The Thrash Metal Guide

\ 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

C.F.I. (USA)

Very good demo which crosses the aggressive thrash of Slayer and Dark Angel with heavier, pounding riffs in the vein of Nasty Savage and Anvil; very good vocals, too, similar to Jimmy Hamilton from Intruder.

Demo Demo, 1988

C.I.A. (USA)

Having gained enough experience from the thrash/crossover arena with Nuclear Assault, a guy called Glenn Evans has decided to form his own band. The style remains thrash/crossover, but is more melodic and less guitar-driven. Dan Lilker and Anthony Bramante from his old band guest on "In The Red". "In the Red" is a cool, albeit not an ecxeptional debut, simply because along with the hard-hitting thrashing numbers, there is a certain amount of pointless, heavy metal-based ones, and this contrasting mixture doesn't seem to work very well all the time.
"Attitude" is more consistent, with no big jumps from one style to another, but the guitar work is less edgy, compared to the more aggressive side of the debut. The songs all have a thrashy vibe, but the tempo stays within the mid-range, accelerating on the last two songs, which are cool little thrashers.

In the Red Full-length, 1990
Attitude Full-length, 1992

C-187 (USA)

When former members of the greatest technical death metal acts get together (in this case: Atheist, Cynic, and Pestilence), what possibly could you expect? A stellar technical death metal album. Well, but this is not exactly what this album stands for; the guys have decided to shift from the expected path, and have created certainly technical music, but it might not satisfy their die-hard fans; so what we have here is groovy technical thrash with no shades of death metal whatsoever, sounding like a more technical version of Pantera and Machine Head. There are plenty of cool heavy, pounding riffs as well as interesting twists and turns, and if this album had been released by other musicians, it could have had a bigger appeal. Now it still sounds good and fairly interesting, but we all know that these guys are capable of much more.

Collision Full-Length, 2007

C-T PREVAIL (NORWAY)

Modern thrash, which combines the groovy side of the modern sound with more intense sections; the short, aggressive tracks ("Listen") really lift up the mood, but they are not too many, and the rest is pretty derivative and predictable, accompanied by awful, shouty vocals.

She Said CT Didn't Give Her Anything EP, 2003
Metalweekend, Ålesund 2003 Split, 2003
Mean Season Full-length, 2008

CABAL (USA)

Mr. Killjoy (Necrophagia) continued his career after his main band's split-up with two projects- this one, and Killjoy. Although using almost the same musicians on both albums, this one is by far the better featuring brutal forceful death/thrash not too far from the Swedes Merciless' debut, or Gammacide's "Victims Of Sciense". The guys bash without mercy the whole time, even on the 8-min closer "Nocturnal Reign" (a great slab of intense semi-technical thrash/death with a top-notch balladic lead-driven middle break), the aggression sometimes reaching impossible heights ("God Complex"). Only "Past Sins" tries to escape the categorization, by sounding slower and more technical. Killjoy is all over the place, with his capable brutal John Tardy-like scary shouts. Perhaps this effort will remain his finest "creation".

Midian Full-length, 1990

CABEZA DE MARTILLO (PANAMA)

This band is actually one of the first metal bands in Panama, having started as a Metallica cover act in the mid-80's. Based on "Crónicas del Dolor", the Metallica influences have been put far behind, and what we have here is modern thrash with a certain hardcore touch, mostly heavy and mid-paced, but would have its appeal to the more classically-inclined fans with energetic old school thrashers like "Adentro" and "Sexpiritual", and occasionally tasteful guitar work.
The debut is quite close sound-wise to its predecessor, maybe scoring a bit higher in the lead department, but there is nothing faster going on, except for the more intense thrashcore piece "Coito", and the dynamic mid-paced crusher "Que Vas A Hacer". "Dreamer" is a cool semi-ballad, with a nice chorus and stylish acoustic guitars; watch out for the aggressive thrashy ending as well.

Invasión Full-length, 1996
Crónicas del Dolor Full-length, 2000

CABRA (ARGENTINA)

Modern thrash with touches of hardcore of the mid-tempo variety, boring and uneventful, with angry shouted vocals and repetitive tedious riffs.

Actitud EP, 2009

CACERIA (ARGENTINA)

This young Argentinian band offers modern, groovy thrash, which is not too bad, especially when it speeds up (the opening "Una Razon"), but this should happen more often for the future, since quite often the music lacks an edge, smelling even nu-metal on the less inspired sections ("Alrededor").

Cortagargantas Full-Length, 2007

CACOPHONY (USA)

The guitar heroes Marty Friedman and Jason Becker are in full swing with this act. It may be far-fetched to call their debut a "speed metal symphony", since the very fast (think early Helloween, or Solitaire and Cranium from the more recent past) moments are not that many. "Savage" is a cool galloping power/thrash opener, with the guitar wizardry overshadowing the characteristic gruff semi-clean vocals, which are an acquired taste, and could annoy some. The real speed attack starts with "Where My Fortune Lies": a hard-hitting number with vicious riffs and blitzkrieg swirling leads. "The Ninja" is not as fast, and is mostly a vehicle for the two guitarists to "duel" without too much interference from the others. "Concerto" will remind you of the early exploits of Friedman on the Hawaii albums (remember "Overture Volcanica" and "Rhapsody In Black"), and is truly a fine piece of classical-influenced speed metal shred. A heavier, more thrashy number follows: "Desert Island", with the singer taking over, and the two guitar boys taking a rest, except for the head-spinning break, which is kind of a warm-up for the last "symphony": "Speed Metal Symphony"- another instrumental with a constant "duel" between the main characters, lasting for nearly 10-min.

"Go Off!" starts promisingly with the 10-ton hammer "X-Ray Eyes", a really cool heavy technical thrasher, recalling quite a bit the style of another guitar virtuoso's act: Tony Fredianelli's "Apocrypha", with the singer trying really hard to play a more prominent role in the proceedings, with a more dramatic and melodic approach, and may cause quite a few laughs along the way. "ESP" follows the same formula, and so far the listener may not really miss the speed from the previous work, here replaced by a heavier, thrashier sound. The lead guitar mastery on both songs flashes in the middle, but both are mostly riff-driven affairs. "Stranger" pulls the album down considerably, being a bland boring hard'n heavy filler, with even the guitar work doing very little to save it. The immediate "excuse" comes in the form of "Go Off": classical shred instrumental, followed by the overlong, slower epic "Black Cat", with the guitarists in fine form. They raise their swords... sorry, guitars, high on the excellent aggressive speed/thrashing fest "Sword Of The Warrior", graced by the finest guitar performance on the album. The guys need a break again, after such an intense show, and here come the good semi-ballad "Floating World", where finally the singer does some decent job with his clean tone. "Images" is a balladic instrumental, but is a really compelling listen, with superb guitars all over, with some of the finest leads of the 80's involved here. As a whole this effort is not so much about speed, but the first one was not about that too much, either (except for the title perhaps), and could be considered the better achievement, showing the two masters having found the right way to co-exist without any frictions.
Alas, the band was no more soon after, with Becker releasing his very good solo album "Perpetuel Burn" a few months later, which remained his only release in quite a while: he was diagnosed with the very rare ALS (Lou Gehrig's Disease), which is still a big obstacle for him to play, and even walk and speak, although with the help of other musicians he was able to release three more albums, including 2008's "Collection", which is indeed a collection of his best moments from his solo work and the work with Cacophony and David Lee Roth.
Marty Friedman also released his first solo album the same year, titled "Dragon's Kiss", and soon after joined Megadeth, and his outstanding performance sonsiderably pushed that band's ascension to stardom in the 90's. He continued releasing solo affairs throughout the 90's and the new millennium, concentrating more on Japanese rock, rather than metal, and also guested on Tourniquet's excellent "Where Moth and Rust Destroy".

Speed Metal Symphony Full-length, 1987
Go Off! Full-length, 1988

CADELA MALDITA (BRAZIL)

Cool energetic thrash/crossover with fast vigorous riffs sounding close to the Uncle Slam debut and D.R.I. on the more straight-ahead hardcore sections ("Fight to Survive"). A tleast half of the songs are full takes on intense thrash ("Mediocrity Cycle"; this one comes with a slight aggro-tone), but don't miss out on the few pure crossover delights ("Freestyle Religion"), or on the short aggressive hardcore closer "Cold, Blooded, Murder".

Fight to Survive Full-length, 2006

CADENA PERPETUA (SPAIN)

Based on "Agonia", this is melodic power/thrash, which has already managed to acquire more modern tendencies, in a way not too far from the style the Argentinians Horcas were displaying at around the same time. The music is mostly mid-paced, with the occasional speedy section, with good lead guitar work and heavy riffs which are way superior to the indifferent throaty hardcore vocals. Some of the band members are still around with their new formation Opera Manent, where the music is more technical with progressive overtones.

En Nombre de la Paz Full-length, 1990
Agonía Full-length, 1993

CAJE (USA)

Old school power/thrash; the music is predominantly heavy, but tracks like "Xnatas" are major headbangers and stir up the mood. But there are not too many of them this time, and the album inevitably starts to drag towards the end, a situation worsened with the inclusion of an 8-min ballad -"The Hole". Could be forgiven, it's their first album after all.

Caje Full-length, 2006

CALCULATING COLLAPSE (USA)

Pedestrian modern thrash constantly alternating between fast and slow sections, with metalcore breaks and very low-tuned death metal vocals.

Demo Demo, 2008

CALDERONE (GERMANY)

A nice little EP of German speed/thrash metal: think Warrant, Iron Angel, Paradox, early Angel Dust, topped by impressive lead guitar work, finished with a truly aggressive piece of thrash: "Quick One", which rivals even the more extreme (agression) Kreator songs from the same time.

Calderone EP, 1988

Vibrations Of Doom

CALHOUN CONQUER (SWITZERLAND)

Technical/progressive thrash, but having little to do with Coroner although coming from the same country; the riffs are not very technical; it's the way the songs are structured which makes the band's sound complex. The EP is the much inferior effort with a simplistic, almost hardcore-ish sound on the first 2 songs, and slower, but not very convincing one on the next two, bordering on doom and early Celtic Frost (these guys must have influenced every second Swiss band at those times, more or less).
Based on this material, the full-length comes as a complete surprise, revealing fully the band's potential to write more thought-out and complex songs. Even the less-than-a-minute, obscenely titled "Fuckhead" carries a certain technical charge. The music is mid-paced, with the presence of a few faster "traps" ("Psycho Trap"), with an interesting, unusual dream-like quality, typical for works like Voivod's "Killing Technology" and Equinox's "Xerox Success". The riffs are not sharp, and carry a lot of melody, as well as a shade of the playful hardcore spirit of the debut EP. The vocals are a downpoint, though, with their unemotional, semi-declamatory delivery, recalling Killing Joke.

...And Now You're Gone EP, 1987
Lost in Oneself Full-length, 1989

Vibrations Of Doom

CALIBOS (CZECH)

This is Calibos' only album which would be interesting to thrash metal fans. The music is speed/thrash in the Paradox-mould, but at times it also recalls Iron Angel's "Winds Of War"; a very good stuff, will also appeal to fans of early Helloween- listen to the awesome hymn "MakLeoD", which is a pure speed metal delight. The speed predominates, but some slower, more relaxed songs are also added: "Velkomesto", and the ballad "Terasy". When the guys get angry, they come up with mighty thrash riffs: the great smashing headbanger "Notorikuv Sen"- a masterpiece of speed/thrash. The other songs are more thrash-inclined, some even being of the heavier, stomping type: "Smrt". This was an impressive entry for the band into the metal arena, but they softened the sound on future releases, settling for speed/power metal of a more ordinary nature, a style typical for the 90's.

Calibos Full-length, 1992

CALIGULA (USA)

Another band where we have a Whiplash member involved; this time this is Tony Portaro, but he doesn't sing on this demo. The style here is neither too technical, nor too aggressive, like the title suggests, but has a little from both; it's close to 80's Flotsam & Jetsam, "No Place for Disgrace", in particular, with great bass work and quite fast-paced songs. "Paralysis" is a great speed/thrasher reminding also of the German school: Toxic Shock, Exumer.

Technical Aggression Demo, 1987

CALVARIO (CHILE)

There's only one guy involved here, the name is Gonzalo Fuentealba, who is also responsible for quite a few other Chilean underground acts, like Terror Strike, Miserycore, Thrash Attack, etc., but this 3-song demo is clearly his least capable effort. He creates a little more than just plain noise offering raw amateurish black/thrash and something in-between, constantly fast and blasting, with an awful sound quality and fairly vicious throaty declamatory shouts which, even with a very vivid imagination, could hardly pass for singing.

Satan Holocaust Demo, 2008

CAMLANN (USA)

This act is the "brainchild" of Agravain, who specializes in a mostly instrumental amalgam of thrash, speed, death and even a bit of black metal. "Caladbolg" is a good example of his vigorous interesting style, which starts in a raging manner with a couple of speedy death/thrashers, which show the guy in a bright light, mixing very fast blasing sections with nice laid-back lead-driven ones. Then comes "A Valiant Sacrifice", which is an epic/power/thrash opus. "Thorns of Eden" is much slower, a mix of doom and ballad. The slow climax is reached on the next "Journey Through The Pagan Woods", which is a very cool acoustic instrumental with a pagan touch (hence the title). "The Forest of Einnashe" brings the sound back to the more extreme patterns, now with a touch of industrial, and "Noble Phantasm" is more than welcome being a happy power/speedster in the tradition of the 90's, also boosted by a nice folk keyboard background. "Angra Manyu" at the end is really angry, an aggressive thrash/death piece with a hectic technical twist. Despite a few exits from the intense formula, this effort shows a versatile musician expertly blending contrasting passages without messing it up.
"Heaven's Feel", which is the guy's third (and a secong full-length) release for 2009, is just one long 40-min composition, which goes through a few stages: noisy ambient which starts and closes it, and in-between one can hear mostly thrash, with a participation of low-tuned rough death metal vocals. The music ranges from all-out speed to minimalistic doom metal moments, but unfortunately is not given a lot of space, with the noisy/industrial/ambient passages taking a considerable part, breaking unevenly the more musical ones in the form of interludes as well. The guy, under his real name Chris Broyles, also takes part in the death metal outfit Mizeria.

Charybdis EP, 2008
Scylla EP, 2008
Caladbolg Full-length, 2009
Loli Speed Metal Split album, 2009
Heaven's Feel Full-length, 2009

CANCER (UK)

After two quality death metal releases, Cancer turned to 80's thrash metal for inspiration to the big surprise of their fans. They have done a very good job playing fast/aggressive thrash on "The Sins Of Mankind". There's not a moment lost with this one; the guitar work continues with the genuine, but not very overt technical edge from "Death Shall Rise". "Cloak Of Darkness" shows from the very beginning that here speed and aggression will play a secondary role. "Electro-Convulsive Therapy" is a more intense number, suggesting at the band's recent past, adding some Floridian death-metal riffage to the picture. But later on thrash reigns supreme, sometimes being of the heavier, stomping type ("Meat Train"), sometimes again death metal-tinged ("Suffer For Our Sins"), sometimes quite technical and frantic (the 2-part "Tribal Bloodshed", which offers aggressive bashing in the 1st part, and great dark, doomy thrash in the 2nd part, supported by nice Oriental tunes).
"Black Faith" continues in the thrash metal mould, but is a lot less impressive, trying to "update" the band's potent sound with modern implements, resulting in a really bad mish-mash. On top of that comes the much more melodic guitar work, which at times has almost nothing to do with thrash ("Who Do You Think You Are", the awful balladic/doomy "Without Cause", which is miles away from the class of "Tribal Bloodshed"; and many others). To write in details about this album, would be a total waste of time; there's not a single track where one could bang his head at least for a second, except, only... ha ha!, that's funny: on the Deep Purple cover "Space Truckin'", which is the most aggressive track here.
The band disappeared after this one (and well deservedly so) to return 10 years later, with a sound which is an almost direct continuation of the really bad "Black Faith". Some more aggressive riffage has been added, only slightly hinting at the band's much higher potential.

