word yet.

The New Elite Full-length, 2003

BALISTIK KICK (USA)

American power metal meets a slight shade of thrash; good stuff with a more modern edge on the last two efforts.

Balistik Kick Full-length, 1993
Warhead Full-length, 1997
Destroy Full-length, 2000

BALLISTIC (USA)

This is Tom Gattis' third band (after Tension and Wardog), and here he does a marvellous job again! Surrounded by musicians having done service in other renowned bands (Jag Panzer, Twisted Tower Dire, Tension), the way to the top looks pretty easy. The band play speed/thrash of the more melodic variety, with few moments from the 90's power/speed metal scene ("Silent Killer"), and the inclusion of some pure heavy metal numbers, which are not of the sloppy kind, but pack a punch, and shades of his two previous bands could be clearly heard; Ballistic's music is perhaps more technical. I hope this band stays around for longer.

Ballistic Full-length, 2003

BANDANOS (BRAZIL)

Thrash/crossover with a good up-tempo thrashy rhythm recalling Wehrmacht ("Te Amo Pora") in the faster songs, and Ratos de Porao's more thrashy period.

We Crush Your Mind With The Thrash Inside Full-length, 2007

BAPHOMET (GERMANY)

"No Answers" is one of the undisputable masterpieces of the 90's- triumphant technical thrash/death metal, a fine addition to a tremendous, on the technical metal side, year (the works of Coroner, Pestilence, Anacrusis, Death, Atheist, Assorted Heap, etc.). "No Answers" opens this incredible debut in a fast-paced, intense manner, not too far from Pestilence's "Testimony of the Ancients". The guys introduce some slower, darker, but equally as interesting tracks ("Time Has Come") later on. Still, their more speedy delivery is the more attractive one, and smashing killers like "Elm Street" are the highlight, although near the end the music takes a slower, atmopsheric turn. "Rise of Baphomet" is a melodic power/thrash metal instrumental.
"Latest Jesus" is another standout offering, maybe a bit slower and more on the death metal side, but the amazing riff-work stays pretty much intact. The music is darker and sinister, and the leads are more proficient and longer, but on the other hand we have two soft, pure gothic tracks: "Lethal Tendencies", "Latest Jesus", which don't really fit the overall picture. "State of Cencorship" is a magnificent fast technical smasher, followed by the very stylish dark "Coaliton of the Lost". "Born Of No Name" has shades of gothic as well, but this time it is combined with some great thrashing guitars, and the result is much more satisfying. "Full Moon Eyes", the last song, is another whirlwind of both fast and slower technical riffs, greatly summing up what this great effort is about.
"Trust" is a bit of a letdown, with less impressive, and more modern guitar work. It actually starts in a way no worse than the other two, with the great fast-paced "Betrayed" and "Mind the Doubt", and it's the 3rd song: "What Went Wrong", which tells you a different story, with its slower, more modern riffs. The technical guitars step down, to leave room for more stomping, even groovy ones ("Intense"), although just sparkles of the technical genius of old spring up here and there: the Coroner ("Grin")-influenced, and quite cool "Low Life", but the awful, distorted vocals will pull you back. The closing track: "Trust", is a gothic/doom affair, which is not a surprise, having in mind the band's previous experiments in this field.

No Answers Full-length, 1991
Latest Jesus Full-length, 1992
Trust Full-length, 1994

BAPHOMET'S BLOOD (ITALY)

Awful sound and amateurish musicianship leave little to enjoy here: otherwise if you pay serious attention, you may recognize some light-hearted speed/thrash in the spirit of Motorhead (the Brits are honoured with a cover of "Heart of Stone") and Hallow's Eve ("Kill the Monk"), on the more aggressive moments.

Satanic Metal Attack Full-length, 2006

BARBARIAN (SPAIN)

This band was founded by Pep Casas- the guitarist (and singer) who was the mainman behind one of the first (and best) Spanish thrash metal bands Fuck Off. Half of the songs from this live album are old songs taken from the two Fuck Off releases; the other half keeps up in the same spirit: up-tempo speed/thrash, maybe more melodic and catchy than the older material, with influences from classic heavy metal, but still enjoyable enough. Casas does a great job on the guitar, and steals the show big time. His riffs are not as killing as before, but his skills, especially in the leads section, have improved a lot. His vocal abilities seem to have declined a bit, as his voice now has acquired a clear hardcore shade, and could be annoying at times. A decent version of Black Sabbath's "Syptom of the Universe" is included as well.

Seguimos Avanzando Live album, 2006

BARBARIAN (USA)

On this only demo this band combine quite a few influences: heavy power/thrash in the vein of Nasty Savage's debut, American power metal ala Savage Grace and Omen, speed/thrash akin to Destructor and Exciter, and for a dessert there is one excellent technical thrashy instrumental ("Barbaric Core").

Demo Demo, 1987

BARBATOS (JAPAN)

Black/thrash metal akin to Abigail. Barbatos are even less serious and more light-hearted in their approach; the music is playful rock-ish thrash reminiscent of Venom, Motorhead, Sodom.

War! Speed and Power Full-length, 2001
War Metal Drinkers EP, 2002
Rocking Metal Motherfucker Full-length, 2003
Fury and Fear, Flesh and Bone Full-length, 2005
LEt's fucking die! Full-length, 2006

BARBED WIRE (HUNGARY)

Very good, but roughly produced thrash metal reminiscent or Sepultura's mid period ("Arise, above all). The guys tend to write longer songs, but there is nothing technical. The bass and the lead work are particularly good, and overshadow the not very impressive riffage. "Time" and "Empty Lies" are cool aggressive thrashers, which could fit onto "Beneath the Remains" without any problems, even with the quiet, atmospheric ending. Seldom can one hear less-serious, punky jokes: "Liar", which are not as a nice touch as, say, the excellent slower, semi-balladic instrumental "A Lost Friend".

Demo Demo, 1991
Immemorial Demo, 1992

BAREHANDED (SLOVENIA)

This is a very mixed bag: on their only demo so far, this band offer a wild cocktail of styles; the good thing is that the base is thrash metal and it's of the more melodic, semi-technical variety typical for 90's Megadeth ("Symphony of Destruction" is not a Megadeth-cover), but there are Swedish death metal-like riffs (think Dark Tranquillity), folk/pagan melodies, and even progressive rock/metal sections not too far from Porcupine Tree. It definitely has its moments, but apparently this is a bit more than a draft for something better, and more compact (with fewer styles, I mean).

Manipulator Demo, 2005

BARRACUDA (CZECH)

Very good technical thrash/death metal which, in its faster and more frantic parts reminds of Atheist quite a bit, and Carcass' early 90's period, but the guys don't rely on speed a lot, often mixing the tempo with heavy, mid-paced moments, as well as some cool atmospheric, progressive passages. There is a variety of vocal styles used, too, the predominant ones being both death metal based: low growls, and higher pitched snarls similar to Kelly Shaefer from Atheist. There are some semi-whispered clean ones, accompanying the more mellow progressive sections. The songs do not go over the 4-min range, and are infused with a fair number of interesting, ever changing riffs which, along with the alternating vocals, create the impression that one listens to different bands. Hopefully this band are ready to strike with something new soon- a really valuable addition to the technical side of metal.

Humanimal Full-length, 2003

BASIC DREAMS (ITALY)

A fairly cool debut from Italy this way comes; the guys offer progressively-tinged melodic power/thrash reminiscent of early Eldritch, Squealer and Dark Arena. Some tracks leave the thrash field: "Son of Future", "Strange Days", "When the Rain Falls" (an unnecessarily long ballad-7min), and the sound is not very heavy and aggressive, although some songs have the energetic headbanging riffs: "Another Reason to Hope". The vocalist is truly the highlight with his clean passionate, emotional voice which will remind you of James Hetfield, especially on the aforementioned ballad.

Secrets & Lies Full-length, 2001

BASILISK (CHILE)

Raw speedy thrash in the early Kreator vein; energetic and quite well done. The singer is not a very pleasant hysterical shrieker, but the cool music saves the day. Some Slayer-esque intensity can also be felt ("Thrash Without Truce"). The lead work is cool, perhaps a bit melodic for the style, and gives some tracks a genuine epic atmosphere ("Basilisk"). "Altars Of Carrion" is a great aggressive thrasher, with the only more technically-inclined guitar performance on the demo.

Thrash al Hueso Demo, 2004

BASTION (USA)

Both demos offer really enjoyable speed/thrash along the lines of the Brits Blood Money, Agent Steel and Exciter. This is good music with nice, memorable and generally up-tempo songs ("Merciless" picks up more aggression and is arguably the best track here), and a singer who has a cool mid-range melodic voice. The guitar work is good, simplistic, with some good melodic lines thrown in. "Blitzfreeze" contains the faster material, and is more speed metal-based, but on the other hand "D.B.D." and "Metamorphosis" come with some great riffs in the early Destruction vein.

Blitzfreeze Demo, 1987
Dead Religion is Good Religion Demo, 1988

BATALLON DE CASTIGO (SPAIN)

The band-members have been doing "service" in a Spanish prison and, to pass the time, have decided to play some thrash. Their open nazi stance, expressed in the lyrics, has been the main obstacle for the band to reach further. Alas, the music is less impressive than their political views- thrash and hardcore mixed together, something typical for the nazi bands around the world.