The Sins Of Mankind Full-length, 1993
Black Faith Full-length, 1995
Corporation$ EP, 2004
Spirit In Flames Full-length, 2005

CANDY STRIPER DEATH ORGY (USA)

Based on the first demo, this band with the very interesting name (there's no trace of death metal here) comes up with excellent classic thrash metal, which shares some of the aggression of Slayer and Vio-lence, but most of the time speeds up admirably, recalling Angel Dust and Destruction. The mixture works just perfect, "marrying" successfully the two styles from both sides of the Atlantic ocean.

Candy Striper Death Orgy Demo, 1990
God Bless Nuclear Warfare Demo, 1993
Massive Killing Force Demo, 1995
Ground Pounding Thrash Metal Demo, 1999

CANKER (SPAIN)

This trio (there are three people in the band) pulls out excellent technical thrash/death metal of the classic school; fans of Nocturnus, No Return, Pestilence and Death will love them. "Physical" is a very promising start for the band; "Inquisition" opens it in an awesome way, with furious, very fast riffs, mixed with stupendous technical ones. "Opus Death" is even more aggressive, with raging blast-beat sections, leaving little room for any technical exploits, which come with "Obliteration": a masterpiece of technical/progressive death/thrash, with a standout guitar performance, covering quite a few tempos and time changes. "Big Shit" is a direct little death metal explosion, but you can't expect more from a song with a title like this. After this short pause for a break, "Canker" comes splashing with hectic, complex riffage, sounding like a more technical Slayer, with a pinch of death. "Dark Destiny" is a marvellous technical speed/thrasher, with a direct nod to the Bay-Area scene (VioLence, Forbidden), with a twist. "Torture" thrashes in the same striking manner, maybe with a stronger presence of death metal, which warms up the listener for the larger-than-life progressive "Physical", which within its 10-min contains all which first-rate technical/progressive thrash/death is about: fast headbanging sections, twisted technical passages, swirling leads, a not very long quiet balladic moment, sparce blast-beats, and more.
"Exquisites Tenderness" is more moderate, and closer to death metal, and could be considered the better effort. "Carrion" is a furious blasting piece, which would probably make you think that the order of the day here would be straight-in-your-face brutal death metal. "Out Of Control" changes the course, towards a slower stomping sound in the Bolt Thrower vein; nothing too technical here again. But with "Astral Voyage" the technicality arrives, and this song is a very cool progressive-laced thrasher, recalling Nocturnus and Pestilence, with a superb lead passage. "Evil Attack" is an attack indeed, and not of the evil (pun intened), but more of the jumpy, hectic, technical thrash type. "Exquisites Tenderness" is a small thrash/death piece, again with a strong technical edge, whereas "Dream Killer" is pure Death-worship, and could be very well placed on "Human". "Hardcore" is not hardcore, like the title suggests, but is a direct aggressive thrash number ala Slayer. The last track "Anachronia" is very similar to "Physical", the debut closer: a progressive thrash gem, starting in a more peaceful gothic atmospheric manner, before it continues in a more aggressive way akin to Pestilence and Death. The band is reportedly still active, but apparently they like taking their time.

Physical Full-length, 1994
Exquisites Tenderness Full-length, 1997

CANOBLISS (USA)

"Liberation of Dissonance" is an interesting blend of progressive modern metal and thrash. The more intense sections take turns with really soft alternative/progressive moments, but on some tracks thrash reigns supreme, and it's of the heavy pounding type: "Insurrection". Otherwise at least half of the album flows like a more aggressive Tool, if we also exclude bland pointless groovy pieces, like "Hello". "Pneumatic" is a sudden revelation: a more aggressive technical thrasher, which breaks the established idyll, paving the way for one more thrashy delight: the heavy stomping "Automation".
"Psychothermia" is more of a full-length, with its whole 8 songs, rather than an EP, and is a much better effort, from a thrash metal point-of-view. It starts in a scarily aggressive fashion, with the 10-ton hammer "Notorious", which crushes without mercy. "Psychothermia" is a sinister progressive thrasher, after which comes more time for more direct headbanging (this is relative), with "Convicted Again". "Adios" is another exemplary modern technical piece, with nice melodic hooks, and a very catchy chorus, sung in Spanish. "Slingshot" is all-out thrash rage, with a very cool progressive twist. "Pangea" is not very far behind, a nice blend between thrash, progressive and alternative, strangely reminding me of Depressive Age, but in a more modern way. The closing radio edit of "Convicted Again" is almost as convincing as the original, if not even better, where the elusive Oriental tune can be more clearly heard, and the nice guitar duels kind of have more edge.

Demon Angel Full-length, 2004
Liberation of Dissonance Full-length, 2007
Psychothermia EP, 2008

CANTARA (HOLLAND)

The band's style varies from aggressive, technical thrash/death on "Dark", to gothic-tinged, more melodic, but still effective death metal on "Fields Of Everlasting Serenity". "Dark" is the better effort with great riffs in the Death, Pestilence-vein; a very good band from the Dutch underground.

Dark EP, 1993
Fields of Everlasting Serenity EP, 1998
A Moment To Reconsider Full-length, 2006

CAPHARNAUM (FRANCE)

Competent, but pretty ordinary 80's thrash metal; there are attempts at longer, more atmospheric songs which end up sounding more like Candlemass than real thrash ("Last Vision"), and, ironically, they save this album from sinking completely. The opener "Heirs Of Humanity" is also worth mentioning, being a more ambitious composition with progressive tendencies; "Some Still Universe" is not too bad, either, being an energetic thrasher, recalling Destruction and Sacrifice, but the rest is standard thrash, ranging from more aggressive ("Vivisection (Stop The Torture)", "I Am Dead") tracks, to happy, crossover ones ("Don't Let Me Down"). "The New Poor Of The New Rich" obviously "courts" Slayer's "Post Mortem" in the beginning, but lacks its explosive continuation, remaining in the mid-tempo parameters.

Capharnaüm Full-length, 1993

CAPTOR (SWEDEN)

Based on "Lay It To Rest", this is very cool music which swings between the aggressive thrash/proto-death of Sepultura's "Beneath the Remains" and the heavier mid-paced approach of "Arise", by adding more technical elements ala Death's "Human" and Coroner's "Grin" plus good longer heavy, progressive/technical tracks ("Fundamental Influence"), which would stand proud even on Dark Angel's "Time Does Not Heal" or Heathen's "Victim Of Deception". The singer is scary with his forceful semi-death/semi-Max Cavalera tone, and the bass support is very strong. This debut was an awesome start for the band, but it overshadowed everything which followed suit; the band's subsequent efforts turned for inspiration to modern 90's thrash, with mixed results.

Lay it to Rest Full-length, 1993
Refuse To DIe EP, 1995
Drowned Full-length, 1996
Dogface Full-length, 1998
Alien Six Full-length, 2001

CARBIDE (USA)

This band is a must: first-class technical speed/power/thrash recalling late 80's Helstar, among others. It's a real revelation to hear "Spiral Termination" in the mid 90's blasting through the speakers as though the golden period of metal has never been gone. "Total Impact" opens the album in an awesome way, with very heavy, steam-roller like and sharp guitar work, and a massive bass bottom, creating dark, gloomy atmosphere. Most of the tracks flow in the same vein, with few exceptions: "Roll the Dice", which is pure speed metal joy ala Exciter, and "Life On A Line": a heavy metal number, which sounds as though directly taken from the Accept works from the mid-80's. The last song: "Into the Grave", is two Black Sabbath tracks put together, as cover versions: "Into the Void" and "Children of the Grave".

"Product Of The Real World", despite the 4-year gap, is another stellar effort, featuring the same thick, heavy sound from the debut. The music is faster and more thrashy, and less technical; the vocals are angrier, almost hardcore-ish. But the riffs will smash you all over, especially those on the mighty headbangers "Deathmachines" and "Psych 101", which also comes up with brilliant, machine-gun like guitar work. A great unknown band, who belong to the very front row of metal.

Spiral Termination Full-length, 1994
Product Of The Real World EP, 1998

CARBONIZED (SWEDEN)

This is the band where the almighty Christofer Johnsson (Therion) started his career, along with another Therion member (Piotr Wawrzeniuk). His vocals are in a very good form, aggressive and vicious, suiting the music perfectly. The band's first three demos are quite aggressive thrash/death, one of the most brutal works which were released in Europe in the late 80's. This is simple, but intense music which sounds more aggressive than the works of their French counterparts from the same time. There is not much technicality, or original moments which could later be heard on the early Therion albums; some very good bass work is involved, but the rest is straight-forward.
"For The Security" increases the technical play, but also the speed and brutality (there are no shades of thrash here anymore), and could easily rival even Suffocation's debut in those both criteria. The next two efforts stay true to the original and interesting music already displayed, but death metal is a distant memory: this is a quirky jazzy form of alternative progressive metal/rock, which sounds interesting, but considering where the guys have started from...

Au-To-Dafe Demo, 1989
No Canonization Single, 1990
Recarbonized Demo, 1990
Cronology of Death Split, 1991
For the Security Full-length, 1991
Promo Demo, 1992
Disharmonization Full-length, 1993
Screaming Machines Full-length, 1996

CARCAVA (COLUMBIA)

Based on the "Depression" demo, these guys play heavy thrash/death with steam-roller riffs and sudden sparce fast outbreaks. The doom metal tones are hard to be disguised, and they work quite well along with a couple of more lyrical balladic deviations making the funeral doom epic "Insane" the highlight to which the gloomy low-tuned vocals fit just perfect.

Promo Rehearsal Demo, 1994
Depression Demo, 1996

CARCER (BULGARIA)

This obscure act pulls out laid-back modern 90's thrash with more intense "remnants" from the 80's: the speedy "Ubiistvo". The music is pretty ordinary with the occasional technical flair (some cool twisted riffage on "Piratski Glad"). The singer plainly shouts, and his only attempt at singing is on the abrasive ballad "Samota".

Under One Flag Split, 1994

CARDINAL SIN (PUERTO RICO)

And here comes a band from Puerto Rico, of all countries. The guys play good, energetic thrash with a certain doze of humour reminiscent of Anthrax. No single traces of reggae or samba (sorry, this was in Brazil!); energetic tempos and some very tasteful solos will one hear most of the time. There is also a cover version of the melodic hard'n heavy stars Night Ranger (if this is not a rare choice, I don't know what else is!): "Don't Tell Me You Love Me".

Infanticide Demo, 1989
Querer es Poder Demo, 1991
Resurrection Best of/Compilation, 2004
Secret Vault Exposed Volume 1 Best of/Compilation, 2004

CARDON CRIPTA (MEXICO)

"Orgías de Sangre" is just one track of very amateurish hardly audible black/thrash in a fast brutal tempo. References are not very easy to be made, since the sound quality is awful, maybe early Absu and Impaled Nazarene with very husky semi-whispered vocals. The guys indulge in pure black metal with their other project Armada de la Oscuridad, which demo also features the song heard here.

Apokrufos Medicus Demo, 1994
Orgías de Sangre Single, 1998

CARNAGE (USA)

This band was formerly known as Metal Onslaught. The music here is better, being a nice blend of aggressive Slayer-esque riffs, and more technical ones ala Kreator's "Extreme Aggression" and "Coma of Souls". The tempo is fast and intense spiced with cool stylish technical breaks. The vocals are also quite good coming as a mix between Steve Souza (Exodus) and Bobby ``Blitz`` Ellsworth (Overkill).

Killing Spree Demo, 1989

CARNAL FORGE (SWEDEN)

One of the pioneers of modern death/thrash metal along with The Haunted and Dew-Scented; there's hardly anything which hasn't been said and written about this band- thrash on!

Who's Gonna Burn Full-length, 1998
Firedemon Full-length, 2000
Please... Die! Full-length, 2001
The More You Suffer Full-length, 2003
Aren't You Dead Yet? Full-length, 2004
Testify for My Victims Full-length, 2007

CARNICA (BRAZIL)

This Brazilian trio pulls out a classic thrash/death metal hybrid along the lines of 90's Protector and the Merciless debut. The music is frequently fast, but never to the extent of brutality, and the slower breaks are more than just the odd interlude, plus a couple of short balladic passages. The singer comes as a gruffer and a lower-pitched version of Max Cavalera toning down the delivery for the fast blitzkrieg version of Venom's "Black Metal" at the end.

Rotten Flesh Full-length, 1999

CARNIVORE (USA)

A cult thrash/crossover band featuring Peter Steele (Type O Negative) on vocals; the music is quite fast and intense at times, quite slow and doomy at others. The self-titled debut is quite an energetic, also simplistic affair, which will stir your blood on the faster tracks ("Carnivore", "Armagedon", "Legion of Doom"), but it has its more serious, albeit not very well developed, and a bit dragging moments ("Male Supremacy"). "God Is Dead" is slower, and could have passed unnoticed, if it wasn't for the very cool ending, with a gothic shade, graced by nice operatic female vocals (look where the revolution in modern metal had begun!). "World Wars III and IV" is supposedly two songs: the 1st one is a cool speedy track with a Motorhead-vibe; the 2nd one is just noise, sounding as though the wars, mentioned in the title, have already begun.
"Retaliation" offers a more aggressive material, with a very direct, brutal hardcore-ish beginning ("Angry Neurotic Catholics", "S.M.D."). "Ground Zero Brooklyn" is a very pleasant surprise, being a nice slower, almost doomy number, with great crushing riffs, and remains the best song on this one. "Jesus Hitler" is a cool combination of thrash/crossover and doom, and is quite close at times to the early Type-O-Negative (Peter Steele's other band, with whom he explored the doomy fields much more profoundly) material. The same goes for the spacey "Manic Depression", after which the aggression returns with "U.S.A for U.S.A", and should have been the closer, because the last track "Five Billion Dead" is a somewhat pointless melodic instrumental, again reminding of the doomy character of the album, supported by very good bass work.

Carnivore Full-length, 1985
Retaliation Full-length, 1987

CARNUN RISING (IRELAND)

The band's style is mostly old school death metal along the lines of Morbid Angel's "Altars Of Madness" and early Death, but there are quite a lot of thrash riffs, too. There is a very nice cover version of Slayer's "South Of Heaven".

At the Dawn of a New Dark Age Full-length, 2003

CARRION (SWITZERLAND)

The band's singer V.O. Pulver has been all over the Swiss metal scene (Messiah, Poltergeist, Gurd). His first band plays speed/thrash metal akin to Vectom, Darkness, and Iron Angel, maybe faster than all those. The music clearly shows its age, but is enjoyable and energetic, with the presence of very cool guitar work ("Demon's Child"). We should give these guys a bonus for the fact that before them in Switzerland it was only Celtic Frost who have released a full-length on the more brutal side of metal.

Evil Is There! Full-length, 1986

CASBAH (JAPAN)

Casbah is arguably the oldest metal band in Japan (formed in 1983). "Dinosaurs" includes songs from all their periods: from the hardcore-ish beginnings on the first demos, to some good old school thrash in the early 90's, and finally reaching up to their full-length where the style is more modern, but delivers the goods all the same. The band is still active nowadays, and it is a curious fact that so far they have only released one full-length album.

Bold Statement Full-length, 1997
Dinosaurs Best of/Compilation, 1998

CASKETGARDEN (HUNGARY)

Based on "This Corroded Soul of Mine", this band plays modern thrash/death metal, energetic and fast, obviously influenced by the mighty At The Gates. There is nothing new here, but is done with professionalism and gusto.