Ca�a de Espa�a! Full-length, 1998
Desperta ferro! Full-length, 1999
Akelarre Full-length, 2004

BATHORY (SWEDEN)

The great Quorthon (R.I.P.) ventured into many genres throughout his short, but very eventful life, including thrash metal. And while he was good at everything he was doing on the music field, thrash metal had clearly been his weakest side. While there are some good attempts at the style on "Blood,Fire,Death", they work well mainly because of the able support of the other metal genres present there. The two pure ventures into thrash from the mid 90's: "Requiem" and "Octagon", are very uneven efforts, especially "Octagon", with its strained, undeveloped vocals and blunt, unfocused sound. Even the "other genres versus thrash"-mixture on "Destroyer Of Worlds" later didn't work anymore. It was clear by then, that the great Quorthon was a way better dealing with other metal genres. However, considering the immeasurable contribution this man had done to the metal world, this site feels honoured to include his involvement with the style.

Blood Fire Death Full-length, 1988
Requiem Full-length, 1994
Octagon Full-length, 1995
Destroyer of Worlds Full-length, 2001

BATHYM (USA)

A 2-song EP of thrash/death metal; the 1st track is mid-paced, with a cool faster middle section, closer to death metal; the 2nd one is a faster, cool thrashy headbanger. The vocals are very vicious, evil black metal-ish shrieks, but suit the music well.

Demonic Force EP, 1991

BATSTORM (THAILAND)

After a good bass intro, the guys unleash aggressive thrash/death, which could have been more appealing, if it wasn't for the annoying buzzy guitar sound. The music is fast, and closer to death metal, with vicious synthesized black-ish vocals.

��¹� 2006 ( Desaster ) EP, 2006

BATTALION (DENMARK)

"Immortal Power" contains heavy, mid-paced thrash with a certain Bay Area flavour with rough, black-ish vocals. "The Sense" is faster, a bit more technical, with a new, more melodic singer, recalling Laaz Rockit's more thrashy period.

Immortal Power Demo, 1986
The Sense Demo, 1987

BATTALION (USA)

Brilliant classic power/thrash metal, quite heavy, with quite a few superb technical riffs thrown in for good measure, reminiscent of Helstar's "Nosferatu" in the more dynamic parts, and another great American band: Carbide. The pace is mostly mid-tempo, but it varies from some speedy thrashers ("The Black") to almost doomy, stomping numbers (the great instrumental "Orchestrated by Fear").

Excessive Force Full-length, 1995

BATTERED (SWEDEN)

Battered was formed by three members of the viking/black metallers Einherjer after the latter split up. The music is firmly in the thrash metal realm, with some shades of Einherjer's last album "Blot". This is a blend of modern and classic thrash, very well executed, with some occasional great technical guitar work. The album starts really promisingly with the intense thrashing opener "Oblivion Awaits", but the next couple of songs slow down, and are more melodic and modern sounding. "Not One" thrashes with no mercy, and from then on things become more interesting. "The Dig" is another great track, sounding as though directly taken from Grip Inc.'s "Nemesis". "Industrial Killing" follows with some smashing technical guitars in the Coroner vein, before "Perfect Illusion" speeds up again. The remaining numbers are more on the stomping, heavier side, "The Flagellant" coming very close to Slayer's late 80's period. The very shouted, noisy vocals are not very fitting to the music, and some adjustment in this department for the future would be desirable.

Battered Full-length, 2006

BATTERY (GERMANY)

Speed/thrash of the German school ala early Deathrow, early Destruction and the Paradox debut. The vocals are more brutal, with a death metal shade, and the music is energetic, with good sharp riffs which at times try hard to emulate Destruction (and succeed). The leads are of the screaming type, but fit the intense delivery well, although sometimes one might not hear them quite clearly because of the muddy sound quality.

The Unknown Demo, 1986
Nuclear Assault Demo, 1987

BATTLEFIELD (GERMANY)

The band debuted with this nice EP of German speed/thrash metal with a female singer, close to Angel Dust and Iron Angel, and looked as though they would replace those two bands, the one of whom had split up, and the other in the process of changing their style. "We Come To Fight" is a truly impressive speed/thrasher, which begins with an imposing, slower intro, and later with no mercy, with the girl singing her lungs out, providing great high vocals, reminiscent of her compatriot (and peer) Doro Pesch. "Nuclear Death" is another smashing speed delight, with an even more aggressive riffage. "Knock On Your Door" adds some more stylish, semi-technical guitar work to the proceedings, still thrashing in an uncompromising way. "Grave Of The Unknown" is speed metal at its best, which would be a highlight even on "Walls of Jericho". "Possessed Preacher" starts like a quiet, tender ballad, with fine vocals, but afterwards the speed/thrash aggression reigns supreme, this time accompanied by a catchy sing-along chorus, longer, and better leads, and stupendous riffage as well, which in the second half (the song is 9-min long) becomes quite technical for a while. One can not possibly think of a better beginning of a career on the metal field. However, the winds of change carried Battlefield away, like the bands they were supposed to replace, and their later offerings adopted a much more melodic heavy/power metal sound, with almost no traces of speed/thrash.

We Come to Fight EP, 1987

BEAST PETRIFY (SINGAPORE)

Based on "Intrication: these Singaporeans play an aggressive, but at the same time fairly complex and technical blend of thrash and death metal. "Entangled Nightmares" is a total mid-period Carcass and Atheist worship (the similarities with this band arer also based on the vocals): a brutal slab of metal, quite jumpy and hectic as well. "Schizophrenic Aggressor" is a more direct death/thrasher, with a great bass support, followed by the "monstrous" interlude: the 9.5-min progressive opus "Fisting of Addictive", which is larger than life, and apart from the dominant thrash/death apporach, the band find time to add some heavy metal touches ala Iron Maiden, which kind of dissipate the hard-hitting nature of the beginning; later on some furious thrashing follows suit, and the exit is reserved for some joke tunes, but one has to pay attention in order to catch all the nuances here. "Injustice Victims" is a chaotic, violent piece, which ruins the good until this point impression, where the vocals help a lot as well, acquiring an awful screechy hysterical tember; it may be considered a masterpiece of technical thrash/death, but to these ears it's a bit more than senseless aggression. "In Tears of Anger" is a melodic power/thrash instrumental, not bad, but out of context, and will do little to remove the aftertaste already formed during the previous number. "Enigma of Hypnosis" finally returns to the more controlled patterns from the start, and is a fairly satisfying piece of thrash. "Intricated Devastation" is another winner, moving more towards death metal, graced by some cool technical, but also quite fast frantic guitars. "Rage in the Millennium Vibrations" is a stunning work of technical/progressive thrash/death, which more than compensates for the flaws encountered earlier: an encyclopaedia of riffs, time changes, and moods, where one would hardly find a dull moment during its more than 12-min of length; for a dessert the exiting part is a very cool balladic lead-driven outro.
"Dimensional Deranged Dilema" is a great work, seeing the band already on a high level of musicianship, offering an amalgam of styles, well mixed together; the apporach is more complex, and firmly belongs in the progressive genre. The guitar sound is a bit buzzy, and the bass is put up front, but these are not very big detractions. "Dimensional Deranged Dilema" already suggests at the very beginning of the complex stuff one will encounter here, being a good progressive power/thrasher with nice melodies, and some furious fast parts. "Massive Irretrievable Burden" is another masterpiece of thought-out, elaborate music, but things pretty much hit the top with the brilliant instrumental "Slaves Of The Abyss" which, although more melodic and balladic, is a true gem of technical/progressive thrash, seamlessly blending raging thrashy sections with very calm, quiet ones, where the lead guitar work is breathtaking. "Impending Disaster" is more direct, but still semi-technical thrash, followed by "Revulsion After Discrimination" which also starts quietly, only to continue in a furious speed/thrashing manner ala Exumer's "Possessed by Fire", which is actually the main influence, only served with a much stronger technical/progressive edge; later the sound gets more technical, but retains the fast moments. "Pertiferous Betrayal" is again more immediate speed/thrash, quite fast and enjoyable, as well as the next "Obscure Obliteration", which jumps the death metal wagon for a while, before offering a nice Oriental passage. "The Pain Deep Within" goes back to the complex song-writing, providing a wide range of moods and tempos, finished with a nice acoustic instrumental, which later finds full realisation on the fine closing instrumental, which only features an acoustic play, but is more than a satisfying ending to this very strong debut.

Dimensional Deranged Dilema Full-length, 1999
Webbed In Living Hell Full-length, 2003
Intrication Full-length, 2008

BED SORES (CZECH)

Ordinary groovy thrash, spiced with more intense death metal-ish moments ("Toodoo", "Why", "For"), which are definitely the better side of their style. At times the guys drop the ball, and go head-over-heals into alternative metal territory ("The Way Of Talented Race"), with the jumpy rhythms and the clean vocals.

Talented Race Full-length, 2005

BEEHLER (CANADA)

This is Dan Beehler (Exciter)'s new band under his own name. Helped by another Exciter member- the bassist Allan Johnson, the band perfectly capture the spirit of 80's Exciter, but with a more thrashy attitude. Beehler's vocals are impossible to be mistaken; perhaps here he gives way to his higher pitched tones making him sound like Rob Halford at times. Tribute is paid to the Beehler's past with a new version of the immortal "Violence And Force". There is much promise shown on both demos. I believe a full length release is just a matter of time.

Demo Demo, 2002
Demo Demo, 2003

BEER MOSH (SPAIN)

Heavy, hardcore-influenced modern thrash metal.

Pesadilla EP, 1992
A todos los cerdos les llega su San Martin Full-length, 1993
Injusta Prisi�n Full-length, 1996

BEER SOCIETY (SLOVAKIA)

Modern thrash with some more melodic heavy metal moments. This is not a hard stuff, but could be enjoyable, especially if you're a member of the "Beer Society" (pun intended).

Demo 2005 Demo, 2005

BEFORE GOD (USA)

This is a side project for almost all members of the nazi crossover/thrashers Bound For Glory. It would be great if they decide to concentrate on this act more for the future; the music of Before God is much better, being a fusion of several metal styles- thrash, death (both technical and quite brutal at times), black and pagan/viking, with the last one bringing the sound close to Bathory's more epic period ("Blood,Fire,Death" and "Hammerheart"). Unfortunately the guys must have lost interest in this project, as it's been quite a while since we last heard from them.

Wolves Amongst The Sheep Full-length, 1999
Under The Blood Banner Full-length, 2000

BEFORE THE FALL (AUSTRIA)

Fans of Terror 2000 and The Forsaken will rejoice: modern thrash metal with some undesirable metalcore passages.

From Mutism to Riddance Full-length, 2006

BEHIND ENEMY LINES (USA)

Two members of the doomsters Penance apparently got tired with the doom metal scene, and have decided to play some more cheerful music for a change. The result is this band whose style is an enjoyable mixture of thrash, hardcore and punk.

Know Your Enemy Full-length, 2001
The Global Cannibal Full-length, 2003
One Nation Under The Iron Fist of God Full-length, 2007

BELADONNA (RUSSIA)

One of the lesser examples of thrash metal from the Russian metal scene; the music is probably not a total waste, but it's very simplistic and without any edge, and sounds like a thesis of an average guitar student from a musical college. There are some timid attempts at lead guitar performance, but they remain on the semi-professional level. The guys try to speed up here and there, but it's just hard to headbang on this, simply because there are no riffs to be heard. The singer is plain horrible, with his screechy, high-pitched voice, sounding as though his balls have been trapped in a vice the whole time.

Xa-Os Full-Length, 1991

BELIEVER (USA)

A highly respected Christian progressive/thrash metal band. "Extraction from Mortality" is the band's most immediate work, being quite worthy aggressive thrash, which begins in a very intense, fast manner, bordering on death metal. This is far from mindless bashing, and "D.O.S." comes with a nice technical edge, although this is just a sparkle, as later on the brutal thrashing carries on, moving onto pure death metal teritory with "Blemished Sacrifices", which is hardly the band's most attractive side. Fortunately the technical riffage returns for "Not Even One", and the cool closer "Stress", which sees the guys experimenting with some offbeat, funky tunes.
"Sanity Obscure" is the band's magnum opus, and their real entry into the technical/progressive thrash metal field. The title opener serves the debut's aggression in a more refined and controlled manner, showing that this time the technicality will rule over the rest. The tempo is also fast and intense, but this album has its other, slower and more complex side, which also produces very good results: "Nonpoint", "Stop the Madness". The album, however, loses momentum twice: on "Dies Irae"- an orchestral, operatic track which comes unheralded, and sounds quite misplaced, and on "Like A Song" which is a U2 cover.
"Dimensions" offers longer and heavier songs, which are intercepted by some really good atmospheric, quiet passages, where one can hear guitars (leads and acoustic), bells, pianos, etc, which are simply too much on some tracks: "Dimentia". The speed has been decreased to a big extent, but slower, very technical and complex numbers like the awesome "What Is But Cannot Be" largely compensate for that. Still, headbangers of the more technical type are around ("Singularity") to stir the mood. The ending is secured for the three part metal opera "Movement", which is a really ambitious and quite well done. The orchestral arrangements, the violins, royals and all other gimmicks are all here, as well as the female vocals, all this put on a heavy metal base, which might not serve a thrash metal album right, but at least proved very influential on many future acts (Therion, Nightwish, Bal-Sagoth, etc.).

Extraction from Mortality Full-length, 1989
Sanity Obscure Full-length, 1990
Dimensions Full-length, 1993

BELLADONNA (USA)

After having made a name for himself in Anthrax, Joey Belladonna decided to try his hands on something outside the shadow of his former band. Apparently both his new band and Anthrax themselves were not willing to pursue the hard thrash course of previous releases, and each took a long (and still going) break from thrash metal. Belladonna has chosen to preserve some thrash elements of the old school, but mixed with the more modern parts as well as some hard'n heavy tracks (and ballads), they lose much of their initial power. Belladonna is in fine form, carrying on in the vein of the vocals he used on "Persistence Of Time". Although far from all-out thrash metal efforts, his band's releases are much more satisfying than the alternative/modern works of 90's Anthrax.

Belladonna Full-length, 1995
Spells Of Fear Full-length, 1999
03 Full-length, 2003
Artifacts 1 Full-length, 2005
Artifacts 2 Full-length, 2006

BELLZLLEB (JAPAN)

Based on the self-titled debut: this band come up with a fairly original mixture of thrash and doom metal; the thrashing follows on the step of early Celtic Frost and the Canadians Slaughter on the faster sections, which are not too many. This is slow-ish music, with quite a few quiet, acoustic moments, and heavy doomy ones. The vocals are quite varied, the basic ones being low-pitched, semi-melodic, but quite effective are the harsh blask-ish rasps which are also given quite a space. The thrash metal fan might not be enormously entertained, but this is unconventional stuff, which is worth hearing at least out of curiosity. Like with many Japanese acts, expect something out of the ordinary.

Bellzlleb Full-length, 1989
Section II Full-length, 1990

BELSEBUB (SWEDEN)

Based on the single: this band pull out mid-tempo thrash/death metal, along the lines of the Canadians Slaughter, or Slayer's "Hell Awaits". There is one brutal, grind-core section on "Masses to Reveal" to scare the listener away. "Chemical warfare" is not a Slayer cover, although it might remind you of it with its energetic, headbanging delivery.

Lord of Lucast Demo, 1990
Disemboweled Demo, 1991
Elohim Single, 1992

BENEATH (SWEDEN)

With a band who have a relatively long-ish history of demo-releases, one could ask what the possible reason might be that these guys never managed to impress any label. Based on the "Time Hysteria" demo, the answer comes easy: this is nothing more than the practiced by hundreds of bands modern Swedish thrash/death metal, with no attempts for any deviation from that formula.

Earn Demo, 1995
The Weight We Carry Demo, 1998
Everything Ends Demo, 1999
Demon Seed Demo, 2000
Time Hysteria Demo, 2002

BEOW�LF (USA)

The band have been sticking to their thrash'n roll style ala Motorhead and Tank throughout their career; not extreme or brutal at all, but enjoyable and catchy enough.

Beow�lf Full-length, 1986
Lost My Head... But I'm Back On The Right Track Full-length, 1988
Un-Sentimental Full-length, 1993
2 Cents Full-length, 1995
Westminster and 5th Full-length, 2007

BEREAVED (JAPAN)

This band feature two members from the thrash metal masters Ritual Carnage. The style is more aggressive, being old school thrash/death metal, with some nice guitar work, and a certain Gothenburg-influence. With Damian Montgomery (the founder of Ritual Carnage) going back to the States, this band might turn into the guys' full-time project.

The Spirit Driven By Hate Full-length, 2006

BESTIAL (ARGENTINA)

The band's style clings between Sepultura's "Arise" and "Chaos AD", so we have a mix of classic and modern thrash. The music is nicely balanced between the two styles, with slight preferences towards the classic sound; this is mostly mid-tempo stuff, with longer for the style songs (5-6min), among which one might find some fine thrashers ("Demencia").

Bestial Full-Length, 1998

BESTIAL (BRAZIL)

Based on "Final Presage", this band come up with a combination of the three basic metal genres: black, thrash and death. The concentration is perhaps on death metal, and there are quite a few very intense and fast sections, but one could easily catch some cool thrashy riffs here and there.

Final Presage Full-length, 2004
Phalanx of Genocide Full-length, 2005

BESTIAL DESECRATION (GERMANY)

Old school thrash in the vein of early Sodom and Kreator; the sound quality is bad with a very thin guitar sound, and spoils the impression from the otherwise energetic delivery.

Soldiers of Death EP, 2000

BESTIAL DEVASTATION (FINLAND)

Black/thrash similar to later period Barathrum and early Celtic Frost.

Hostele Revenge Demo, 1999
Fist Of Steel Demo, 2001
Final Solution Demo, 2004

BESTIAL MOCKERY (SWEDEN)

This band appeared at around the same time with Cranium, both bands intent on bringing back the glorious 80's' sound. This band's style is different from the other band being black/thrash metal, sounding like a vicious mixture between early Kreator and early Bathory. The music is fast and aggressive with the very appropriate, typical for the early 80's "dirty" sound. The vocals are suitable to the music, being a vicious black-ish rasp. The band don't offer much variety throughout their career, but fans of the more extreme side of classic thrash will enjoy these guys' works a lot.