This Corroded Soul of Mine Full-length, 2003
Open The Casket, Enter The Garden Full-length, 2006
Incompleteness In Absence Full-length, 2008

CASTLE OF BLOOD (USA)

Thrash/crossover of the more aggressive type, not too far from the early Prong works; the similarities in the vocal department are simply striking so you might get the impression that it's Tommy Victor who has lended his vocal abilities to this band for a while. These guys have the tendency to insert more melodic semi-punk elements ("Another Day"), but when they decide to be merciless, they are exactly that: "Deceiver" (you can't be deceived by this one).

Land of the Lost Demo, 1987

CASTROFATE (USA)

Melodic power/thrash with a more classic edge; the title opener is an awesome thrasher, but it kind of misleads, as what follows is less hard-hitting, and less impressive, with even modern touches sneaking through here and there, as well as quite good Iron Maiden-styled leads. Near the end the guys start taking themselves too seriously, and there are two long, sprawling tracks (one-7, the other-9min long) where the band tries something more complex, but the slightly repetitive and not very interesting riffs ruin the intentions.
"Cataclysmic Insanity" is an almost exact copy of the debut: melodic power/thrash in mid to up-tempo, featuring one good epic power/thrasher ("Reflections of the Past"), a couple of more intense headbangers ("Nightmares", "Futile Attempt"), and one interesting longer, almost technically-sounding at times, sharp piece ("Back in Time"). The album drags down quite a bit, hitting the bottom with the awful "Misguided Path": a very unlistenable attempt at blue-sy heavy metal. Such a diverse effort should definitely has its moments, but you know how a servant who tries to please/serve too many masters, ends up...

Awakening of the Beast Full-length, 2007
Cataclysmic Insanity Full-length, 2008

CASUS BELLI (GREECE)

The band's debut is typical speed/power metal with no any relations to thrash. "In The Name Of Rose" introduces some Annihilator-like riffs and the music gets a considerable edge, although the style remains close to bands like Attacker, Savage Grace and Judas Priest's "Painkiller". Power metal fans will find more to enjoy here.

Mirror Out of Time Full-length, 2001
In the Name of Rose Full-length, 2005

CATALEPSY (BELGIUM)

Based on the debut: good classic thrash metal which would have been better if it wasn't for the presence of more refined pieces as though the band wanted to attract fans from other, more melodic sides of the metal spectre: the light groovy hit "Brick By Brick", the soft, balladic "Here Comes King Gossip", the temperate heavy/power metal, with an alternative edge, "Clowns". The presence of those tracks makes it hard for the cool intense thrashers ("Hot Dog & Beercanhill", "Tortured Minds", "Suicide Letters") to raise this album on a high level, but, still, this is far from a mish-mash.

Fruitcakes We Have Known Full-length, 1993
Dragged Inside Out Full-length, 1994

CATALEPSY (FRANCE)

A good 3-track demo of solid classic death/thrash metal; the vocals are strictly in the death metal camp, and the music nicely switches from thrash to more intense death metal parts, resembling No Return's "Contamination Rises", but without any technical pretensions, although there are a few interesting riffs to be heard here, as well as stylish leads.

Carnal Offering Demo, 1992

CATALEPSY (USA)

Well-played although roughly produced mixture of thrash and classic heavy metal not too far from Laaz Rockit's "Know Your Enemy" or SA Slayer; the singer is a woman, and she pays her tribute to Bonnie Tylor with the cover version of her biggest hit "Piece Of My Heart".

Evil Within Demo, 1987

CATARACT (SWITZERLAND)

A modern blend of thrash and hardcore with occasional more extreme death metal elements.

Golem Full-length, 2000
Martyr's Melodies EP, 2002
Great Days of Vengeance Full-length, 2003
With Triumph Comes Loss Full-length, 2004
Kingdom Full-length, 2006

CATCH 22 (USA)

Although the band's first demo had been released in the distant 1989, it's almost ten years later when they manage to enter the studio again, and since then have turned into one of the better US power/thrash metal bands of the past ten years. The first two albums are especially recommended with their nods to the Bay-Area scene and stronger, thrash-ier attitude. "Awaken" loses some of the thrash metal intensity, opting for a more classic heavy/power style, but is still an enjoyable listen. "Soulreaper Vol.1" is clearly a disappointment, straying even further away from thrash metal, with only a few tracks ("Season Of The Witch" and "Soulreaper") reminding of the band's edgier past.

Through Eyes of Pain Full-length, 1997
Time Reveals All Full-length, 1998
Awaken Full-length, 2003
Soulreaper Vol.1 Full-length, 2007

CATRABBITS (USA)

The "Mistä Löydät" EP offers modern power/thrash metal of the heavy semi-groovy type, at times thrashing hard ("Ajattele Itse") in up-tempo, at times dooming with the best out there ("Mistä Löydät").

Mistä Löydät EP, 2000
Särkynyt Elämä Full-length, 2001
Loppuun Asti Full-length, 2002

CAULDRON BORN (USA)

This obscure, but great band has followed on the steps of Helstar's late-80's period, and their two albums (mostly the debut) are some of the best follow-ups to the legendary "Nosferatu"; this is technical/progressive power/thrash of a fairly high quality. "Born Of The Cauldron" is a striking debut, with very good technical guitar work which probably goes even beyond "Nosferatu" on the more elaborate arrangements: check out the nice technical power/thrashers "The Sword's Lament" and "Synchronicity At Midnight-A Baying Of Hounds": whirlwinds of complex riffage and time changes. The other tracks are by no means more simplistic; certainly there are more immediate power metal numbers ("The Final Incantation In The Dreaming City", Crusader"), but the technical brilliance of the other material overshadows them almost completely. "In Fate's Eye A King" is an excellent progressive epic/power/thrash tour de force, with superb guitar work and energetic galloping tempo. "Born Of The Cauldron" speeds up with mighty, aggressive riffs, and just when you think that this might be one of the few direct headbangers, comes the smashing technical passage, followed by superb lead performance. "Unholy Sanctuary" is a slow, doomy/epic song, in the best tradition of Manilla Road and Candlemass, if we exclude the faster passage near the end. The singer provides a voice, coming as a very good mix between James Rivera and Mike Shelton (Manilla Road), and does a great job.

"...And Rome Shall Fall" begins with the long, 8-min straight epic/power metal composition "By This Axe I Rule", with no traces of technical play, but the following "...And Rome Shall Fall" is already a different story- a mighty speedy thrasher, which again doesn't pull out all the stops technicality-wise, but is intense and crushing. "Finder Of The Black Stone" carries on in the same vein, with brilliant lead guitar in the Shrapnel performers' vein, and nice choruses. "Blood Bath In The Arena" is a calmer power metal number, which for some reason reminds me of Iron Maiden, but faster and more aggressive. At this point the listener have already realized that the band have left the technical flair of the debut aside, and indeed, on the rest of the tracks the riffs are more immediate, with only timid shades of more technical play here and there. Consequently, the thrash side of the band's style is less covered, compared to the power metal one, but the mighty speedy guitars will easily make your day. The album is sustained in the same fast-paced, up-tempo way from the beginning, with not too many compromises for any slower deviations. The new singer has a more melodic tember, clinging towards Bruce Dickinson and Jeoff Tate, but he suits perfectly the faster and the more immediate music.

Born Of The Cauldron Full-length, 1997
...And Rome Shall Fall Full-length, 2002

CAUSE FOR REVELATION (USA)

The guys from the death metal monsters Jungle Rot try their hands on more laid-back stuff here, which clings towards the groovy 90's heritage, boosted up by the odd more aggressive death riff. In other words we have groovy thrash, which is not a total waste, has dynamics, speeding up whenever necessary ("Vengeance is Mine").

Surviving Destruction EP, 2004

CAUSTIC (SWITZERLAND)

Another band who remained in the shadow of Coroner and Celtic Frost; the guys are obviously influenced by Slayer, as the EP is more energetic and faster, while the full-length reminds of Slayer's more restrained late 80's period, but is the better offering of the two, with more technical playing and longer, more interesting songs. Even the Faith No More raging thrasher "Surprise You're Dead" is done in the same vein: not as frantic and furious as the original; an obscure, but a very worthy Swiss band.

Caustic EP, 1992
Malicious Full-length, 1993

CAUSTIC STRIKE (SWEDEN)

This is the same band known previously as Leprosy; the style is pretty much the same: good old school thrash with a sound similar to 80's Anthrax and Heathen (both albums). The music is hard-hitting, but nicely intercepted at times by more melodic guitar lines ("The Assassin (Part II)"), which create a cool blend, without ruining the overall picture. "In Agony" is a great thrasher, recalling Anthrax at their best, but those "courting" the Bay-Area scene ("Trapped in Rage") are by no means less impressive.

o Straight Down The Drain Demo, 2005

CAUSTIC THOUGHT (CANADA)

This band features Byron Stroud who later got involved with other more famous names, like Strapping Young Lad and Fear Factory. The style here is a potent mixture of modern thrash and early Celtic Frost (similarities with this band in the vocal department, too), very well done.

Caustic Thought Full-length, 1994

CAUTIVA (SPAIN)

This is a one-man project, the name is José Travieso. He handles all the instruments, as well as the various vocal styles through the EP, helped by two guest musicians. The music is reasonably well executed progressive/technical thrash of the hectic, chaotic variety, and recalls a less aggressive Sieges Even, and early Psychotic Waltz; the tempo changes often, but doesn't speed up a lot, and the songs end up being very complex and not very easy to grasp at first, even at second listen, because the frequently changing rhythms, accentuated by the drums, and the various vocal styles create a kind of disjointed, hallucinogenic atmosphere. There are only two original songs here, actually: the opener is a Megadeth cover: "Take No Prisoners" from "Rust in Peace", and the last song is Coroner's "Shadow Of A Lost Dream" from "Punishment for Decadence".
"Human" is not too faithful to the sound introduced on the EP: the songs are shorter, most of them much easier to swallow. The music is strictly modern, the tempo is never fast, and Travieso sings in a not very pleasant shouty manner. "Swing Of Love" lasts for more than 8-min, but is nothing more than modern thrash shred without any interesting moments. Another version of Testament's "Into the Pit" is placed in the middle, and this is the best song here. The following "The Great Old One" gets influenced by it, and sounds fresh and brisk, even blasting out for a while. The closing "Two Wolrds" is not bad, either, being cool energetic speed/thrash with a good chorus and sharp more classic riffs.

Fire, Walk With Me! EP, 2008
Human Full-length, 2009

CELELALTE CUVINTE (ROMANIA)

Few are the Romanian metal bands who are known outside their home land. The band's style could only loosely be described as thrash; although it is the base for the sound on both albums, the music is all over the place with quiet, balladic moments, female vocals, dark wave tunes and classic heavy metal riffs. By all means some thrash fans might lose their patience while waiting to hear a straight thrash riff; there are just not so many here.

Se Lasã Rãu Full-length, 1992
Armaghedon Full-length, 1994

CELESTIAL (GERMANY)

Aggressive thrash/death metal recalling the French Agressor; the band tries to break the pattern by adding clean vocals and keyboards, but both inclusions sound awkward, and they should probaly do better if they steer clear of such moments for the future.

Morior Ergo Sum Demo, 2004

CELESTIAL PAIN (SWEDEN)

This band was formed by members of the death metallers Unanimated after their split up. Based on "Hatred", the music bears no resemblances to their former band, going straight into thrash metal territory, although "Mission Attack" will strongly remind you of the old Death classic "Evil Dead". The music is very fast-paced, and overall the sound is very similar to "Scream Bloody Gore" with a more thrashy edge; a good first effort which leaves a lot to be desired in the production department, though.

Hatred Demo, 1995
Aggression Full-length, 2004

CELTIC FROST (SWITZERLAND)

One of the most influential metal bands ever, this formation started under the name Hellhammer in the distant 1983, and their demos and the legendary "Apocalyptic Raids" EP are largely considered the first genuine extreme metal works, literally founding the more brutal side of metal (black, more particularly). These mighty Swiss later forged their still unique, but more accessible heavy, stomping sound on the first three releases, later imitated by hundreds of bands, before moving towards a more avantgarde direction on "Into The Pandemonium", which showed that these guys could not stand still waiting for things to happen around them, but they wanted to make them happen. A decidedly more melodic, but also very innovative, this album is often considered their most revolutionary work. Alas, this album was also the way to a complete fiasco: "Cold Lake" was such a cold shower over the metal world that after all these years it is still regarded as the biggest flop in metal history with its pop-ish, later called "glam thrash" ("thrash": what are you talking about!?), sound. Although "Vanity/Nemesis" was a fairly decent return to form, there were very few people left around to enjoy it: a good example of the unforgivable nature of the metal fanbase. Consequently, the band split after this one, and Tom G. Warrior later formed the industrial thrash project Apollyon Sun in the late-90's, along with the Coroner (a band whose career Warrior helped launch, and even guested on vocals on their first demo) drummer Marky Edelmann, where the music has few resemblances to Celtic Frost, being much more modern, although the experimentality remains, and fans of modern 90's thrash will do well to track this band's efforts (one EP and one LP) down. The band are back again in 2006 with "Monotheist"- another ambitious attempt to bring something new to the scene (is that really possible- it's the 21st century!), with no big ties to thrash metal, but fairly enjoyable and, again, original.

Morbid Tales EP, 1984
Emperor's Return EP, 1985
To Mega Therion Full-length, 1985
Tragic Serenades EP, 1986
I Won't Dance EP, 1987
Into the Pandemonium Full-length, 1987
Cold Lake Full-length, 1988
Vanity/Nemesis Full-length, 1990
Monotheist Full-length, 2006

CENTICORE (SWEDEN)

This 3-song EP offers nothing more than your average melodic Swedish death metal which here hesitates between the speed antics of early In Flames and Dark Tranquillity, and the more serious epic sound of Amon Amarth.

Death's Parade EP, 2007

CENTURION (USA)

Based on "Rides Again!", these guys play a mix of power and thrash with a certain epic atmosphere, with several more aggressive death metal elements thrown in, and gruff death metal vocals. The music is energetic with a modern sound; there is a cool up-tempo cover of Manowar's "Thor", where the singer moves to melodic vocals to better suit the music; later on another cover awaits you: Bound For Glory's "Onward to Victory", which is pure unadulterated hardcore. The bad news is that the band adheres to ballads too often: there are 3 whole ones, very tender and romantic, and at least half of the other songs start in a quiet, balladic way.

Fourteen Words Full-length, 1994
Rides Again! Full-length, 1997

CENTVRION (ITALY)

A power/thrash metal band whose style is based around early Metal Church, Judas Priest's "Painkiller" and thrash, to a lesser extent. This combination works well, but the vocals are terrible, running wild into all directions, ruining quite a bit from the positive impression created by the music. With a better singer these guys could reach further.

Arise of the Empire Full-length, 1999
Hyper Martyrium Full-length, 2000
Non Plus Ultra Full-length, 2002
Invulnerable Full-length, 2005

CERBERO (ARGENTINA)

This is the 1st band for Antonio Romano and Karlos Cuadrado who later co-founded quite a few of the metal acts of the Argentinian scene: Malon, Visceral, Reino Sangriento, and Romano also played for the scene leaders Hermetica. This recording here shows the guys in a very spawning stage of their development as musicians, playig raw badly produced power/thrash with very gruff semi-death metal vocals. The music makes sense at times, sounding close to the models from the States at around the same time: Sentinel Beast, Griffin, Omen, etc. "No Hay Salvación" is a cool speed metal hymn, something which Hermetica and Horcas perfected a few years later.