A Sign of Satanic Victory EP, 2002
Christcrushing Hammerchainsaw Full-length, 2002
Evoke the Desecrator Full-length, 2003
Gospel of the Insane Full-length, 2006
Slaying The Life Full-length, 2007

BETHRAYER (CZECH)

The demo is modern thrash, sounding like a mixture of Sepultura's "Chaos Ad" and Machine Head's "Burn My Eyes". The instrumental "Despair" is particularly good, with its technical riffs and flute tunes. By the time the guys got lucky to record a full-length, the style has already changed into nu-metal.

Manipulation Demo, 1996
Ray Of Hope Full-length, 2004

BETRAYAL (USA)

A Christian thrash metal band. The band's debut is a very ambitious attempt at progressive thrash, but the final result is quite confusing with its awkward time changes, numerous influences from other sides of the music spectre (balladic, orchestral, funky, industrial passages, etc.), and weird riffs. Still it has its moments, and would have been better, if the guys didn't have the tendency to speed up to death metal intensity in many songs, ruining the preceding thrashy monolithic sound. On the shorter tracks the band obviously had no time to insert many influences, and those songs are the best, and the more immediate: "Assassins in the Midst", "Prophets of Baal".
All this is gone on their sophomore effort which is brilliant technical thrash, with the only irritation being the distorted, computerized vocals. "The Passing" is a textbook on sharp technical riffs; the very first track ("Renouncement") shows that this album will be a different story. There is no unnecessary elaboration here, just direct steel technical guitars. The music is not openly aggressive; some slower compositions are included ("Carnival of Madness"), and the atmospheric moments work much better ("Forest of Horrors"). "Whispers of Chaos" comes with an almost death metal-like aggression, and is the best song here. For the end the guys have preserved the shortest, but also the most effective tracks, bringing a great package of intensity and technicality packed in no more than 3-min. With a bit more focused and less pretentious approach these guys can work "miracles".

Renaissance by Death Full-length, 1990
The Passing Full-length, 1993

BETRAYED (CHILE)

This is one album as you have noticed, been rereleased in 2006. Betrayed play awesome technical thrash ala Ulysses Siren and Have Mercy, with brilliant sharp guitars, and mostly quite energetic tempo, often considered as the finest thrash metal album from Chile, and rightfully so. The album starts aggressively with "Fight For Your Land", graced by some really impressive technical riffs and clever tempo changes. The speed never drops, intercepted by some slower breaks. The exception is "Human Madness", which is a nice mid-tempo instrumental with a more simplistic, and less aggressive guitar work. The only complaint is the vocals, which sound indifferent and declamatory as though the guy doesn't really sing, but recites. It was probably original back in the days, but now it sounds downright funny and... annoying. With a more capable singer, these guys could have reached the very top of the ladder; now they have reached very close.

1879 Tales of War Full-length, 1990
1879 Tales of War Full-length, 2006

Based on "Helpless Souls", the band play pretty decent speed/thrash along the lines of Destructor and early Whiplash, with a good sense of melody. Sometimes it's hard to see why bands like that were never given a chance by the "metal gods".

Raging Death Split album, 1987
Helpless Souls Demo, 1987
Death Shall Overcome Demo, 1989

BETRAYER (CANADA)

An interesting combination of traditional metal and thrash; 90's Megadeth is an obvious influence on the band, but there are some epic parts, too, bringing the band's sound back to the American 80's metal scene.

Rusted Icons Full-length, 2001
Shadowed Force EP, 2005

BETRAYER (GERMANY)

Pleasant, melodic power/thrash not too far from the Germans Enola Gay, but more edgy and a bit faster.

Whole Acceptance EP, 1989
Hostage of Progress Full-length, 1996

BEWITCHED (SWEDEN)

One of the finest Swedish metal bands of the past ten years, Bewitched are often referred to as black metal which is probaly based on their lyrics, but music-wise this definition is completely ungrounded. The band's style is classic power/thrash, with some catchy heavy metal tunes in the tradition of NWOBHM (Angel Witch comes to mind when listening to this band sometimes); simplistic, but a very catchy stuff.

Encyclopedia of Evil EP, 1996
Diabolical Desecration Full-length, 1996
Pentagram Prayer Full-length, 1997
At the Gates of Hell Full-length, 1999
Rise of the Antichrist Full-length, 2002
Atrocities in A-Minor EP, 2004
Spiritual Warfare Full-length, 2006

BEYOND (CANADA)

The style on the first demo has a certain American power metal flavour-the songs in the middle, but the first and last tracks are full-out speed/thrash-check them out: great smashing headbangers which would stand proud even on the Angel Dust's debut. �Staircase� features more complex music, bordering on progressive, having not much in common with thrash, more along the lines of the early efforts of Fates Warning and Queensryche. Their only full-length concentrates on progressive metal, leaving the band's thrash roots aside.

Framed Insanity Demo, 1988
Staircase Demo, 1989
Quantum Bummer Full-length, 1990

BEYOND (HUNGARY)

This band offer great headbanging, energetic retro thrash. This is very cool stuff, which combines elements from both the Bay-Area and the German scene; some heavier, Slayer-esque sections are also present, but sheer speed is pretty much the order of the day for most of the time, if we exclude some awkward offbeat songs with elements of groove, including one ballad as well. Don't worry: the album is 12 songs long, and those moments will not be a very big distraction.

Holt Lelkek Full-Length, 2007

BEYOND (USA)

Beyond rose from the ashes of the death metallers Demented Ted. Few traces of death here, as the style is heavy modern, industrialized thrash reminiscent of Grope, Puncture, etc.

Reassemble Full-length, 1995

BEYOND DEATH (USA)

This is the band in which Jack Owen and Alex Webster from the death metal masters Cannibal Corpse began their career in the metal world. Based on the "A Slice of Death" demo, they have done a good job with their aggressive thrash/proto-death metal style with deep death growls, which could have been an influence on Mr. Chris Barnes later.

A Slice of Death Demo, 1987
Yuk Fou Demo, 1988

BEYOND DESCRIPTION (JAPAN)

Based on the "promo", this band play speed/thrash metal recalling Tankard, but their music is "infested" with hardcore, and even grind-core moments. The tracks are short, straight-to-the-point and quite fast.

More Power To Your Elbow EP, 1992
Promo '92 Demo, 1992
Fine Day Nostalgia EP, 1995
Calm Loving Life EP, 1997
Chaos Days In 1992 EP, 2000
Searching For The Missing Truth EP, 2002
Acts Of Sheer Madness Full-length, 2002
A Road To A Brilliant Future Full-length, 2004

BEYOND POSSESSION (CANADA)

Punk/thrash/crossover of the fast, aggressive type; simplistic and direct, and quite brutal sounding at times.

Tell Tale Heart EP, 1985
Is Beyond Possession Full-length, 1986

BEYOND THE FLESH (USA)

Based on the only full-length release so far, this band offer cool thrash/death metal recalling Carcass' "Heartwork" and Death's later period, with nice technical riffs, mixed with a considerable doze of thrash. The vocals remind of Jeff Walker, plus the addition of some low death growls. The songs range from more melodic technical numbers to more brutal death metal ones.

Spawned From Flesh and Bone EP, 2001
What The Mind Perceives Full-length, 2003
Third Storm EP, 2006

BEZERKER (AUSTRALIA)

The finest thrash metal full-length album to come out of Australia. Superb technical thrash which could only be compared to the mighty Hexenhaus, and Toxik's "World Circus". Bezerker are perhaps more intense, especially the first part, which simply crushes with technical aggression (check out "Yours Subliminally"!). The guitar heroes in this band do a job no worse than Mike Wead himself. The second half, which begins with the technical stomper "I Lost", is faster and a bit more varied, but the technical riffage remains intact. The singer is a very nice addition to the great music, with his powerful melodic voice, who effortlessly switches from one height to another all the time, without sounding annoying. This band have no relation to the death-grinders The Berzerker from the same country, who appeared several years later.

Lost Full-length, 1989

Vibrations Of Doom

BIBLE BLACK (USA)

Heavy modern power/thrash, which sounds like a more aggressive, but slower version of Anthrax's "Stomp 642". The music slows down to a sleepy state sometimes ("Judgement Day", "World on Fire"), and there is a certain amount of groove involved, but the lack of any up-tempo sections here might not satisfy the Machine Head or Pantera fans.

Bible Black Demo, 1994

BIEST (GERMANY)

Melodic speed/thrash metal calling to mind another German band- Liar.