En Vivo Demo, 1986

CERBERO (BRAZIL)

A live album without any other releases- isn't this a feat? Well, the audience seemed quite excited, and familar with the material presented, so apparently the guys must have released something deep underground. The band's music is a mix of power, speed and thrash, and despite the very bad sound quality, the energy and inspiration put into the making of this recording are hard to be disguised. The faster speed/thrashers work better: "Terra", "Napalm", the Metallica cover of "Metal Militia". On the other side we have heavy, up-tempo power metal numbers ("Monte Calvåio", "The Attack", which boasts a very cool bass bottom). "Warrior" is a good power metal instrumental with an epic feeling.

Live at the Rainbow Live album, 2005

CERBERUS (USA)

Modern thrash/death metal; the soundalikes are as follows...

The Cage of Existence Full-length, 2005
What Have We Become? EP, 2006
Dispute The Truth Full-length, 2007

CEREBRAL FIX (UK)

This band, like many other acts from their homeland, came from the British punk/hardcore scene in the late 80's, which is clearly felt on their debut. But from then on it was only the vocals which reminded of the band's past; what followed was a string of three high quality albums which brought them to the forefront of UK thrash metal. "Tower Of Spite" already showed a new band, ready to compete with the best on the thrash metal arena. The guys nicely vary things, mixing up-tempo thrashers (the opener "Enter The Turmoil") with doom-laden tracks, which would even make acts like Saint Vitus and Candlemass listen in wonder ("Feast Of The Fools"- this one is a real masterpiece of doom). Deviations like that are actually very few, and later on the attack continues with full force: the mighty up-tempo riff-fest "Chasten Of Fear", the crushing steam-roller "Injected", the heavy, slower, more melodic "Quest For Midian", the brutal short "echo from the past" "Forgotten Genocide".
"Bastards" concentrates on the crushing, steam-roller like nature of the band's music, without too many changes from the pattern, and is another solid release. The guitar sound creates a wall of heavy riffs, which would inevitably bear another doom metal number: "Beyond Jerusalem"; the guys have a penchant for writing the odd doom number, and do a very good job. "Mammonite" will stir the blood with more intense riffage, but the real excitement comes with another short explosive piece of brutal thrashcore: "Maimed To Beg" (bad habits die hard!), and, of course, the rock'n roll joke at the end "Smash It Up".
"Death Erotica" is the band's magnum opus, a masterpiece of heavy, stomping thrash. The guitar work is more varied, even going for more technical elements at times, with a bigger sense of melody as well: the guitars in "Haunted Eyes", which could pass for an analogue of the doom metal tracks on the previous works, although it is not as slow; the magnificent main riff in "The Raft Of Medusa", which is a marvellous dreamy, almost progressive-sounding song; the superb melodic, lead section on "Creator Of Outcasts". The tracks are all memorable, with several truly catchy moments (with a hit potential- ha ha!): the great "Angel`s Kiss". The bonus tracks at the end are covers: of the punkers Discharge ("Never Again")- a great energetic track; and Judas Priest ("Livin' After Midnight"), made exactly in the spirit of the mighty Brits, even the vocals take a much more acceptable melodic edge, certainly not in the Halford-vein, but quite enjoyable. Sadly, this was the last offering from the band's camp, with some of the members joining the more popular at the time death metal wagon (Benediction- the bass player Frank Healey, who also took part in another great 80's British thrash metal act: Sacrilege).

Life Sucks... And Then You Die Full-length, 1988
Tower Of Spite Full-length, 1990
Bastards Full-length, 1991
Death Erotica Full-length, 1992

CEREBRAL HEMORRHAGE (USA)

This band was a side-project of Tony Bono (R.I.P.) from Whiplash, helped by Joe Cangelosi, who later took part in other acts like Kreator, Whiplash again, and Massacre. Based on the 1986 demo, this band plays thrash/crossover, fast and quite aggressive at times, with excellent melodic guitar lines and not typical for this genre very good leads, often moving into pure thrash. There are more experimental tracks ("Sploof Song") with a funky shade, but most of the time this is an energetic and hard-hitting stuff.

Demo Demo, 1986
Multiple Trauma Demo, 1987

CESSATION OF LIFE (USA)

"Kill You Again" starts in a great fast, aggressive way, and if the whole album was in the same vein, we would be talking a masterpiece here. Towards the end the music takes turn towards crossover, and the final result is not as good. Not that I have anything against crossover, but when the two styles are so obviously separated from each other, the impression is seldom on the positive side.
"Path of Totality" is an obvious improvement over the debut, providing a pretty decent collection of energetic, often technical, whenever necessary, old school thrashers. The guys often change the pace within one composition, without losing the coherence, but the direct moshing numbers ("Necropolis") are also quite cool. "Reason To Live" is a pleasant balladic track, followed by the bass-only instrumental "Ignorance And Apathy", which seamlessly merges into the next "Untranquil Seas": a fine technical thrasher with aggressive proto-death parts. The last couples of tracks concentrate on the more intense side, with the exception of another crossover-laced number: "Into Pieces".

3 Songs For 2000 EP, 2000
Kill You Again Full-length, 2002
The Glory Of The World Is Passing EP, 2005
Path of Totality Full-Length, 2008

CESSPIT (FRANCE)

Heavy old school death/thrash metal with occasional modern groovy sections; the tempo is mostly mid-paced.

Mon Fils est une Omelette Full-length, 2004

CHAIN REACTION (POLAND)

Based on the "id" demo, these guys offer ordinary modern thrash, mixing groove with faster riffs, which seldom leave the mid-paced parameters ("Manipulacja"). "Cuatro" is a good instrumental, blending balladic elements with more melodic groove ones.

Demo 2004 Demo, 2004
id Demo, 2006
Vicious Circle Full-length, 2007

CHAINSAW (HOLLAND)

A good new band who manage to combine old school speed, thrash and classic heavy metal in an enjoyable, old-fashioned way. "Master of Fate" is an awesome aggressive thrash opener, promising many headbanging moments, and if the rest of the songs were in the same vein, these guys could have jumped straight on top of the scene in their native land. But later on the music softens down, but preserves its appeal, if not even increasing it: the mighty, Oriental power/thrasher "The Butcher of Bagdad", the nice mixture of speed and heaviness, including even a short blast-beat section, "Burned Alive", the nod to the 80's American power metal scene "Never Surrender". At least half of the songs carry the intense spirit of the opener, but fillers, like the modern-sounding "Route 666", or the rock-ish "She Just Wants To Get Laid", could be spared for the future.
"Metal Missionary" shows the guys having not lost their cool touch, although in terms of innovation this album can not score high. However, for those who liked the debut there will be no problems falling in love with this stuff: after the smashing opener "Demolition Hammer" the band slow down predictably, but expect more aggressive surprises along the way: the thrashing bomb "Supreme Command", the short brisk killer "The Meat Factory". Fans of the classic side of all genres that are heavy, power, speed, or thrash, will do no wrong tracking this down.

Smell the Saw Full-length, 2004
Metal Missionary Full-Length, 2009

CHAINSAW CARNAGE (USA)

Based on the "Satan Plays Speed Metal" split with the Japanese Abigail, these guys play raw amateurish brutal black/thrash/death metal with low-tuned guttural vocals. This is a mix of slow and very fast sections with very simplsitic guitar work with a thin sound. The band was formed after another one, Markhor, split-up; reportedly the music of the other act was in a similar vein.

Atomik Invatíon Split, 2008
Chemical Death EP, 2008
Chainsaw Massacre Demo, 2009
Satan Plays Speed Metal Split, 2009

CHAINSAW KILLER (COLOMBIA)

Based on the "Metal Addicted" demo, these guys pull out black/thrash metal similar to the Italians Vexed, or the Swedes Suicidal Winds: fast and intense, with occasional blast-beats. The singer uses the black-ish rasp most of the time, but quite often he tries to scream in a Rob Halford (remember "Painkiller"), or John Cyriis fashion, which doesn't quite suit the music, but is a cool touch, especially on the more speed/thrash-based number "Metal Addicted".

Alcoholic Rehearsal Demo, 2004
Under Metal Assault Split,2005
Blasphemy, Mayhem, War Split, 2005
Metal Addicted Demo, 2005
Nemesis Of Jesus Christ EP, 2006

CHAINSNAP (HOLLAND)

This album owes a lot to mid-period Machine Head (the albums after "The More Things Change..."); this is heavy, groovy, but also quite generic music which very seldom speeds up to up-tempo, and for that reason could be tiring to some, as there is no variety at all. The hardcore vocals are sometimes spiced with clean ones, and samples from the TV (or the radio) are also added.

Hollow Full-length, 2004

CHAKAL (BRAZIL)

One of the veterans on the Brazilian metal scene; their first 2 albums are commendable efforts with a genuine dark sound and distinctive gruff vocals. The debut is a sure-handed affair, contrasting the pure thrash assault to the gruff death metal vocals of Vladimir Korg, the singer who later sang for The Mist and Nuclear Hell. The dark heavy riffs alternate with the up-tempo ones on the first 2 songs, before "Terminal Brain" opens the all-out attack, splashing with its open aggressive delivery; nothing more than thrash here, folks. "Children Of The Cemetery" is another brisk speedy killer, with the songs so far being short and to the point, and one would be surprised to hear intense fast-paced thrash the whole time on "Jason Lives" throughout its 7.5-min; the headbanging will never stop on this masterpiece, also graced by very cool leads. The short compositions return, to bring vicious proto-death on "Warriors Of Disgrace" and the "winds" of Slayer on "Dead Walk". Certainly comes a time for calmer performance, on "Mr. Jesus Christ", which is a heavy pounding number, but the final "Shoot At The Police" will "shoot" you at close range with another portion of heads-down speedy riffage. The bonus track "Never Die Young" is a nice offbeat technical piece, sounding like something early Voivod could have produced, still containing the fast guitars, which here sound much more twisted, all this finished with an excerpt from a children's song; it may be considered sad that the guys never developed this tendency further.
"The Man Is His Own Jackal" offers good dynamic thrash, not terribly different from the debut, but with a lighter guitar sound and more "optimistic" speed metal numbers ("Acme Dead End Road") thrown in, as well as longer more ambitious ones ("Holobyte", "Hangover"). "Santa Claus Has Got Skin Cancer" is a great mid-paced stomper, with nice both melodic and sharp hooks, and excellent leads. It splits the album into 2 parts, giving a more diverse spirit to the 2nd one, which contains the slower "In Vain", the nice speed/thrash instrumental "S.S.C. 333", and the hardcore-ish closer "Synthetic Tears".
"Death Is A Lonely Business" offers a more polished and professional sound, but the music is less striking, slower and less engaging. The beginning is quite cool, with the ambitious more serious speed/thrasher "Before It's Too Late" opening confidently, but "Mind Cries, Body Dies" is hardly the best continuation, a slow and clumsy number. "Panic in the Fast Food" is a bit more dynamic, but lacks the edge and intensity of similar tracks from the past. The moshing eventually returns with "Fear of Death", only to disappear again on another soft track: "Beholder", which could barely be called "thrash", and even has shades from the coming groovy movement. Those shades are even more strongly emphasized on, on the 2-min instrumental with the much longer title "A Certain Afternoon Havin' Strawberry Jelly on Mars Watching the Dick Birds Fly South" (seriously, 2-min may not be enough to say it all). When "Choked" refuses to speed up, the listener may lose interest completely, but he should stay put for one more song, the closer "Useless Denial to Hear", which adds the desirable finishing fast-paced tunes. Seemingly testing the soil a few times with a couple of proto-modern elements, the band surprisingly didn't join the group of acts from their homeland (Holocausto, MX, Overdose, Sepultura, The Mist, etc.) who adapted more or less successfully to the 90's tastes to continue their career.
The guys did adapt to those tastes, actually, but they did it 12 whole years later, at the least appropriate time, when the scene was looking back at its roots, and the 90's trends were gradually fading away. That's why "Deadland" was a disaster, probably the worst attempt made by an old-timer to come back in the "game" so far, featuring bland groovy nu-metal, with elements from all other genres present on the modern scene, but not thrash. Very soon after, though, having realized their mistake, Chakal struck less than a year later with "Demon King", a full-on old school attack, arguably the band's finest hour. The album will engage you in spontaneous headbanging from the get-go, with the intense opener "Morlocks Will Rise!" and the following speedsters "Demon King!" and "War Drums". "Christ in Hell" is only a slight relief, offering heavier up-tempo riffs. "Mirror-Made Tricks" is furious thrash at its best, setting the scene for the coming of the Death cover of "Evil Dead": a faithful and a highly satisfying rendition of this immortal hit. Certainly, everything after that will sound mild and, indeed, "Psicho" doesn't try to compete with it, still moshing out with force. "Mastered Dogs" is a sweeping raging thrasher, ironically containing the only section recalling the previous "Deadland" (a small one in the middle). No mercy later on "Flowers on Your Grave", which deludes with its proto-groovy beginning, and the speed/thrashing madness "Human Remains Banquet". What a better exit from this slab of old school aggression than a gorgeous peaceful instrumental: "The Masque of the Red Death", which will tear your soul apart with its close to 1.5-min of mournful acoustic guitars. Yes, the band corrected the mistake they made and entered the "arena" confidently, although things have been quiet in their camp for quite some time.

Abominable Anno Domini Full-length, 1987
Living With The Pigs EP, 1988
The Man Is His Own Jackal Full-length, 1990
Death Is A Lonely Business Full-length, 1991
Deadland Full-length, 2003
Demon King Full-length, 2004

CHANGE OVER (GERMANY)

Based on the 3-song "No Turning Back" demo, this is an uneven mix of heavy mid-tempo thrash of the classic school (2 songs) with doomy overtones, and more aggressive death metal ("No Turning Back"). The vocals are strictly in the death metal camp, though, being low effective growls.

The Hate Anthem Single, 2004
Destiny of Mankind Demo, 2006
No Turning Back Demo, 2007

CHANNEL ZERO (BELGIUM)

This band started very strongly with their debut, summarizing all that was good from the 80's thrash scene. The style is probably closer to the Bay Area acts; the opener "No Light" thrashes without mercy, fast and aggressive, and this is the predominant tone of the album. The guitar work is really good, with very sharp riffs, but without any technical pretensions. "Succeed Or Bleed" and "Inspiration to Violence" are detours into a heavier, slower song-writing, the latter coming with cool stylish riffage. "Animation" introduces an angrier sound, which would later find its complete realisation on the band's later works, where the guys embraced the modern thrash idea, and their later efforts show no signs of any will to be anything more than mere Pantera-clones.

Channel Zero Full-length, 1992
Stigmatized for life Full-length, 1993
Unsafe Full-length, 1994
Help EP, 1995
Heroin EP, 1995
Suck My Energy EP, 1995
Fool's Parade EP, 1996
Black Fuel Full-length, 1996

CHAOS CREATION (FINLAND)

This band features two ex-members from another young Finnish band- Nailgunner. Chaos Creation are more deeply involved with classic thrash and are a bit heavier, and their tracks are longer, more elaborate. The style on all demos is consistently good, and I believe it's just a matter of time before the guys sign an album deal.

Dedication for Annihilation Demo, 2005
Psyched-Out Manipulation Demo, 2006
Homicidal Party Time Demo, 2007

CHAOS HORDE (USA)

Very good intense speed/thrash in the best tradition of Hirax and early Flotsam & Jetsam: fast tempo, maybe with a slight hardcore edge on the shorter tracks: "When Will It Change". "Mad Monk" is truly a fine piece of furious speed/thrash which would stand proud even on the later works of Destruction and Kreator.

Demo Demo, 1986

CHAOS LEGIONS (FRANCE)

A powerful classic mixture of thrash and death metal, which offers more up-tempo numbers ("Genocide"), but the majority of the tracks are of the mid-paced, heavy variety, sounding like more thrashy versions of Bolt Thrower ("Paranoia" sounds as though directly taken from "The IVth Crusade", or "...For Victory"). The rhythm guitar is really impressive and, like in the Bolt Thrower case again, overshadows the leads, although the ones on "Soldiers of Death" are really worth checking out.

Hanging Full-length, 2008

CHAOS OPERA (FINLAND)

This is a one-man project (presumably a guy under the nickname Chaos) from Finland. The music is a conglomerate of several styles- thrash, power, heavy metal, black, with a strong symphonic and classical presence. The style could be compared to the Kovenant's "Nexus Polaris", but with a certain number of power/thrash metal riffs. The last offering "Illusion" steps down, with no traces of thrash, concentrating on the more operatic, keyboard-driven side of the music, with more aggressive black metal blast-beats thrown in ("Chaos").

Before the Storm Full-length, 2001
Endless Battle Full-length, 2001
Mystery Full-length, 2001
Best Of Chaos Opera Full-length, 2002
Illusion Full-length, 2002

CHAOS REMNANT (FINLAND)

A 3-song demo of good classic and modern thrash metal mixed together, with deep death metal-ish vocals "interrupted" by hysterical black-ish shouts; the tempo is fast with cool sharp riffs.

Human Hammer Demo, 2005

CHAOS SYNOPSIS (BRAZIL)

Based on the "Postwar Madness" single, this band pulls out aggressive old school thrash/death ala early Death and Incubus, finished with a good cover of Death's "Zombie Ritual". The full-length is more faithful to thrash, in a way similar to Sepultura's "Arise" and Slayer's late 80's period. There is a slight touch of Death ("Only Evil can Prevail", the brutal grinding mid-section of "Spiritual Cancer"), but most of the time the music is fast-paced aggressive thrash, the exception being the heavy stomper "Expired Faith". "Blinding Chains" is a nice take on a more technical play, featuring a couple of puzzling riffs and tempo changes, and those "temptations" should be more for the future. The singer is too brutal for the music perhaps, with his very low-tuned growls. The drummer Vitor Fryggy is the same one who also hits for the old timers Attomica.

Garden of Forgotten Shadows EP, 2006
Postwar Madness Single, 2009
Kvlt ov Dementia Full-length, 2009

CHAOSFEAR (BRAZIL)

Th debut is a blend of old-school death and thrash metal; a stylish effort with nice technical licks. The sound is similar to No Return's "Contamination Rises", mixed with certain Slayer-influences (their various periods), and a doze of the modern sound, but heavier and with more shouted-out vocals. Once the mighty crushing opener "Hard Time For The Wrong Man" hits you, you know this can not be an ordinary stuff. "Incongruous Possession" keeps on thrashing relentlessly, and it's with "One Step Behind Anger" when more intriguing guitar riffs come up, although the fast tempo remains intact. "Denied Rights" slightly betrays the classic sound of the album, adding some groove, and slowing down, and "Minds Temptation" follows a similar pattern, but the inclusion of a more stylish play ala Meshuggah puts it on the right track. "Detestation Inc." is a good closer, the most aggressive number, staying closer to death metal, graced by really intense riffage.
"Image Of Disorder" bears no surprises, except that very proficient leads have been introduced, as well a couple of more brutal, death-laced songs. The groovy deviations heard on the debut are almost gone, and the sound is more compact and consistent, although some may not tolerate the clean vocals ("Image Of Disorder"), which spring up here and there. Still there is seldom speed lost here, despite the presence of a few slower mid-paced numbers, including the interesting semi-technical sinister "Destined For Your Own Hell", which also flirts with doom and gothic, among other genres.

One Step Behind Anger Full-length, 2007
Image Of Disorder Full-length, 2008

CHAOSPHERE (BRAZIL)

Based on the full-length, this band plays good retro power/thrash which starts misleadingly with the calm mid-paced "Welcome to the World". "The Infantry" has alreay switched onto full-throttle headbanging thrash with nice leads and melodic licks, and "The Legion of the Last Braves" is another very cool affair beginning in a galloping manner before moving onto faster, even blast-beating for a while, thrash. Epic tunes snek on the slower "The March of Time", but there is more than that, the sound suddenly taking a great technical direction in the middle. "Hunters" is a pounding number again with elements of power metal which stay around for the next "The Black Gate", but "Side by Side" wastes no time moshing out vigorously with heavy smashing riffs. The epic side takes the upper hand again on "The Circle of Fools" followed by the 3-min peaceful instrumental "Sunset and Sunrise". The end comes in the form of the 9-min progressive opus "The Empire of Lost Souls" which preserves the epic moments adding a few more aggressive riffs. Both sides are mixed well as the epic one never loses the edge, and the cool emotional clean vocals nicely fit everywhere, and will remind you of Charly Steinhauer (Paradox).

Circle of Fools EP, 2005
Hell is Here Full-length, 2007

CHAOSPHERE (POLAND)

This is not a Meshuggah-clone like you might be inclined to think reading the band name; this is death/thrash of the old school. The difference is that here the music lacks the control typical for this genre, and is a bit chaotic with modern death riffs involved, too. Possessed and Entombed mixed together would be an accurate description.

Reign In Chaos Full-length, 2007

CHAOSWAVE (ITALY)

A talented young band who play potent atmospheric progressive power/thrash metal, reminiscent of Nevermore and Communic, with a male and female singer who form a nice cross seldom achieved before, and make the songs quite memorable. At times the music acquires modern, groovy tendencies and alternative shades, but this makes the band sound even more interesting. The guitars are very sharp and crushing, making even the attempts at a more melodic play quite aggressive. The tempo is mostly mid-paced, but the guys (and a girl) are not strangers to more straight thrashing (parts from "Indifferent", "Mirror" and elsewhere), but they hardly need that, since the hard riffs will satisfy anyone. Maybe the leads should be given more space in the future, as they are really good, both melodic and technical, here often stifled by the smashing riffage. Certainly these guys (and a girl) have a lot of other great things to offer.
The 2007 demo provides 4 tracks in the same intriguing style; maybe the quiet, melodic interludes are more frequent here (they are featured on every song), but they very nicely contrast to the very sharp riffage, which thrashes both with intensity and technicality: check out the great more complex "March", the more direct thrashy delight "Picture", and especially the last song "Rise", which speeds up quite a bit, ending this promising rehearsal for the, hopefully, next full-length in a solid aggressive manner.
"Dead Eye Dreaming" is built around the 4 songs from the demo, but the opening "10 Years of Denial" may scare the unprepared with its open aggressive thrash approach. Things get back to normal with "Fork Tongues and Foul Times", already heard on the demo, a nice dark progressive power/thrasher in a dynamic mid to up-tempo. "How to Define a Race" is an intense mid-paced shredder with a pinch of groove which suddenly turns to brutal death metal, and later metamorphoses into calmer progressive, only to finish with a swirling twisted Coroner-like section. Anything could be expected after such a diverse composition, but "A March for the Dying", also familiar from the debut, settles for less variation, still remaining complex and aggressive with very sharp riffage which never leaves the mid-pace. Then comes an interlude: the short 1.5-min lead-driven instrumental with an Oriental twist "Another Lie to Live in Vain", followed by the gloomy doomy "Blind Eye Focus" which will remind you of Communic. "Dead Eye Dream" thrashes in a technical up-tempo manner very close to Nevermore, and is an obvious nod to that band's "Dead Heart in a Dead World", both music and title-wise, also offering a fine melodic semi-balladic ending. "Rise" and "Picture Perfect" are the duo having already graced the demo, but the "idyll" is broken by "Two Shadows" which blasts out in a furious chaotic fashion in the middle which strkly contrasts to the very calm balladic outro where the female singer Giorgia Fadda pulls out quite a performance albeit very short. "The Evident" "evidently" doesn't belong here, offering another furious blast in the beginning, but the guys (and a girl) manage to transform it into a standout technica/progressive opus later worthy even of Zero Hour, supported by a cool doomy twist at the end. There is a hidden track as well, an excellent fast-paced thrash version of the Two Unlimited's biggest hit "No Limit", quite well done, with aggressive guitar shred ably subsittuting for the electronic pyrotechnics of the Dutch techno pioneers, and the girl doing again a great job behind the mike singing in a subdued lower tone.
If Nevermore are the leaders on the modern progressive power/thrash metal field, these guys are a very close second (did someone out there say: "Psychotron"?) beating by miles the numerous Nevermore clones swarming the scene. Their style has its own characteristics (the nice vocal "duel" between the female and the male vocals is just one of them) stretching towards other genres managing to come up with a potent encompassing sound which on the follow-up is more varied and dynamic, with the more extreme elements very well embedded into the song-structures without sounding annoying (although to the fans of the debut those "innovations" may come as quite a surprise at first).
Memmebrs of the band can also be seen in the melodic death metal outfit Blu Infinito and the black metal formation Verbo Nero.

The White Noise Within Full-length, 2005
Demo Demo, 2007
Dead Eye Dreaming Full-length, 2009

CHAOTIC BASTARD (CHILE)

Based on the 1st demo, these guys offer cool intense retro thrash with various influences: the crossover scene ("Incorfomiity And Hate", "Violence is My Way"), Vio-Lence ("Elimination Is Inminent", "Immortal Conscience"), a mixture of the two ("For That We Wait"). The guitar work is simplistic and straight, and a big part is given to the bass, which implements are quite cool. The vocals are high-pitched, somewhere between John Connelly and Sean Killian, but the guy here has the tendency to wail more on the ending tones.

Chaotic Rehearsal I Demo, 2004
Chaotic Rehearsal II Demo, 2005
Mad Cowboy... Demo I Demo, 2006
Elimination is Imminent Demo, 2008

CHAPSTIK (USA)

Stoner/doom with a more thrashy edge is what these guys offer on their albums; if you can imagine a thrashy version of Spirit Caravan... As is typical for such slightly awkward mixtures, the doom fans will find more to like here.

Whiskey Time Full-length, 1998
Barnburner Full-length, 2006

CHARGED (FINLAND)

A less known Finnish thrash metal band; the style is not too far from Rumble Militia and Toxic Shock's debut- very good energetic stuff, direct, with sharp riffs and a sparce use of leads. The guys play fast and tight, but their music is infused with cool melodic hooks, more obvious on the slower material (Firedancer", "Metal Eyes"), which comes with a certain crossover touch. Still their faster side is the better one, and tracks like "Inqusition" and "Surgery" are major explosive headbangers. The last song "Wakan Tanka" steps down, being more melodic, with clumsy power/thrash riffs.

In Vice Full-length, 1989

CHARLEY'S WAR (USA)

Thrash/crossover, so similar to D.R.I. that there is nothing more to add; energetic riffs and up-tempo aplenty, spiced up with slower, more melodic numbers ("Your Path", "Think About Your Life").

Time to Survive Full-Length, 1991

CHARNEL HOUSE (USA)

Based on the demo, this band tries to combine thrash, death metal and hardcore, sticking to the classic 80's sound. When the guys keep it short ("No Reason to Die"), they come up with quite potent aggressive sound; the longer tracks are less appealing, mixing ultra fast parts with better, more technical moments.

Haunted Heaven Demo, 1995
Sample of Murder EP, 2000

CHARNEL LEGION (USA)

A cool demo of speed/thrash along the lines of Sentinel Beast and Exorcist, but these guys are not strangers to heavier sections, and generally their music is more hard-hitting, smelling even Agent Steel on the best, and fastest, moments ("War Crimes", "Scared to Death").

Return to Instinct Demo, 1989

CHARRED WALLS OF THE DAMNED (USA)

Another super group this way comes fronted by Tim "Ripper" Owens who has summoned the bass wizard Steve DiGiorgio and the drum guru Richard Christy (Control Denied, Iced earth, demons & Wizards, etc.) to help him with this project which music comes as a more aggressive version of the one already heard on Owens' other more recent formation Beyond Fear. So expect classic power/thrash metal also rubbing shoulders with the more recent Iced Earth output, mostly mid-paced with references to the ballad. There are heavy riffs aplenty, as well as sparce more technical decisions ("In A World So Cruel"), but this recording seriously suffers from the lack of speed in the 1st half. The 2nd half is an entirely different story starting with "Manifestations" which "manifests" out of the blue in the middle speeding considerably, even blast-beating for a bit; those same blast-beats can also be heard at the end of the next "Voices Within The Walls". "The Darkest Eyes" is excellent speed/thrash with great leads courtesy of Jason Suecof (Crotchduster, Capharnaum). The closer "Fear in the Sky" nicely mixes the two trends resulting in a fine epitaph of crushing heavy riffs and soaring almost epic melodies. Di Giorgio sounds quite subdued and his pyrotechnics are not that frequent. Owens, on the other hand, is traditionally in a very good shape singing in a forceful semi-high tone not too far from his delivery on Iced Earth's "The Glorious Burden". This is a cool effort and all, but it is hardly necessary provided that Owens already offered similar stuff on the Beyond Fear debut, and treading into other less deeply explored territories could have been more beneficial to both him and the fans.

Charred Walls of the Damned Full-length, 2010

CHECKER PATROL (GERMANY/NORWAY)

This is interesting: members of the Norwegian black metallers Mayhem join forces with the German thrashers Assassin. So what is the final result of this collaboration? Very raw, occasionally brutal thrash with very short tracks (1-2 min) and very twisted vocals courtesy of Euronymous (R.I.P.) who introduces each song shouting out the title. Apparently the guys have tried to rival the Hellhammer demos in terms of brutality and chaos, but the sound is even worse, and creates the impression that this is only Euronymous who is involved in the recordings: with simple and basic music like that it's hard to believe that there are five people taking part; could have been an influence on the grindcore scene which sprung up very soon after that.

Demo Demo, 1986

CHEMICAL ANNIHILATION (USA)

This 3-song demo offers classic thrash reminiscent of Possessed and Slaughter: "Baptism Of Fire" is a heavy up-tempo number; "Resurrection" is slower, and heavier, and "Why Die?" is an aggressive thrash/proto-death track, which again slows down near the end.

Why Die? Demo, 1988

CHEMICAL ASSAULT (COLOMBIA)

Retro thrash with a shade of hardcore is what is on offer here, with Tankard and Nuclear Assault the main targets for worship, although the guys boldly step on a proto-death ground ("Kill The Rich") whenever they feel like it, and even on a grindcore ("Supernatural") one on the shortest numbers. You will certainly get a lot of "moshing and thrashing" from the closing "Moshing And Thrashing", also because it is the longest song on the album: whole 3.5-min.

Nuclear Mosh EP, 2008
What The Fuck? Full-length, 2009

CHEMICAL BREATH (BELGIUM)

Probably the finest Belgian thrash metal band; they started with the "Brutal Violation" demo, an effort richly deserving its title, which could have been the most brutal recording in the Belgian metal underground at those times; it's an aggressive, fast blend of thrash and death, well more death metal-based. "Fatal Exposure" is explosive death/thrash (more death than thrash again), sounding like a direct follow-up to Pestilence's "Testimony Of The Ancients": a blistering display of impeccable musicianship, graced by some of the finest technical riffs ever played. The aggression from the demo has been reduced for the sake of the complex guitar arrangements, some of which will make your jaw drop- literally. The surreal, beautiful leads are not given too much space, as the focus is on smashing, very stylish riffage.
After such a great first release, it was interesting to see how the band would carry on, and they did not disappoint: "Values" moves more into thrash metal territory, but the amazing technical guitar sound stays untouched; this is another compulsory work, which excels in every department; the leads are longer, and the song-structures are more complex, which has happened for the sake of the speed and aggression, but this is hardly a complaint. Whether the guys would be able to release another album of the same quality, remained a mystery, as they split up after this one; seldom can a band achieve two consecutive creative peaks within such a short span of time.

Brutal Violation Demo, 1990
Fatal Exposure Full-length, 1992
Values Full-length, 1994

CHEMICAL WARHEADS (CHILE)

Rough unpolished retro thrash, which is quite fast and energetic, featuring both mild crossover and brutal proto-death moments; the vocals are all over the place, being low-tuned, screechy, and more. There are moments when the music makes sense, and comes close to the sophisticated aggression of the Rigor Mortis debut, but at this stage these are just casual sparkles.