Crash Trash EP, 1987

BIFROST (HOLLAND)

Bifrost have often been compared to Sabbat, partly because of the pagan atmosphere of their works, and partly because of the elaborate song-titles, but as a matter of fact they are not very close music-wise. Bifrost's style is a fusion of thrash, viking/black and even folk metal with an overall epic feeling which is quite unique and not annoying. "Pagan Reality" is a self-assured debut, starting with the mid-paced heavy "Fimbulwinter- A Tale Of Hate", recalling Sabbat, but also the Skyclad early works. "Bird Of Prey" is an intense speedy thrasher, and the next "My Ancestor, Now A Dark Woodspirit" increases the aggression, reaching a death metal intensity in the beginning. "Pagan Reality" is a very cool mix of slow pagan rhythms and fast thrashy ones, but the fast thrash attack takes over again on "Children Of The Black Hill" and "My Lady Of Winterfire". "Battlelord Odinn (Father Of Victories)" is a slower, doomy track. "Choosers Of The Slain" prefers to stay within the mid-paced limits, coming with great heavy, melodic riffs. The closing "Lost Times, In Darkness Forgotten" is a fine up-tempo, galloping thrash number, again offering nice melodic tunes and atmospheric acoustic sections.
"The Wildest Fire" starts with epic-tinged, melodic tracks, until the coming of "Blood In My Veins", which picks some more aggression, but all is lost on the softer gothic/thrash mix "Do I Decide Dreams". "Midwinter Celebration" thrashes more intensely once again, ad is a very good reminder of the band's influences (Sabbat, Skyclad). "The Midgard Drama" is a slower, heavier piece, but the riffage is very cool, with a nice pagan edge. "Eburonic Pride" is a great number, which could stand just perfect on the Skyclad debut; check out the brilliant Oriental theme there, and the mighty melodic, but also sharp riffs! "My Wicked Smile" is a more laid-back instrumental, but "The Wildest Fire" is all-out speed/thrash, again boasting some fine melodic hooks. "The Bright in the Future" is another instrumental, which closes the album with some marvellous atmospheric, orchestral melodies.
"Mythistory" takes no prisoners with the great opener "The Gods' Lament": a first-rate thrasher with a unique pagan atmosphere, vintage Sabbat! "You Fear My Kind (The Truth Divine)" adds a lot of keyboards, and is consequently more melodic, recalling more recent Skyclad. "All Creation Wept..." preserves the keyboards, but is a more intense thrashing piece. "Soulbound Eternity" is galloping power/thrash with fine piano melodies, but "The Dark Woodspirit" is a pure death/thrash rager with a cool pagan edge. Later on the tracks are fine blends of more aggressive thrash and softer epic sections, with thrash taking the upper hand on "Come... Burn With Me!", and especially on the thrashterpiece "Dreaming The Dark", the song which Sabbat never wrote; again some nice keyboard tunes in the middle. A magnificent orchestral, piano-driven instrumental ("Without Soulcontrol") finishes this third, consecutive very strong effort. Moving closer and closer to perfection with every next release, the band needed very little to reach their peers, but apart from the release of the 2-song EP in 2001, which contains remastered versions of old tracks of theirs, nothing has come out of their camp for quite a while.

Pagan Reality Full-length, 1995
The Wildest Fire Full-length, 1996
Mythistory Full-length, 1998
Torn between two worlds EP, 2001

BIG IRON (USA)

Based on "Falling Down", this is another Pantera and Machine Head-clone with the typical for the style heavy groovy riffs, and a slight shade of hardcore.

Tierra Del Diablo Full-length, 1997
Falling Down Full-length, 2004

BIOCIDE (USA)

Thrash/death metal, quite well done, not too far from the Swedes' Merciless' debut, with a certain Slayer vibe, too. The tempo is generally fast, with very proficient lead guitar work, and brutal, death metal styled vocals.

Demo Demo, 1992

BIOERASER (ITALY)

Industrial groovy thrash sounding close to Fear Factory and Puncture in the more aggressive parts, but having quite a few melodic sections, too, where one can hear clean alternative vocals, and the music loses its edge a bit.

The Art Of Machines Demo, 2005

BIOGENESIS (USA)

This is a unique band: the style is a mixture of thrash and gothic/doom which works perfect. The singer is really a find with his ability to shift from great clean vocals, to some horrifying hardcore shouts. Quite original are the low, sinister semi-operatic ones. The music is very heavy, and the only soundalike I can think of, is the great one-album-wonder Cyperus, although they have no gothic elements. The songs are long, and are full with dramatic atmosphere created by the frequent change of several vocal styles within one song, and the heavy, and occasionally technical ("Crystal Ball") guitars. Even the short, 2-min stomper with the interesting title "Fat Man From China", is quite impressive. All songs cross the two contrasting styles quite well, with not a single one belonging to the slow doom metal genre, with the exception of "Scorning of Wisdom", which admirably dooms with the best.

The Mark Bleeds Through Full-length, 2001

BIOMECHANICAL (UK)

One of the leading bands from the not very massive nowadays British thrash metal scene. Biomechanical play complex progressive power/thrash with lots of twists and turns (the vocals also try to keep with the twists and turns of the music, moving into all possible styles known to the metal world). The music is similar to another band- Azotic Reign from Sweden, but the Brits are more adventurous, and perhaps more melodic. Their music is not an immediate listen, but those who like thrash less ordinary and challenging, should definitely try this!
"Cannibalized" is a stunning release, and by far the band's finest hour. It would startle you at first, with its quite uncompromising, and much more aggressive sound compared to the earlier efforts; the tempo is faster, and the guitars are considerably more technical and chaotic, and you'll have to spend your time with this work in order to appreciate it fully. The singer does a fine job again, and his Rob Halford-like screams are particularly impressive. Parts of the album are pure death metal, but they are not too many, and power metal is nothing but a distant memory here; this is first rate progressive/technical thrash with a definite modern edge, coming also from the industrial, mechanical feel which the sound emits. Some songs, for example, sound like a more technical and "updated" Pantera- "Predatory"; "Through Hatred Arise" is an almost symphonic piece, supported by some background guitars and bass, topped by the high-pitched vocals, and is really striking, but the rest is much more dynamic, although the pace changes all the time, creating an almost hallucinogenic atmosphere on the more twisted and frantic sections.

Eight Moons Full-length, 2002
The Empires of the Worlds Full-length, 2005
Cannibalised Full-length, 2008

BIRD OF PREY (USA)

Based on the "Tales from the Crypt" demo, this band play fast, aggressive thrash akin to Hallows Eve, Slayer and Rigor Mortis.

Tales from the Crypt Demo, 1987
Undead Resurrection Demo, 1988

BIRTH DEFECTS (CANADA)

Thrash/crossover of the more melodic, happier variety, similar to early Suicidal Tendencies and Gang Green.

Setting Our Own Path Full-Length, 1990

BITCHSLICER (USA)

This is an interesting band who, on their debut, play modern groovy thrash not too far from Pantera, including the similarities with this band in the vocal department. Then on the sophomore release they introduced grind-core, and things became more interesting. The mixture works pretty well most of the time if we exclude some cheesy moments in the band's sound: quite a few acoustic parts and some awkward covers of non-metal singers (Hank Williams, Willie Nelson).

Cum Inside Full-length, 2003
Friday the 13th Live album, 2004
One For The Ladies EP, 2005
Lycanthropic Fellatio Full-length, 2007

BITTER END (USA)

A not very convincing attempt at technical thrash- a poor man's Megadeth would describe it fairly well. The band follow on the steps of their renowned compatriots, but where Megadeth put two and two together, here things go from some nice technical touches to completely dull parts. The music doesn't have enough edge, shifting into pure heavy metal at times.

Harsh realities Full-length, 1990

BITTERNESS (GERMANY)

One of the many representatives of the big thrash metal wave which has flooded the German music scene in the new millennium. The overall sound is aggressive with frequent stretches towards death metal. There are some calmer variations, but then the band wade into gothic waters which is, again, not preferable for a band mainly viewed as a thrash metal one. With less influences from other sides of the metal spectre, Bitterness could make a bigger impact on the scene. Now they are just one of the many.

Dawn of Golden Blood Full-length, 2002
Sweet Suicide Solutions Full-length, 2003
Marching Towards Infinity EP, 2004
Autumn's Fall Full-length, 2005
As All Beauty Starts to Fade... EP, 2007

BK 49 (GERMANY)

This band was intended to be the continuation of the excellent formation Assorted Heap who released two stellar albums in the early 90's, although of the three Assorted Heap members who founded this band, by the time the first official release was out, there was only one left. The music is mostly death metal, with some thrashy guitar work and an overall dark sound which at times recalls the other band.

Zombified Full-length, 1999
Join The Dead Full-length, 2003

BLACK CLOUD (CANADA)

This formation was summoned by Blacky- the Voivod member, just for one live performance. These are cover versions of thrash metal titans, like Metallica (honoured with two covers- "Whiplash" and "Fight Fire with Fire"), Exodus ("Piranha"), Celtic Frost ("Circle of the Tyrants"), Destruction ("Mad Butcher"), Kreator ("Betrayer"), Possessed ("The Exorcist"), etc. The sond quality is not very good (it's a live recording, after all), but the versions are not very hard to recognize; well, if nothing else, the singer announces them very clearly in the beginning.

Le Medley Montreal Live, 2002

BLACK COMEDY (NORWAY)

Based on "Crawl To Exceed", this is modern industrial thrash, which contains some really hard-hitting guitars, bringing it close to acts like Skrew and Die Krupps, but the use of melodic alternative vocals in the vein of Burton Bell (Fear Factory), and keyboards, spoils things considerably. Fans of Fear Factory again, and Puncture, should give this band a listen as well.

Crawl To Exceed Full-length, 2001
Synthesis EP, 2002
Instigator Full-length, 2008

BLACK DEAL (ITALY)

An early mix of power, speed and thrash metal along the lines of the Germans Tyrant, Savage Grace, and early Helstar. The music is quite simplistic, with the exception of several quite good leads (the excellent instrumental "Black Deal").