Tied Hands Denied Future EP, 2009

CHEMICAL WASTE (USA)

Cool, fast-paced thrash/crossover recalling Cryptic Slaughter, with short aggressive numbers, maybe a bit more melodic and diverse.

Life's a Bitch Demo, 1987

CHEMIKILL (USA)

Based on the first two demos, this is very good aggressive thrash which is not too far from the Sacred Reich debut, or Torture's "Storm Alert". The band often comes up with crushing, mid-paced riffage, which sounds even more compelling than the faster sections, which follow immediately: "Consumed By Hate", "Death Watch". Certainly, balls of fury like "Morbid Reactions" and "Relentless Horror" are hard to be ignored, let alone the fine thrash opus "Brutally Slaughtered", which thrashes with full force throughout its almost 10-min.

Impending Doom Demo, 1989
Consumed By Hate Demo, 1990
Of Mind and Body Demo, 1992

CHEMIKILLER (USA)

Simplistic old school thrash influenced by Venom, early Celtic Frost and Motorhead with a playful, rock'n roll spirit.

Chemikiller Full-length, 2002
Evilspeak Full-length, 2006

CHEWIN' DRUIDS (UK)

3 songs of jolly, energetic, mostly speedy thrash/crossover, not too far from the legendary Lawnmower Deth.

Demo / EP Demo, 2008

CHILD O'FLAMES (BRAZIL)

Thrash/death, mostly mid-paced and well executed, mixing old and new school riffage; cool stuff, if you manage to ignore the detrimental tendency of the band to use these annoying clean vocals, which here really try to be something more than just an extra.

Child O'Flames EP, 2007

CHILDREN (USA)

A very interesting and an enjoyable debut, which relies on melodic progressive power/thrash to pull it through; the compositions are long (6-9min), and the expected numerous time and tempo changes are all over them, neither of them overdone, and the good thing is that the pace is energetic and fast-paced more than rarely. The riffage is not very aggressive, clinging between 90's Megadeth and early Annihilator, although the faster moments carry a strong Bay Area flavour; on the best moments it also resembles one of the early masterpieces of the technical scene: Savage Steel's "Do or Die" quite a bit. The album starts and finishes with the two longest monstrous tracks, both close to 10-min, but there is seldom a dull moment there with this very eventful music. From the 2 bonus numbers one is a pure ambient instrumental: "Mental Parasites", whereas the other one is a great progressive thrash opus: "Death Tribe", twisting and turning into many directions, providing a good headbanging fun as well, within its almost 11-min. The only thing which may throw some "clouds" over this grand scale entertainment would be the gruff hardcore vocals, courtesy of Jonny Mollsin who also sings for the crossover thrashers S.T.R.E.E.T.S.

Hard Times Hanging at the End of the World Full-length, 2009

CHILDREN OF TECHNOLOGY (ITALY)

This is punk-ish thrash/crossover, fast and energetic, having at times the chaotic early Voivod flavour, as well a bit of the Motorhead carefree spirit. The riffs deliver, being both sharp and hard, and the vocals are suitable, with their gruff drunken tember sitting somewhere between Killing Joke and M.S. "Scruff" Lewty (Hellbastard).

The Road Warriors / The Nightmare of Existence Split album, 2008
Children of Technology / Bastardator Split, 2009
SpeedPunkMetalCrust Split, 2009
Metal Punk Split, 2009
Give Me Gasoline or Give Me Death Single, 2009

CHIRURGIA (CZECH)

Based on "The Last Door", this is quite cool progressive/technical thrash/death metal which sounds like a more aggressive version of Deathrow and Target. The music pays its fair share to death metal with more brutal sections, but they are not too many. The guys are not fans of the long, sprawling compositions and keep their sound tight, resulting in all the songs being excellent technical thrashers with great riffs and tempo changes. For fans of the aforementioned style this band is a must have.
"Deep Silence" arrives after a long 9-year pause, and would raise some doubts as to whether the band was able to retain their effective style of old. The band fans have no reasons to worry, since this effort is almost as good as the debut. The music is even more eclectic and intricate, now coming quite close to Mekong Delta and the Japanese Doom. A new touch are the orchestral clean church-like vocals ala Tristitia (check out "Deep Silence"), and the more aggressive death metal moments are gone, if we exclude the brutal 1-min joke "Kill The Cop", which is more of a grindcore. The experimentation is on the border of the good taste sometimes: the awkward mix of brutality and funk "The Fist", the heavy-handed blend of ballad and technical industrial "Junkie", but there are 12 whole compositions here, so don't expect one-dimensional monolithic stuff. The songs are again not long, and the frequently changing times and tempos make them an intense listen. The forceful death metal vocals this time are intercepted by a couple of odd indifferent robotic clean ones, which add up to the unusual nature of this effort.

The Last Door Full-length, 1993
Deep Silence Full-length, 2002

CHOKE (AUSTRALIA)

A wild, but listenabe mix of hardcore and thrash, never too brutal, but mostly mid-paced, with a heavy slightly fuzzy guitar sound, and very good bass-performance (check out "Gettin' Vizy With It"). Some could complain that the guys stick to well-established patterns without adding more speed and intensity, but they could be forgiven, especially after hearing the abrasive, but cool cover version of AC/DC's "Dirty Deeds Done Dirt Cheap". Brutal grind ala Terrorizer awaits you at the end with "Moneybox", and one can't help but notice how sadly missing were songs of the kind earlier.

Smokin' Tailpipe Action Full-Length, 2006

CHOKE THIRST DIE (GERMANY)

A more aggressive take on early Venom and Bathory, with simplistic raw riffs, but quite intense and hard-hitting; the singer growls with a slight industrial shade. There are a few up-tempo thrash metal winners ("Total Destruction", the speed metal killer "Sheep to the Slaughter"), but the slower side shouldn't be missed, either: the dark hypnotic "Nocturnal Nightmare", the Celtic Frost-esque "Bastard Race".

Demonstration Desolation Demo, 2008

CHOKEHOLD (UK)

Moderh thrash metal in the vein of the Swedes Inrage and Pantera.

Legion EP, 2005
The Killing has Begun Full-length, 2006

CHOPPER (URUGUAY)

Modern thrash reminiscent of a couple of Argentinian bands from around the same time- Malon, Nepal, Horcas.

Sangrando Full-length, 1998
Chopper Full-length, 2000

CHOR CHOREA (GERMANY)

This band comprises the same musicians who also played in Defcon at the same time; apparently the guys wanted to keep themselves as busy as possible, as they had another project going along with those two: Charon (not reviewed on this site). Based on "Triumph", the music here also has a certain technical edge, more obvious than on the Defcon efforts, but is heavier and more complex, and is much closer to Depressive Age, for example. The vocals will also remind you of Jan Lubitzki from that same band quite a lot, and overall the whole demo sounds like these songs could have been leftovers from "The First Depression". The longest track: "BTR8", takes a more avantgarde less thrashy approach, but is truly an impressive achievement. These guys were a fine addition to the progressive/technical thrash metal wave which started at around the same time in Germany, although they udeservedly remained one of its least known representatives.
"Experience" arrives at a time when the German progressive/thrash metal wave was coming to an end, and its main representatives have either split up, or were in the process of changing their style, moving away from thrash (Depressive Age's "Symbols of the Blue Times"; Lost Century's "The Poetic Atmosphere of Seasons", etc.). The problem is that here we don't have the melancholy and the dramatism of the Depressive Age's afore-mentioned work, neither do we have the sharp thrashy riffs still decorating most of the songs from the Lost Century one. The tracks on this one are progressive alternative post-thrash, with only "Because" scoring high, being a fine alternative technical thrasher, with some twisted Coroner-like riffage. The rest is soft ballads/semi-ballads and modern variations, crossing groove with more straight riffs. It has its charm with its quirky rhythms and time changes, but unfortunately it's hardly the best swansong for the movement this act was a representative of.

Triumph Demo, 1992
Mental Maze Demo, 1993
Inner Stage Demo, 1994
Experience Full-length, 1995

CHROME (FINLAND)

The "Abortive Reality Rehab" EP is heavy groovy thrash which jumps on the classic wagon with the nice headbanger "Futile". The rest doesn't lack dynamics actually, and the riffs are both melodic and hard supported by gruff death metal vocals.

Irony Demo, 2002
Prescription For Bullets Demo, 2004
Ground Zero EP, 2005
Abortive Reality Rehab EP, 2008

CHROMIUM (SOUTH AFRICA)

Based on "Confessions Of A Hero": this is a band who play a more alternative, melodic form of the modern thrash metal, with leanings towards metalcore, so popular nowadays. The music follows closely on the steps of Trivium and the likes, but loses its edge quite a bit, wading into balladic waters more frequently than the good taste requires. It has its more aggressive moments: "All I Have", "Replication", but these annoying clean vocals considerably take away from the intensity of the music.

Intro Spectre Full-length, 2006
Confessions Of A Hero Full-length, 2008

CHRONIC DEATH (BELGIUM)

These guys are obviously influenced by the thrash/death metal wave which started a few years earlier in their neighbours France. Apart from the straight thrash/death bashing, one could aslo hear numerous interesting technical hooks, recalling Pestilence's "Testimony of the Ancients" (they haven't forgotten that they also have neighbours from the North), and some nice Oriental melodies ("Chronic Death"). The tempo is fast, but never too brutal, and the songs are longer, quite atmospheric and moderately complex, with plenty of high quality musicianship displayed inside. Later members of this band formed one of the most avantgrade metal acts ever: Renaissance.

Perennial Perspective Demo, 1991

CHRONIC PLAGUE (USA)

Thrash/crossover, quite fast, with some good lead guitar work, reminding of the early Nuclear Assault efforts, maybe a bit more intense.

Demo Demo, 1986

CHRONICAL DIARRHOEA (GERMANY)

A minor thrash/hardcore band.

Royal Diarrhoea EP, 1987
Abstract Carnage EP, 1988
Salomo Says... Full-length, 1988
The Last Judgement Full-length, 1990

CHRONICAL DISTURBANCE (CANADA)

Another very good technical thrash metal band from Canada; the band's music is more energetic than the average Canadian technical thrash band, and reminds me of Erosion's "Mortal Agony" and Midas Touch's "Presage of Disaster", mixed with Slayer on the more intense parts. There are times when the band excels in technicality, like on the great 8-min instrumental "Starless", which sounds surprisingly restrained, compared to the other much more aggressive numbers. "Foggy Creek" is another highlight, a distant echo of Metallica's "The Call of Chtullu", mostly because of its unfinished character, sounding like a draft for something really mighty, and is by no means less impressive. Fans of the more extreme side of thrash metal will also find a lot to like here.

Foggy Creek Full-length, 1990

CHRONOS (CHILE)

This is mostly traditional metal in the Riot, Iron Maiden and Raven-vein with some hints of thrash ("Apologia").

Medieval Tales Demo, 1986

CHRYSEIS (FRANCE)

Engaging and original progressive thrash metal which base is heavy, stomping riffage not too far from Celtic Frost (think "Vanity Nemesis"), Tom G. Warrior's side project Apollyon Sun, and the great American one-album-wonder Aftermath. This base is mixed with electronic samples and synthesizers which create a unique cosmic atmosphere, quite similar to the very original Australian band Alchemist. The music varies: at times it doesn't change, and creates an almost hypnotic effect, at times it brings about some awesome alternating tempos. The pace is never fast, but mid-paced and the riffs are quite crushing. The vocals are low semi-death metal growls (again along the lines of Alchemist), but suit very well the surreal atmosphere created by the music. The atmospheric, electronic sections are perfectly embedded in the sound, and there is hardly a moment when they sound awkward, or overused. This is a very interesting take on thrash, which doesn't have a big headbanging potential, but if you listen with care, you will not be disappointed.

Presence of the Past Full-length, 2007

CHRYSOS CALVA (HUNGARY)

Heavy, low-tuned thrash with some gothic/death parts; the music slows down at times, going into doom territory and the overall sound is not very aggressive, staying on the more melodic side.

E világi györtelmek Demo, 2002
Keresem A Fényt Demo, 2003

CIEMENTIFICIO (ITALY)

The band's style hesitates between the classic and the modern sound, and manages to thrash with energy on a few times ("Zom-B", "Rosso Sangue Bianco Ossa"). Tracks of the groovy, playful type are not very convincing: "La Luce Blu Sotto", as well as the pointless 9-min hard'n heavy joy "Vacche, Zopito, Cemento"; neither are the hardcore vocals, but still this album would have its, albeit not very lasting, appeal to the thrash metal fan.

Rosso Sangue Bianco Ossa Full-length, 2007

CINDERS FALL (UK)

Based on "The Reckoning": this band offers cool melodic Gothenburg-influenced thrash/death metal. There are plenty of melodic hooks to keep the listener entertained, and this is what actually makes every song different from the rest. The tempo is quite energetic and brisk, and the headbangers will not be disappointed, especially on cool fast-paced thrashers like "The Reckoning" (this one has a very nice slower break, with a cool background piano tune adding to the atmosphere) and "The Sorrow", which is a great riff-fest with some of the catchiest melodic hooks around. The fans of Dark Tranquillity, early In Flames, and At the Gates would hardly wait until the release of the eventual full-length.

The Bridge Between EP, 2006
The Reckoning EP, 2008

CIRCLE OF FORCE (USA)

Based on the demo, this band offers cool classic, Bay Area-influenced thrash, spiced with some faster death metal parts, recalling the French No Return, or the Germans Cockroach (their last album, in particular).

Circle Of Force - Coming Back EP, 1992
War, Hate, Death Demo, 2007

CIRCLE OF TYRANTS (GERMANY)

Based on "The Art Of Intensity" demo, this is melodic power/thrash, which has its cool thrashy moments ("Daemonicus X"), but is saturated with many balladic and calmer moments, and some tracks are straight nods to the hard'n heavy genre ("Empty Eyes"). It would have been better if those calmer, quiet moments were fewer. Those of you who expect some heavy, Celtic Frost-influenced sound (obviously hopes raised by the band's name) will have to look elsewhere.

The Art Of Intensity Demo, 2004
Deamocracy Demo, 2006

CIROZA (BULGARIA)

Primitive thrash with elements of hardcore rooted in the 80's scene, with some suprisingly nice touches: the semi-ballad "Izgubeni Sledi" and the atmospheric instrumental "Sam V Mraka".

Razbivane EP, 2005
Don't Try To Hide EP, 2006

CITY OF GOD (UK)

This is the new band of Simon Gordon- the man who sang on the last Xentrix album and later on Thousand Points Of Hate. The music here is more melodic and a tad less thrashy, but again with a considerable doze of groove and some really cool vocal styles, all performed by Gordon.

A New Spiritual Mountain Full-length, 2005

CIVAIS (USA)

Hectic, choppy, technical thrash which sounds quite aggressive most of the time, without being fast; references to bands like Terrahsphere and Dead & Bloated should definitely be made, but these guys have appeared on the scene a few years earlier, and could have been an influence on both bands. Civais' music is more vicious, albeit not as technical (at least compared to Terrahsphere). These three tracks here are a perfect example of the stop-and-go technique: the going rhythm stops all of a sudden, only to be continued by another one a second later. The music is far from disjointed, though; on the contrary- it perfectly makes sense; you can even headbang on the more straight-forward sections. The riffs are heavy, crushing, and although there is not much technical show-off or intricate leads throughout, the sudden and interesting tempo changes will surely keep anyone on the alert.

Demo Demo, 1988

CIVIL DEFIANCE (USA)

Based on the EP: 4 songs out of which one should definitely grab your attention: "Swarm", which is a very original mix of some very fast, almost death metal-like riffage and stylish technical guitars ala Voivod. Unfortunately the rest is melodic, balladic crossover with no traces of the original music of the aforementioned song. The band's full-length (which also boasts the presence of Dave Lombardo) releases have moved towards a very avantgarde and not very easy to swallow fusion of classical music, industrial and more aggressive metal genres (death, grind core, but not really thrash), and can be downloaded from the band's website, as well as the EP.

Abstract Reaction EP, 1991
The Fishers For Souls Full-length, 1996
Circus Of Fear Full-length, 1999

CIVIL DISOBEDIENCE (USA)

Cool crossover/thrash in the D.R.I.-vein, a bit more aggressive; apart from the short, direct tracks, there are some longer ones, which are full-blooded intense thrashers ("What A World", No Forever"), including the shorter, but very effective speedy, slightly chaotic piece "Fighting Stop".

1990 Demo, 1990

CIVIL INSURGENCE (USA)

This power trio from California pleasantly surprises with intense retro thrash/death ala Death with nice technical leanings. The singer is a slight pullback with his gruff semi-shouts, but the music is well-executed, fast with fine both riff and lead guitar work. The high-speed kind of the music impedes the more technical developments which eventually manage to materialize on the longer "The Sinister Creation" near the end, which is followed by two covers: one is expected: of Death's "1000 Eyes", the other not as much: of Coroner's mythical "Masked jackal", both well performed suffering from the bad sound quality since both tracks are live recordings.

Hostile Action EP, 2009

CLAMUS (BRAZIL)

Good fast-paced thrash of the classic variety, which thrashes with full force on the first two tracks, before introducing some pounding rhythm on "Corrosão Irrestrita", but the next "Ritual" quickly returns to the intense thrashing, paving the way for the most merciless number here: "Irrelevant Happiness", which brings forward some death metal brutality. "The Simple Complex" preserves the death metal elements, and here the band comes close to At the Gates for a short time. "Literatura do Fim" is a nice crunchy thrasher, and thrash metal reigns supreme for a while, with energetic up-tempo tracks, reaching the culmination on the excellent technical "Testemunho". The closing "L'Abscence" gives its fair share to death metal again, but this controlled aggression is more than welcome to put an end to this fairly enjoyable release.

II EP, 2001
Influences Full-length, 2005

CLASHING BLADE (GERMANY)

Melodic modern power/thrash staying too much on balladic and even doomy grounds, although there is only one full-blooded ballad: the closer "Far from Home". the guys hardened the course quite a bit after they changed their name to Clashes eraly in the new millennium, and started playing a modern brand of death metal mixed with black.

Evil Dreams of Darkness Full-length, 1999

CLAUSTROFOBIA (BRAZIL)

Based on "Fulminant", this band tries to bring back the aggressive thrash sound of early Sepultura (up to the "Beneath The Remains" album), but they mix it with brutal Floridian death metal, and in their case this considerably diminishes the music's impact.
"I See Red" is a nice effort thrashing in the best tradition of Sepultura's "Beneath the Remains", and the addition of proto-modern heavy parts only boosts the heaviness and the aggression. There's no speed lost on this monster, which becomes wondefrully chaotic and technical on occasions ("Minefield"). "Evil University" is a crushing pounder recalling early Pantera quite a bit. Your fillings may fall on the very fast "Alarm"; if they don't fall there, then they sure will on the machine gun-like fire unleashed on the silly-titled "Raining Shit". The guys tear it loose on the brutal death-laced "I See Red", and partially on "Subconscious In Flames", which is a wonderful technical thrash/deathster in the twisted spirit of Morbid Angel and Decapitated. The band's idols are paid tribute at the end with the excellent cover of "Beneath the Remains".
The self-titled debut clings between the already heard on future works hard-hitting Sepultura-sque thrash and more laid-back thrash/crossover. Consequently things do not stay in the aggressive thrash camp for too long, with the exception of "Life or Death", which is an aggressive bomb with a proto-death character; and partially the cool semi-technical closer "Manifestaçoes", which also hints at the adapted at a later stage proto-modern pounding sections.
"Thrasher" only partly deserves its title, still retaining the hardcore roots, which here play a secondary role, with thrash taking the upper hand on most tracks. Some groove sneaks in, but the guys manage to implement it well in a way no worse than mid-period Pro-Pain and, again, 90's Sepultura. And finally some words about the vocals, which on all albums are of the harsh low-tuned death metal variety, with a couple of higher notes thrown in, in an angrier hardcore manner.

Claustrofobia Full-length, 2000
Thrasher Full-length, 2002
Fulminant Full-length, 2005
I See Red Full-length, 2009

CLAUSTROPHOBIA (ITALY)

Angry crushing thrash, not deprived of classic insertions, the way Exhorder's "Slaughter in the Vatican" used to do it ("Choice"), with moments from Sepultura's mid-period (think "Chaos AD"). Seldom does the sound descend to ordinary groove ("Leviathan"), but one can't help, but mosh around on the very good cover of Sepultura's "Territory" at the end.

2 Thousand Hate Demo, 2008

CLINIC (RUSSIA)

A very obscure, but very cool thrash metal band with very funny (and very realistic, reflecting well the Russian communist reality at the time) lyrics; features nice solo work, too. The guys play with inspiration and energy, and despite the buzzy guitar sound and the not very good production quality, the music packs a punch, at times picking almost Slayer-esque aggression, at times softening to power/speed, accompanied by nice melodic leads, which are quite striking on the more simplistic and ordinary delivery, but are unfortunately too short.
"Wonderland" is ordinary melodic heavy rock, and has no ties to thrash; some tracks are just narratives (or imaginary) of the guys' sexual, or drinking exploits.

The Lottery Ticket Full-Length, 1989
Wonderland Full-length, 1992

CLOCK PARADOX (FINLAND)

Modern technical thrash/death sharing some of the dry mechanical aesthetics of mid-period Meshuggah, but those moments are often intercepted by more direct Swedish death metal passages. When the latter are missing, the music is close to taking off: the sinister doomy progressive Treponem Pal-esque "Moment of Reveal", the dynamic up-tempo thrasher ala E-Force "Convictions". There is a potential here, with the guys having enough original ideas up their sleeves, without any necessity to borrow from the neighbours. Half of the musicians taking part here are also full-time members of the melodic progressive metallers Depth Beyond One's, and the gothic/progressive metal act Joint Depression.
"Promosexual" follows a similar pattern, although the more direct and more technical moments are better mixed: "Nooperative" comes close to mid-90's Voivod, but "The Noble Men" goes straight into progressive alternative waters losing the sharpness in the process. "Forgotten" is another more dynamic exercise in abstract modern technicality, and "Introverted" is a brutal for the band's standards speedy thrasher. "The Noble Dude", which is a bonus track, is a weird acoustic ballad having nothing to do with the mechanical abrasive style of the rest.

Promo EP, 2009
Promosexual EP, 2009

CLOWN ALLEY (USA)

Cool crossover/thrash, with sharp riffs and energetic tempos, close to early Nuclear Assault, and longer for the style songs, which nicely mix with the shorter, direct thrash/hardcore-ish bombs. Quite often the music is pure headbanging thrash ("In The Cartoon", "Pet Of A Pig"), supported by very good lead guitar, something not very typical for the style. "On The Way Up" is the odd slow, melodic track, which is off context, but is not so bad. "The Grey Men" is the highlight: a nice combination of very slow sections, suddenly interrupted by smashing speedy riffs. Near the end the band softens the course, and comes up with 3 laid-back rock-ish numbers, with the exception of the aggressive thrashy mid-section of the closer "Prey". This is probably not the best way to end such an album, but before that the thrash fan has alreay taken his necessary portion of headbanging stuff.

Circus Of Chaos Full-length, 1986

COBOLT 60 (NORWAY)

This band is a side-project for two members of the death metallers Blood Red Throne. What we have here is black-ish thrash, atmospheric and mid-tempo on half of the songs, and brutal, with numerous hyper-blasts on the other half. It's not very well mixed, and the final result will not be very satisfactory for the average thrash metal fan.

Meat Hook Ballet Full-length, 2002

COBRA (PERU)

Based on the "Poison in the Bones" split, these Peruvians classic power/speed/proto-thrash ala Exciter, Griffin and Savage Grace. This is energetic up-tempo stuff with pleasant melodic vocals.

Poison in the Bones Split, 2009
Kamikaze Tapes: The Official Bootleg Best of/Compilation, 2009
Peruvian Fuckin\' Heavy Metal Split, 2009

COCKROACH (GERMANY)

One of the bands who brought the old school thrash sound back in Germany; the guys follow on the steps of their colleagues from the Bay Area scene. "No Compromise" begins in a more modern, groovy fashion with the opening "Virtual Reality", which is quite misleading, as the very next song ("Vampire In Black") smashes with nice, old school riffs. The guitar work is quite stylish, bordering on semi-technical thrash on some tracks. All-out speed is not what one will find here; the band prefers to hit with slower, meaty guitars and mostly mid-paced heavy tracks, suddenly intercepted by faster, but not very long breaks; well done, but the headbangers might lose their patience while waiting for those speedy passages.
"Temple Of Mystery" is state-of-the-art thrash, which recalls Metallica at their best, among other heroes from the 80's. The compositions are longer, and the fast sections are much more frequent. The guitars now have a more overt technical edge, and this time we have some excellent technical opuses: "Total Gym", "Underworld", graced by nice leads as well. "Temple of Mystery" is a slow, doomy, atmospheric song- the only one of its kind here. "Fallen Angel" is a brilliant speedy thrasher, alternating intense thrashy sections with galloping ones- the best song on the album, which finishes with the larger-than-life 11-min "Personal War": an ambitious, progressive thrash piece, crossing over quite a few tempo changes and moods, also featuring really cool semi-clean, semi-operatic vocals.
It was interesting to see how the music of these guys would develop after such a strong release, but the follow-up is much inferior: "The Observer" is clearly a disappointment, with its much more ordinary modern sound and adherence to death metal blast-beats. The guys have decided to sound more aggressive and "updated", and have consequently ruined their very potent delivery.

No Compromise Full-length, 1999
Temple of Mystery Full-length, 2003
The Observer Full-length, 2006

COCOBAT (JAPAN)

Based on "Fire Ant Moving Co.": Cocobat is not too far from the style of other Japanese bands like Sex Machineguns, Gargoyle and Shellshock which means that you'll get a very diverse bag; apart from the fast thrashers there are also songs which stretch into all possible directions: doom, heavy metal, industrial, even alternative. Fortunately the album is 14-songs long which means that there will be at least half a dozen headbangers to keep the thrash metal fan happy.
"Struggle for Aphrodite" is typical 90's groovy post-thrash, soft, edgeless and derivative.

Cocobat Crunch Full-length, 1992
Footprints in the Sky EP, 1993
Struggle for Aphrodite Full-length, 1993
Posi-Traction Full-length, 1995
Grasshopper (Promo-Tape) EP, 1996
Return of the Grasshopper Full-length, 1996
Tsukiookami EP, 1998
I Versus I Full-length, 2000
Arana EP, 2000
Ghost Tree Giant Full-length, 2001
Fire Ant Moving Co. Full-length, 2004
12 Steps EP, 2005

CODE RED (JAPAN)

Having taken their name from one of the more recent Sodom albums, the guys won't keep you guessing what the order of the day would be: this is heads-down Germanic thrash, which has something in common with the afore-mentioned German heroes, but most of the time it thrashes with speed the way their compatriots from Kings' Evil, or Fastkill, used to do it (the guys are not as fast as Fastkill, but often are not too far behind), with a pinch of early Destruction and Necronomicon. "Buried In The Battlefield" is an awesome start for the album: speed/thrash at its best, with a short slower sinister break in the middle, which comes with a nice Oriental tune. The fast pace dominates throughout, producing some of the finest headbangers around ("Hunger Island", "Destroy"), ably supported by good, Schmier-like vocals, maybe a bit lower. The band are not strangers to more moderate, but equally as enjoyable pieces: the energetic up-tempo "Patriot", the instrumental "August 6 1945". A bigger, Slayer-like aggression also springs up occasionally (the brutal, fast piece of thrash "Toward The South").

Buried In The Battlefield EP, 2004
Wolves Of Warfield Full-length, 2007

CODEON (FINLAND)

Dark Tranquillity/In Flames meets modern thrash metal. "Source" is a cool debut, which offers good guitar work, excelling in the lead department, and when it stays closer to thrash, it provides really fine pieces ("Humanity Inspection", "Shattermind"), which are of the mid-paced, semi-technical type, and one really notable exercise in technical thrash ("Destination Decoder"). The rest is your run-of-the-mill modern thrash/death of the Swedish school.

On My Side EP, 2005
Source Full-length, 2008

COFFIN BIRTH (CANADA)

This is simplistic, old school black/thrash with a joyful, almost punk-ish delivery; think a more cheerful Venom, or a more vicious Motorhead or Tank. There are no blast-beats and speed involved here, this is mostly mid-paced stuff, well played, albeit a bit one-dimensional.

The Miracle Of Death Full-length, 2007

COGENCY (GERMANY)

A more energetic version of the 90's groovy thrash with dynamic classic implements; not bad, with a few intense headbanging sections, not miles away from the Evildead second effort, or the Sacred Reich album of the same year. The closer "The Face" is an ambitious 8-min long composition, but the guys fail to take the most out of such length, relying mostly on heavy groove to pull it through. Later they formed another band, and chose a much "angrier", more metal name: Anger, but ironically their style is miles away from thrash: it's much softer, sitting somewhere between heavy metal and hard rock.

The Cogency Revenge Full-length, 1993

COLD REALITY (HUNGARY)

Based on the "Irritate" demo, this band pulls out a heavy, modern blend of thrash and death metal with a dark, gothic atmosphere, nice quiet passages, and good lead guitar work (check out the very cool "Insanity"). The music is mostly mid-paced, acquiring a catchy playful spirit at times ("Ghost").

Demo Demo, 1994
Fagypont Demo, 1994
Trio Demo, 1996
Fraction Demo, 1997
Irritate Demo, 2002

COLD STEEL (USA)

A cool (not cold) band sounding like a more melodic Exodus (references made mainly towards "Force of Habit") mixed with heavy, angry riffage ala Pantera and Exhorder; there are more diverse, offbeat moments similar to what Death Angel tried to do on "Act III", and these could be, depending on the taste, the highlight of their style, or a total pullback.

Bracing the Fall EP, 1992
Freakboy Full-length, 1992

COLD WAR SURVIVOR (USA)

Hardcore meets groovy, modern thrash metal.

Cold War Survivor Full-length, 2004
Bloodworth Full-length, 2007

COLDE (TURKEY)

Modern heavy/thrash, not really aggressive, with numerous tender, romantic sections, but containing at least one cool thrashy piece: "A Monday Morning - Part III Order", with a nice gothic atmosphere. The overall style is close to the works of the Finnish acts To Die For and late period Sentenced, with a pinch of thrash. For fans of the more melodic side of thrash this demo will surely have its appeal.

Of Honour Demo, 2004

COLDSPOT (GERMANY)

Modern melodic thrash/death metal; nothing new with the overused mix of brutal and melodic vocals used all over. The guys mix fast with heavier sections as the latter are the more appealing side coming with a certain dark gothic flavour. "Fly Away" is a good ballad "deprived" of the annoying spasmodic blast-beats "decorating" the other songs.

Heldenlos Full-length, 2009

COLEMESIS (COSTA RICA)

The "Live Oppression" album which, of course, is a live performance, containing all the tracks from their full-length debut "Still Oppression Rules", and some more, is an intense slab of classic thrash/death staying close to the French patterns in the trend (Agressor, Massacra, Loudblast). The music is mostly up-tempo with brutal almost grinding outbreaks. To these ears the heavy slower pounders deliver better ("Human Entrapment") with their hammering riffs with a slightly modern Pantera-sque edge suiting beter the angry gruff vocals recalling Jan-Chris De Koeijer (Gorefest).