Demo Demo, 1985
Eclipse Demo, 1987

BLACK DETHE (USA)

A cult thrash metal band whose ferocious thrash in the Slayer/Possessed-mould could have put them stronger on the metal map back in the old days.

Evil Prayer Demo, 1985
Mary's Blood Demo, 1988
Iron Cross Demo, 1988

BLACK GHOST (FRANCE)

Slightly undeveloped speed/thrash in the vein of early Venom and Exciter; the guys manage to keep a good energetic tempo, and succeed, with simplistic, repetitive, but enjoyable riffs. Later the band changed their name to Ixion, and produced another demo of a better quality.

Demo Demo, 1985

BLACK LIKE VENGEANCE (AUSTRALIA)

Dark Tranquillity meets thrash; fast tempo, melodic guitars, some gothic-tinged slower parts; "Dirge for Veronique Auguste" is a nice acoustic instrumental. There's nothing new here, if we exclude the female vocals which alternate quite well with the main death metal ones.

Empty as the Day Full-Length, 2007

BLACK REIGN (AUSTRALIA)

The band's singer is also a member of another Australian thrash band-Dark Order. But this is not the intense, proto-death thrash of Dark Order- we have heavy, slow tracks which border on doom quite a bit, and for dessert, there is a ballad-"Paradise". There are some up-tempo thrashers, but the overall tone goes towards the power/doom metal side.

Equalibrium Full-length, 2001

BLACK RITUAL (USA)

Despite the poor sound quality of the demos, one can distinguish some interesting, catchy riffs of a more simplistic nature. The music is mostly in the up-tempo sector, recalling Hallows Eve or Destructor.

Encroached Upon Demo, 1989
False Pride Demo, 1990

BLACK SHEPHERD (BELGIUM)

Many bands have managed to make a name for themselves by playing furious/brutal music, but Black Shepherd's attempt to achieve this in the same way fails miserably in almost every department. Long on aggression, but very short on execution, their only (thank god!) release is very messy, chaotic thrash that one gets the feeling that these guys have gotten together a few minutes before the recordings without having seen each other before, just for an experiment. Somewhere towards the middle the music starts making some sense, creating the impression that the band members have mysteriously found a way to synchronize their efforts, but it's only for a while. This is definitely not the best starting point if you want to get acquainted with thrash metal- it won't help you develop a liking to it.

Immortal Aggression Full-length, 1988

Vibrations Of Doom

BLACK TASK (USA)

Based on the EP, this band play raw black-ish thrash influenced by Venom and Celtic Frost, with some shades of hardcore. Short on musicianship, but quite original, having in mind that around that time the more extreme metal genres have only been slightly hinted at.

Black Task EP, 1985
Long After Midnight Full-length, 1986

BLACK TRIANGLE (USA)

Most of the album is thrashy power metal similar to 90's Flotsam & Jetsam. There are also some classic heavy metal pieces ("Electric God") and some attempts at a more epic song-writing ("Unholy Seduction").

Black Triangle Full-length, 1999

BLACK TRIP (MEXICO)

This EP offers 3 songs of cool thrash/death metal of the modern type, with obvious nods to the Swedish school. The guitar work is particularly good, albeit not flashy or technical. "Firewind" is a very good up-tempo thrasher, and "Brave of Blood" has a nice epic shade, recalling recent Destroyer 666.

Firewind EP, 2008

BLACK WYTCHE (USA)

On their only demo this band mix some cool heavy, frequently fast-paced thrash, with a more melodic thrash/crossover sound; the mixture works well, with concentration on the heavier side of the band's music.

Tempting the Blade Demo, 1986

BLACKEND (GERMANY)

Having taken their name from the "...And Justice For All" opener, this band stay true to their idols, mixing more aggressive thrash from their 80's works with some more modern sound ala the Black Album. The band stick to this formula on each of their releases, spicing things up a little with some Exodus or Testament-like riffs.

Sloth Full-length, 1997
Mental. Game. Messiah. Full-length, 2000
The Last Thing Undone Full-length, 2001

BLACKKOUT (USA)

A very good power/thrash metal band with a style similar to Liege Lord and early Iced Earth, but more technical and thrashy. Their only album, which is actually a Best of Compilation, contains whole 17 songs, so expect a variety here. The majority of the tracks are definitely on the positive side, some of them having a genuine atmospheric, even progressive edge: "O-Factor", others being straight-forward power/thrashers of the more melodic type: "Barbarian", or the excellent galloping "Dead'n Gone" and "Ignorance of Man". Tracks like "Bite Your Lip" and "Chapter 23" are the downpoint, being pure power/heavy metal tracks, apparently from the band's earlier period. The guitar work is occasionally quite striking, like on the intriguing, technical, and very good "Horizontal Hero" and "Under H2O", or on the 10-min progressive opus "The Talisman", which will surprise you with its high level of musicianship and many things happening within.

Ignorance of Man Full-length, 1989

Vibrations Of Doom

BLACKNESS (FRANCE)

A very cool thrash metal band. The style is neither modern nor classic- comes between the two. The vocals are rough, more death-like. "Crush ...Unleash the Beast" offers a more varied material- elements of epic/power ("Empire Flesh, Fall") and death metal ("Mindloss"), with a few blast beats scattered throughout, and is the lesser achievement of the two. The thrashers there are of the heavy, mid-paced variety, with "Forever in Pain" being the highlight: an awesome more energetic thrasher, followed by a more speed metal-based, but also quite cool track: "The Punisher". "Dawn Of The New Sun" abandons the aggressive death metal riffage, and the concentration is more on headbanging thrash, reaching the top with great songs like "Last Breath" and "Death Through My Eyes". Another cover of Motorhead's "Ace Of Spades" awaits you in the middle, as well as an enjoyable thrash/crossover piece at the end: "Insicuridade".

Crush ...Unleash the Beast Full-length, 2000
Dawn Of The New Sun Full-length, 2002

BLACKOUT (GERMANY)

This band's line up includes Tim Schallenberg, who later formed the great progressive thrashers Depressive Age, and Andreas Bahr who later played in another very good thrash metal act- Defcon. This is a 2-song demo with the first song ("Kamikaze") being an average power/thrash number recalling the Americans Griffin, or Omen, and an awesome speed/thrash metal track ("Oracle of Dead") along the lines of early Destruction and the Toxic Shock's debut. The vocals are very good, high-pitched and powerful, and Schallenberg does a great job pulling out some piercing riffs and a few nice meandering solos.

Kamikaze Demo, 1987

BLACKTHRONE (FINLAND)

Black/thrash which crosses the aggression and speed of Impaled Nazarene with the bleak, depressing sound of early Barathrum and Thorns. Some tracks do not fall into this description, having a pure classic heavy metal vibe ("Hordes of Werewolves"). There are quite a few interesting moments here: atmospheric ones, slower, doomy ones, some pure black metal outbreaks; will appeal to fans from several walks of metal.

Black Metal Juggernaut Full-length, 2005

BLADE OF THE RIPPER (USA)

The album starts well, with some cool thrashers, simplistic and straight-forward. The second half is filled with less interesting songs, more melodic and less thrashy, some of them pure blue-sy heavy metal numbers ("House of Witchcraft"), which diminish the impression from the otherwise promising beginning.

Blade of the Ripper Full-length, 2006

BLASFEMIA (COLOMBIA)

Very raw, brutal slab of thrash which will make even early Sepultura and Sarcofago sound like a lullaby. It's so absurdly vicious that it reminds me of the grind-monsters O.L.D. One of the most brutal and uncompromising pieces of metal made in the 80's; definitely not for the faint-hearted.

Guerra Total EP, 1988
Guerra Total Full-length, 2005

BLASPHEMER (BRAZIL)

Based on the "Headthrashers Live" split, Blasphemer are typical representatives of the early brutal black/death/thrash metal wave from Brazil: fast, energetic music, with the traditional for the scene raw and "enthusiasm-over-skill" delivery.

Headthrashers Live Split, 1987
Blasphemer Single, 1993

BLASPHEMY (VENEZUELA)

A fine slab of aggressive thrash/death metal. The vocals are of a dual nature, and create the impression that two different bands have been put together: meaner, Mille Petrozza-like and grunting death-metal ones. With the latter the music also changes its tone and sounds more sinister, death-like. And while you are wondering which band Blasphemy's music resembles, here comes "Black Magic"-yes, the Slayer's immortal hymn. Slayer is only one side of the band's influences and doesn't accurately describe the band's sound; there is also a "Pleasure To Kill"-like aggression, and more.

The Revenge of the Beast Full-length, 2003

BLASTED (FRANCE)

Modern thrash with shades of hardcore, with a crisp, sharp guitar sound, and energetic tempos, if we exclude the obligatory groovy slower breaks, adn some melodic alternative passages.

Find your Way Demo, 2005

BLASTER (TURKEY)

Brilliant technical thrash with excellent guitar work and fast tempo, similar to Paradox's "Heresy" and Kreator's "Extreme Aggression". The Turks are more technical, and the concentration is clearly on technicality, rather than high-speed. The vocals could be a disappointment to some, belonging to the death metal camp. The leads are not bad, but are not given much space, which is compensated by the overwhelming riffs. There are so many amazing riffs that you would listen to this masterpiece again and again without doing anything else: "Speed Till Death" is one of the finest instrumentals for the past ten years.

Blaster EP, 2002
Chaotic Noise EP, 2003

BLASTHRASH (BRAZIL)

If we exclude the last track ("When Will They Fall"), which is a bad punk-ish one, the rest is raging thrash of a high quality. The vocals lean towards the crossover side, reminding of Kurt Brecht from the crossover legends D.R.I. There is a certain hardcore vibe going through the album, and the music simply crushes, being fast and sharp all the time, without any slower or lyrical deviations, going even for the death metal aggression for a while ("Lament I.M.F.").

No Traces Left Behind Full-length, 2005

BLATANT YOBS (USA)

Thrash/crossover with short energetic tracks, reminiscent of early D.R.I. and Prong. "Not Empty" is a cool full-blooded intense thrasher, but the rest is closer to hardcore.

No Pain, No Gain Full-Length, 1992

BLATHERSKITE (USA)

Based on the "Abstract" demo, this band play a blend of thrash and doom/death metal; so don't expect any fast thrashing- this is heavy, mid-paced crushing music, with a brutal grind-core section added on "Born Hatred" to spice things up.

Pieces of Elizabeth Demo, 1990
Abstract Demo, 1991
Blatherskite/Natural Cause split 7" Single, 1992
40 Daze and 40 Nights Demo, 1993
Blatherskite Best of/Compilation, 1994

BLATHUDAH (AUSTRALIA)

Except for the last track which is a joke, these guys pull out some awesome thrash of the classic school, with a certain technical edge which reminds me of the one album wonder Deztroyer; too sad that apparently they're no more. "Terror Australis" will blow you away, with its intense steel riffs and fast tempo: speed/thrash at its most shining best. "Bleaten" follows suit, and gives the EP another fast-paced push, by at the same time giving a more technical edge to the guitar work. "Portrait" pauses for a break, with crushing, mid-paced guitars, and is virtually an instrumental, if we exclude the samples from films included. The remaining 3 songs carry the bigger technical charge: the fast "Spare Hell", which at some stage offers some wonderfully abstract stylish riffs; "Alemeant", which starts with hectic, choppy rhythm, before it explodes into another furious speedy riff-fest, again broken by a choppy section later on. "Freedom Of Choice" is the odd joke, crossover number at the end.

Spawnography EP, 1995

BLAYLOK (CANADA)

There are two styles at display on these three demos: the first two are heavy, technical thrash in the Nasty Savage-mould; the last demo is technical death metal similar to Death's "Human". The band are equally expert to deal with both styles in a magnificent way. Despite the unquestionable talent shown, Blaylok remain one of the many lost treasures of the metal underground.

No Exit Demo, 1989
Back to Reality Demo, 1990
Loosing my Mind Demo, 1992

BLEEDING FIST (SLOVENIA)

Raw aggressive hardcore-ish thrash reminiscent of Wehrmacht in terms of speed, but in execution this is far inferior.

In Your Face Demo, 2006
Immortal Hate Full-length, 2006
Funeral... (Second version) EP, 2007

BLEED SOMEONE DRY (ITALY)

Modern thrash, with a shade of hardcore; the guitar sound is heavy and pounding, and sparcely some really stylish leads could be heard. When the band feel like thrashing, they come up with some good headbangers ("Where Is The Man?"), and they should stick to this side more frequently for the future.

The World Is Falling In Tragedy Full-length, 2007

BLESSED DEATH (USA)

A legendary speed/thrash metal band. The debut is not all-out thrash, closer to Destructor's "Maximum Destruction" than Exodus' "Bonded By Blood"; it still delivers the goods, mixing energetic, enthusiastic speedy tracks, with slower power metal ones. Two years later the guys were ready to compete with the best with the excellent "Destined For Extinction", which boasted some stupendous technical guitar work, as well as some unholy high-pitched screams which could make some of the more faint-hearted pass out, although they didn't sound inappropriate, considering the intense, uncompromising nature of the music. "Digital War" is a great opener, fast and aggressive, still conventional, with no hints at more technical times. "Pain Killer" thrashes even harder, bringing forward some more stylish guitar work. The remaining songs follow the model, mixing aggressive and more technical riffage, reaching the summit with the furious thrashterpiece "Pray for Death", which sees the singer reaching impossible heights, with his scary screams, which you might find hard to hear even on the goriest horror films, so be prepared to see your neighbours at the door, rushing to help you. The band decrease the intensity on the following two tracks, which are cool more laid-back speed/thrashers.

The band were ready with a material for a third album, but the usual problems accompanying the metal underground, took their toll. It was in 2006 when this third album finally became a fact. Featuring mostly songs recorded in the late 80's, one shouldn't wonder how close to the band's previous efforts this new release is- another standout classic speed/thrash metal work. However, if you expect the non-stop thrashing madness of "Destined For Extinction", you might be left quite disappointed, especially in the beginning. "Fallen Walls" is a pure ballad, albeit quite good, and is probably not the best way to open a comeback release. "Your Are Nothing" already sounds like an "apology", with its much faster and aggressve approach, but all this gets lost for another two songs, one of which is another ballad ("Black Snow Sky"), this time heavier, but still... "Black Snow Sky" comes right on time, to keep the CD in the player, and what follows is even better- watch out for the raging thrashing number "Atomic Fear", and the mighty speed/thrash metal killer "Born Dead" in the Angel Dust vein, which finishes the album. Larry Portelli (the singer) spares his voice here, very seldom unleashing his famous horrifying screams ("Terminal Rage" and "Born Dead" are probably the only two times).

Kill Or Be Killed Full-length, 1985
Destined For Extinction Full-length, 1987
Hour of Pain Full-length, 2006

BLIND ILLUSION (USA)

This band achieved cult status after the release of their only album, and well deserved at that. "The Sane Asylum" is actually the second serious attempt at progressive thrash from the American metal scene after Watchtower's "Energetic Disassembly". Blind Illusion are more melodic, but no less adventurous with their roots firmly in Bay Area thrash, but they stray from them quite a lot, with nods to the progressive rock scene (Rush, Pink Floyd), all this developed on a heavy bass bottom courtesy of Les Claypool- one of the masters of bass, who later formed Primus, along with another Blind Illusion member- Larry Lalonde. For the average thrash metal fan the shorter, more direct numbers will definitely work better ("Blood Shower", "Smash The Crystal"), and maybe the wild combinations of straight aggressive thrashing, and more quirky riffage ("Vengeance Is Mine"), but the experimental spirit of the multi-layered progressive "Death Noise", the doomy, dark "Vicious Visions", and the melodic "Kamikaze" will be harder to swallow. "Metamorphosis Of A Monster" will be a delight to all: an awesome heavy technical thrasher, with some more eclectic passages. This is a unique work of thought-out metal, which apparently the band were not willing to mess up with a follow-up.

The Sane Asylum Full-length, 1988

BLIND JUSTICE (HOLLAND)

Based on "Sax & Violins": there is sax, there is violins, there are also death metal vocals. So...is there any thrash at all? Yes, there is- it's of the choppy, semi-technical nature with some surprising tempo changes. The violins especially give a nice, surreal touch to the music, and this approach has definitely been an influence on many gothic and doom metal bands later. Some of the compositions, those where the violins are only used sparingly, have a slightly mechanical, dry sound, typical for the late 80's works of Metallica, and early Meshuggah: "Down We Go", "Relief", and are quite good, albeit complex, with weird time changes and very heavy, crushing riffage. "Suffer" fits this definition as well, but there the violins are present all the time, and create a nice contrast to the smashing guitars. On the other extreme we have the aggressive, death metal-laced "Mother's Nature", which sounds line an almost different band, and kind of doesn't serve right the band's original approach. "Time's Ticking" is the highlight here, with its fast pace and harmonic play between the guitars and the violins; a really interesting take on thrash.

Sax & Violins Full-length, 1992
In Equilibrium... Full-length, 1994
Pissed EP, 1995
Hurt Full-length, 1996

BLIND SURGEON (USA)

A very good demo of speed/thrash which is not miles away from Flotsam & Jetsam's "No Place for Disgrace", having the same dark sound, with a similar deep bass bottom, although the songs are shorter. The music crosses over all tempos, staying mostly in the mid-paced sector. The guitars are crushingly heavy, but sometimes have the same buzzying sound close to the one on the aforementioned Flotsam's album, and the singer also has a clean voice, but unlike Eric A.K., he never tries to high-pitch scream, and is not as good, and as a matter of fact he sings on all songs with the same blend, except on a few occasions. "Peace Talks" starts with an awesome bass intro: something which even Cliff Burton (R.I.P.), or Jason Newsted, would have liked.

Split Decision Demo, 1988

BLISTERED EARTH (USA)

This band is actually another quality thrash metal outfit- Crotalus, who have decided to change their name, but not their style which is awesome technical thrash in the Metallica and Testament vein. There are some tracks ("1981") which bring Megadeth to mind, too. In other words, fans of the great American thrash bands of the 80's, here is a band who give you all of them in one single album! What more can you possibly want? There is a nice cover at the end- Judas Priest's immortal "Electric Eye".

Blistered Earth EP, 2000
All Thrashed Up and Nowhere to Go EP, 2002
Blistered Earth Full-length, 2004

BLITZSPEER (USA)

To call this a real thrash metal album, might be a kind of an overstatement. However, it has the raw, aggressive attitude, it's just that the music might not strike you as such. Shades of punk, even glam-metal meet some heavier, semi-thrash riffs, bringing this band closer to bands like The Almighty.

Saves Full-length, 1991

BLIZZARD (GERMANY)

Motorhead is the primary influence on these guys. Thrash would be perhaps a loose description for their sound, although it reminds of some of the 80's heroes- Vectom, Exciter, to name a few; simple and basic, but enjoyable.

Hellish Rock'n'Metal EP, 2000
Pure Filth and Mayhem Full-length, 2001

BLOATED (SWEDEN)

Heavy, groovy thrash mixed with death metal and hardcore in a way not dissimilar to the last few Pungent Stench efforts.

Head on Charge Demo, 2004

BLOCKADE RUNNER (CROATIA)

Based on the "Heavenward" demo, this band offer melodic, slightly gothic-tinged thrash recalling mid 90's Paradise Lost ("Without Resort To Bad Force"), or more aggressive Motorhead ("Snakes in the Air"), or even Lake of Tears ("Crow of Hate"). Every song sounds different from the others creating a somewhat disjointed impression, as though the guys at that stage were still looking for the most fitting for them style.

Agony Demo, 1992
Entire Despair Demo, 1994
The Other Way Round Demo, 1995
Heavenward Demo, 1998
Heavenward II Demo, 2001
Follow Through Best of/Compilation, 2002

BLOHOLE (USA)

This solitary effort was made by the former Rigor Mortis members Casey Orr (also ex-Gwar, X-Cops) and Mike Scaccia (who is also a full-time guitarist in Ministry). The music here is strictly played for fun, being melodic punk-ish thrash/crossover, sounding like a thrashy mix between The Offspring and Motorhead.

Leave it to... Blohole Full-length, 2002

BLOOD EMPEROR (UK)

Based on the "The Unmarked Grave" EP, these guys play heavy, crushing thrash/death metal reminding of Bolt Thrower and Amon Amarth at times, and Morbid Angel in the more technical and faster moments ("Infernal Damnation").

Bloodlust EP, 2004
The Unmarked Grave EP, 2006

BLOOD FEAST (USA)

A band whose passion for metal must have been aroused after having listened to Slayer's "Reign In Blood". And indeed, Blood Feast try to play aggressive thrash in the vein of Slayer on their debut with some proto-death sections, and while at times the music hits the mark, more often it sounds like a failed attempt. The next release is a huge improvement showing the band as much better musicians, with some excellent guitar work and less derivative song writing.

Kill for Pleasure Full-length, 1987
Chopping Block Blues Full-length, 1989

BLOOD MAGIC (USA)

A live album consisting of five songs of aggressive 80's thrash akin to Hallows Eve, or Slayer ("Death March") and more temperate power/thrashers not too far from Meliah Rage ("Moida").

Live from Just Bills Live album, 2005

BLOOD MONEY (UK)

A very good, short-lived early British thrash metal band whose style is very catchy with memorable tracks, still rooted in the NWOBHM-wave. Most of the time the guys manage to pull out some nice speed/thrash riffs, not too far from Agent Steel's debut, but there are songs which are in mid-tempo, with a simplistic, basic sound, and very enjoyable. "Red, Raw and Bleeding" is probably the better, and more aggressive effort, with some notable energetic thrashers: "Death Heavy", "Gor", "K.Z.F.E.D.K.", "Metalyzed" (this one is a great speed/thrash hymn), the speed killer "Stormer". The slower, more power-metal tracks are by no means worse, and are very catchy, with their infectious choruses and simplistic, enjoyable riffs: "Deathstiny". "Lazarus" is a great track, up-tempo, with some epic atmosphere, created mostly by the excellent dramatic, semi-high vocal delivery (Danny Foxx remains one of the unique voices in metal, and is the main asset of the band).
"Battlescarred" still retains some of the energy and speed of the debut ("Atlantis", "Battlescarred", etc.), but the guitar work is not as sharp, and the sound smells speed metal most of the time, with some really worthy pieces: "Shapeshifter", sounding close to Destructor and the Blessed Death debut. Still most of the tracks are catchy and memorable, with Fox sounding jollier and higher here. "Charnel House" comes with slower, but more intense, heavy riffage, and is an awesome galloping thrasher, followed by the fine speed/thrashing "Mutant". Like quite a few of their colleagues, this band called it quits after just two albums; Foxx later formed several acts, with no ties to thrash, except the one under his own name, with whom he recorded just one demo.

Red, Raw and Bleeding Full-length, 1986
Battlescarred Full-length, 1987

Vibrations Of Doom

BLOOD QUEST (USA)

Based on the "Molten Mortals" demo, this is quite good modern/classic thrash, with some touches of power/speed metal, but not of the cheesy type, but more along the lines of the early efforts from the German scene. The music is speedy, with cool melodic leads, and harsh, death-ish vocals. There is also a cool, more up-tempo cover version of Judas Priest's hit "Breaking the Law".

Demo 2004 Demo, 2004
Molten Mortals Demo, 2005

BLOOD RED ANGEL (GERMANY)

The band's style is a cross over the whole thrash metal spectre. You can find moments from the 80's scene as well quite a few from the modern one. The closest soundalike would be the Kreator works from the new milennium or 90's Testament, but still the old school sound is present quite strongly. "The Language of Hate" is perhaps the band's finest achievement, with a sound closer to the old school, lacking the slightly mechanized sound of the guitars acquired on later releases. The band are not very fond of fast, aggressive play, so there is quite a variety of tempos on their works, and they even mix things with some playful, punk-ish tunes ("Frontline" from the debut).

The Language of Hate Full-length, 2000
The State of Insanity Full-length, 2001
Crime entertainment Full-length, 2004

BLOOD STORM (USA)

Blood Storm will probably remind you of their compatriots Usurper, with their penchant for heavy, stomping riffs ala Celtic Frost, but whereas Usurper go quite often into death metal territory, these guys prefer to insert some old school black metal, and as a result we have a very potent fusion of mid-tempo material which is not too far from early Sodom, or the Canadians Slaughter (there is a very cool cover of that same band on "Ancient Wraith Of KU": "The Curse"), and a slower, crushing one in the tradition of early Celtic Frost.

The Atlantean Wardragon Full-length, 1997
Pestilence From The Dragonstar Full-length, 1999
Ancient Wraith Of KU Full-length, 2001
Sirian Storm Full-length, 2005

BLOOD THIRSTY DEATH (USA)

Based on the first demo, this is brutal death/thrash metal, one of the early examples of the genre, with the already well shaped death metal vocals, and short 1.5-2min tracks. The musicianship is pretty basic, and there is very little to be heard here except brutal, merciless bashing.

Demo #1 Demo, 1988
Attendant Upon God Demo, 1989

BLOOD TSUNAMI (NORWAY)

The album title says it all- this is thrash metal which walks the line between the classic and the modern school. Some of the solo work goes even beyond thrash into power/speed metal territories, and is quite impressive. The album flows in almost the same energetic, but not aggressive, thrash pace till it hits "Godbeater"- a 10-min. instrumental which is clearly the highlight of this good, but not exceptional, debut.

Thrash Metal Full-length, 2007

BLOODBATH (SERBIA)

Based on "Toxic Death", this is brutal thrash/death which will catch you completely unprepared with its uncompromising, merciless attack aggravated by the fact that this comes from a very obscure band and in the early stages of the death metal genre. A very good companion piece to the Swedes Merciless' debut and early Massacra despite the bad, buzzyng sound.

Toxic Death Full-length, 1989
Traumatic Memories Full-length, 1992
Frustration Full-length, 1993

BLOODBATH (USA)

Based on the "Grounds For Violence" demo, this is excellent heavy, semi-technical thrash along the lines of Nasty Savage's "Indulgence" and Infernal Majesty's "None Shall Defy". The heavy music creates a somewhat gloomy, dark atmosphere, and it has its fast, aggressive moments ("Inner Burning Pain") with nods to Slayer, as well as a more melodic, crossover side ("Midnight Snack"), but it's the pounding technical aspect of the other tracks which make this demo a recommended listen.

Plead Or Bleed Demo, 1988
Grounds For Violence Demo, 1989

BLOODBATH S.A.F. (USA)

This band, who were previously known just as Bloodbath (see the review above), play superb technical thrash with some heavy moments ala late 80's Metallica and mighty riffs, and a nice crossover closer-"Scared To Death". With just one demo these guys managed to create an impression which is hard to achieve by bands with a few full-length albums in their discography.

Erase Your Face Demo, 1991

BLOODCUM (USA)

Brutal thrash metal obviously influenced by Slayer's "Reign In Blood" and Dark Angel's "Darkness Descends". Some jokes thrown in, too ("Happily Married"). Speed and energy aplenty- what more could you wish for?

Death by a Clothes Hanger Full-length, 1988

BLOODHAG (USA)

Based on the debut, these guys play a quite enjoyable, but also aggressive mixture of grind-core and thrash not too far from bands like Ghoul and Frightmare. The songs are blasting, short; worth of note is that the lyrics are based around the works of some of the greatets science-fiction writers (Arthur Clarke, Isaac Asimov, John Tolkien, George H. Wells, etc.), infused with a great doze of humour.