Still Oppression Rules Full-length, 1995
Live Oppression Live album, 1997
Colemesis EP, 1998
Jalapeños in Burger Republic EP, 2000

COLLIDE (LATVIA)

A 3-song demo (the one from 2006) of heavy, mid-paced classic thrash close to Slayer's late 80's period; quite good stuff, although the songs are all in the same vein and kind of merge together. On the full-length the guys have woken up to play some fast intense thrash, and do a much better job, this time also "courting" acts like Torture, Viking, etc. Slayer is still the base, but apart from the dark sinister, very cool mid-paced "Another Man", their late 80's period is not that well covered, for the sake of their early years. Intense speedy thrashers like "Declaration of War" and "Pull the Trigger" will easily make any thrash metal fan's day, whereas more choppy, hectic riffage can be heard on "Dogma".

Demo Demo, 2004
Demo Demo, 2006
All That Oppress Full-Length, 2008

COLOURFAST (JAPAN)

The music here is done by just one man, Akira Naito, who is also responsible for the act Gaspanic durig the 90's. This is good melodic thrash/death of the modern variety, with flashy guitar work and orchestral arrangements. Expect fast tempos, guitar virtuoso sections, excellent melodic leads and weak semi-clean vocals, which try to compensate their inferior performance with a few high-pitched shouts, fortunately not too many.

The Art of One Full-length, 2001
Counter Blast Full-length, 2005

COMA (USA)

The line-up includes Brett Fugate- the drummer who later joined the doomsters Church of Misery. Here he also handles the vocals, and his Tom G. Warrior-like grunts are one of the highlights of the demo. The music is quite effective, too: heavy, mid-paced, a bit chaotic and technical, and reminds me of Forced Entry, or Infernal Majesty's slower and more twisted songs. Heavy smashing riffs will attack you all the time, and the ever changing rhythm will keep you guessing what comes next. The complexity is big, but the guys keep it short with the longest track barely going over 4-min. There are occasional passages where one could catch modern, Exhorder-like riffs; a sign that this band would have found a place into many 90's fans' lists, and well deservedly so.

Cryogenic Torments Demo, 1992

COMA CLINIC (FINLAND)

Modern energetic thrash, quite close to the style epitomized by the French Lyzanxia on their later efforts, which kind of loses its edge on the moments when the clean vocals come up, but the riffage is sharp and the tempo is up most of the time. All the 3 songs are close to each other style-wise, with "Hollow" sticking out a bit, with its more clever semi-technical guitars.

Promo Demo, 2008

COMATOSE (USA)

Good thrash of the classic mould with slight modern tendencies; "Defiled by Madness" begins in an open intense manner, thrashing with great sharp riffs, followed by the even better "Bottled Freedom", which slows down a bit, but increases the heaviness of the guitars. "Inner Conflict" is an aggressive Slayer-esque number, adding a genuine technical edge to the guitars, after which comes another more quiet, shorter track ("Deniably So (The Edited Truth)"), before "From Green to Black" finishes you off, with another wall of aggression.

Deep Sleep EP, 1995

COMBAT (USA)

This is the same band known previously as Napalm, under which name they released two albums in the late 80's-early 90's. Based on "Ruination", this is modern thrash with a somewhat mechanical feel, and a certain hardcore edge (also in the vocals), at times resembling Meshuggah, at times Obliveon's later period, or the Americans Baghead, at times something which is hard to describe (maybe some veterans from the thrash/crossover scene of the 80's). There are interesting moments here; well, "interesting" is a bit relative, since they might sound too abstract to the more conventional fans, where the riffs sound too "robotic" and dry, and to describe the pace here would be quite difficult, as the songs twist and turn into the most unexpected directions in a way which even the mighty Voivod might find hard to match. This is not an immediate listen, and one might get the feeling that somewhere there is no coherence at all, and each of the guys is doing his own thing with little regard to the others, but if you spend more time with it, and if you have an ear for thrash metal not as usual, this album should turn into a winner.

Live Battle at L'amour EP, 2002
Demo Demo, 2005
Ruination Full-length, 2007

COMMANDO (MEXICO)

Straight old school thrash this way comes from Mexico: energetic, direct riffage and gruff vocal delivery, quite close to Phil Flores (Evildead). The first few tracks kind of flow in the same vein: up-tempo, with a couple of more interesting melodic variations thrown in ("Bomberfucker", where the leads do a good job, albeit coming with a thin sound). "Mental Disorder" breaks the pattern with a more interesting song-writing and stylish semi-technical riffage, combining several tempos. After that the style returns to the more conventional approach from the beginning, until "Police Brutality", which is a smashing ball of fury, also offering more interesting decisions in the guitar department. "Pleasure For Destruction" is a cool mid-paced steam-rolling thrasher, followed by the similarly-styled, a bit faster, closing "Death Termination".

Sudden Invasion Full-length, 2008

COMMON ENEMY (USA)

Fast-paced, occasionally aggressive, but also jolly thrash/crossover coming as a cool mix of The Accused and Spazztic Blurr; the songs are short outbursts, at least half of them barely passing the 1-min range.

Late Night Skate Full_length, 2004
Thrashing Under the Influence Full-Length, 2007

COMMUNAL GRAVE (PAKISTAN)

2 songs of good energetic modern thrash, with good sharp semi-technical riffs on "Anomaly", and more direct headbanging ones on "Blinded By Deceit".

Anomaly Demo, 2008

COMMUNIC (NORWAY)

Communic was formed by the singer Oddleif Stensland after his exit from Scariot. The style here is not very similar to the works of Scariot; it actually resembles quite a lot the one displayed on the first band he founded after the departure from Scariot: Ingermanland (Communic is actually the continuation of this act in every aspect- why the name change? No idea). Both albums are very well executed mixtures of power, thrash, progressive and even doom metal, and the overall sound comes quite close to Nevermore, especially on the debut. Stensland's singing style shows a clear Warrel Dane influence, which was not that well expressed during his time with Scariot. The songs are quite long affairs, with the aforementioned styles present on almost every track, making them quite diverse, but very interesting to listen to. There are moments when the guitars slow down and doom metal seems to take over, but there are others where thrashy riffs attack you from all sides and easily make your day, although they are not of the very aggressive or intense variety. On the sophomore release thrash metal is not that well present, but the song-writing remains on a high level.
"Payment Of Existence" is another very good work, albeit less intense, mixing the aforementioned genres, although again thrash is only slightly hinted at. The sound is less hard-hitting, and the guys have concentrated on the melody, increasing the balladic passages. The songs are traditionally long, with the exception of the excellent "Through The Labyrinth Of Year", which is the heaviest composition, boasting superb heavy thrashy riffs. "Raven´s Cry" is a very cool doomy track, with a nice thrashy section near the end. Another place where the thrash fan has to concentrate more, is "Unpredictables Of Life", which picks more intensity as well. The closer "Stone Carved Eyes" is a larger-than-life progressive opus, where again more aggressive guitars can be heard, along with all other staples of the band's style.

Conspiracy In Mind Full-Length, 2005
Waves Of Visual Decay Full-Length, 2006
Payment Of Existence Full-length, 2008

COMPLEX 7 (GERMANY)

A great progressive power/thrash metal band; their music is quite complex and elaborate, if we exclude the ballads (one on each album) which are quite good by the way. The guys rely on a heavy rhythm, complex song structures, without much speed involved, and superb technical riffs which will remind you of early Psychotic Waltz (the first two albums), Zero Hour, and even Mekong Delta. The first effort contains the heavier, the slightly more immediate, and thrashier material, whereas the sophomore release makes up for the partially lost aggression with more complex technical guitar work.

Water Full-length, 2001
Process Full-length, 2003

CONCRETE COFFIN (USA)

This band hails from San Francisco: the very heart of the legendary Bay Area scene which has given us numerous high-quality thrash metal bands throughout the years. These guys, however, are yet to reach this high level; their music is not exactly Bay Area-influenced: it has more in common with early Megadeth, and Slayer in the more aggressive sections, which are not that many. There is cool lead guitar work at present, which considerably overshadows the rest. Some good riffs could be heard, too, but the guys seem as though they are not brave enough to step the pedal more aggressively and nail a few more intense thrashers down. Surely they keep those for the full-length...

Demo Demo, 2003
Demo Demo, 2004

CONCRETE SLEEP (SWEDEN)

This is the same band known earlier as Formicide- a good ungerground thrash metal act. The music here is heavier with a certain doze of death metal and modern 90's influences, and not as good.

As I Fly Away Demo, 1992

CONCRETE SOX (UK)

Although often being described as a punk/hardcore band, this formation pulls out some really cool thrash/crossover, at least on the first two albums, and definitely deserves to be put on this site's pages. The tracks are generally longer than the typical hardcore-ish outbursts (most of them: 3-3.5min long). The music picks respectable speed on quite a few moments, coming close to Cryptic Slaughter, DBC's debut, and early Prong. When the band slows down, their punk roots become more obvious ("Today's World", "Deviants"), but the music still packs a punch, although the guitars get more melodic and catchy, and these are the times when the guys show their bigger musical skills.

Your Turn Next Full-length, 1986
Whoops Sorry Vicar! Full-length, 1987
Sewerside Full-length, 1989
Lunched Out EP, 1990
No World Order Full-length, 1993
Silence Single, 1997
The New EP EP, 1999

CONDEMN (USA)

A 4-track demo of fairly good semi-technical thrash/death metal; the music is quite energetic, and actually stays closer to death metal most of the time, strongly recalling the Floridian scene. One could hear stylish leads ala Chuck Schuldiner (R.I.P.), as well as twisted sections ala Morbid Angel. The last piece is a fine instrumental, and at times it may remind you of Death's "Cosmic Sea".

Demo Demo, 1992

CONDEMNATORY (SWEDEN)

The band offers modern thrash/death metal with a style not too far from At The Gates, but with a more thrashy edge.

Obsolete Pain Demo, 2005
The Corridor Demo, 2005
S.A.L.I.G.I.A Demo, 2006
Condemnatory Demo, 2007

CONDEMNED (AUSTRALIA)

Cool thrash/crossover with some very heavy moments, calling to mind early Razor.

Humanoid Or Biomechanoid Full-Length,1986

CONDEMNED (USA)

Excellent dark, brooding thrash, reminiscent of Rigor Mortis; the guitar work is more technical than that of the Rigors, and the sound is more abrasive, but the riffs are crushing and the bass work is brilliant. The demo is long so there is room for more crossover-laced songs ("Grandpa", "Nice Fit"), too.

Seeking Power Demo, 1989

CONDUCTOR (SWEDEN)

This band is a pleasant deviation from the established formula of modern Swedish thrash/death metal, but opts for the classic mould with excellent results. Aggressive old school thrash akin to Devastation with touches of death metal, which is not a "stranger" to heavy, stomping numbers ("Children of the Slaughterhouse"). Teddy Möller from F.K.U. helps the band with the production and also takes part as a back singer.

Ritual Carnage Demo, 2007

CONFIDENT (POLAND)

Based on the "Schizophrenia, War & Beer" demo, this is very aggressive thrash, mixed with death metal and hardcore. This is really brutal stuff, which might find some of its fans among the grindcore middles as well. Among the constant bashing cool interesting riffs could still be heard: "Post Mortem".

Rehearsal Demo, 1988
Schizophrenia, War & Beer Demo, 1989
Who's Afraid of the Wind Demo, 1990

CONJURATION (USA)

Based on the "Reality Of Life" demo, this is aggressive thrash in the Slayer vein, with a shade of death metal. The music nicely combines fast sections with stomping ones recalling Abomination, and even Celtic Frost. The guitars are very heavy, and it's a shame that the leads had not been given more space, as they are really good.

Reality Of Life Demo, 1990
Conjuration Single, 1990

CONNIPTION (USA)

A cool debut comes offered by this band; after the slightly long, but fine acoustic intro, the guys welcome you with stomping, heavy mid-paced riffage on "Light The Stage"; the heaviness increases for the doomy "Workhorse", which doesn't have much to do with thrash, but "The Witches Hammer" improves the situation a lot, being an exemplary hard-hitting thrasher, recalling the immortal Wargasm's "Revenge" from "Why Play Around". "Return To Terror" continues in the same smashing mid-tempo manner, with a fine main theme and other stylish guitar sections. The lsitener already knows that here speed will not be the order of the day, and to those who have adjusted to the band's style "Selective Amnesia" will be a total delight: starting as a ballad, this masterpiece later evolves into a standout intense thrashing song, with a genuine technical shade, still remaining in the mid-tempos. "Eye For An Eye" is a very close companion to its predecessor, which begins in a more aggressive fashion, before the introduction of the balladic passage in the middle. After those two timid attempts at a balladic song-writing, "Quietus" is finally the full-fledged ballad, but shorter and with good lead guitar work. "The Illusion" is stomping and doomy, but in a more dynamic way than "Workhorse", cancelled by the storming speed/thrashing piece "Metal Mayhem", the only really fast song on the album. "Successor To The Throne" closes the album, summing up the predominant mood: solid, heavy, mid-tempo hard-hitting sound, which might wear thin after a few subsequent listens, because of the lack of too much variety, but the initial impression from it is firmly on the positive side, also helped by the good mid-ranged clean vocals, which are a nice blend between Joey Belladonna and a lower-pitched Eric AK (Flotsam & Jetsam).

A Method to Madness Full-length, 2008

CONQUEST (USA)

Based on "Rage", this band plays good modern power/thrash metal slighlty influenced by Pantera, Machine Head and GZR, mostly mid-paced, with industrial touches. "Rage" is an awesome opener with great up-tempo guitars, but is quite misleading, as the other tracks settle for a slower, crunchy, groovy sound. The monotonous atmosphere is broken only once, with the more aggressive "Under Your Skin" which thrashes admirably for about 3-min, before everything goes back to an even more groovy sound on the remaining songs.
The "The Killing Time" EP is less exciting modern/classic power/thrash, still having enough edge to survive, and runs away from the hard Pantera patterns, which leads to calmer heavy/power metal moments ("Street War"). On the rest the riffs crush well, but it's obvious that at that time the band were still exploring the "no-mans-land" between the classic and the modern trends.

Wicked Ways Full-length, 1993
The Killing Time EP, 1995
Rage Full-length, 1997
Damnation Full-length, 2001
No Boundaries Full-length, 2003
First Blood EP, 2005

CONSECRATOR (USA)

A fabulous debut: if your understanding of well-spent time is listening to Slayer or Devastation, then you should find this album immediately. Great aggressive thrash of the old school; fast, merciless music with excellent guitar work (check out the leads on "Vision of Ignored!"), and a fine 7-min slower, stomping closer: "Casted". The second half of the album is slower with crushing, but less intense, more technical riffs.

Image of Deception Full-length, 2004

CONSPIRACY (GREECE)

Based on the "Crippled Invaders" EP, these guys offer cool energetic retro thrash, mostly fast-paced, and despite the short length of the songs (neither goes over the 4-min limit) there are no shades of hardcore or crossover; Slayer are touched on the more brutal riffage ("Ct. Jimmy Fucknut"), as well as the Bay-Area ("Villa De Muerto"). The bonustrack at the end "Smells Like Shit" is a less than a min joke.

Ct. Jimmy Fucknut (Tape) EP, 2008
Crippled Invaders EP, 2008

CONSPIRACY (SWEDEN)

Early Dissection meets modern thrash; those of you who were not happy with the last Dissection offering, should check this band out.

Reincarnated Full-length, 2006

CONSPIRACY (USA)

A 4-track demo of cool, technically-minded thrash; mid to up-tempo rhythms change all the time; the guitars have this genuine technical edge typical for acts like the Dutch Usurper or the Norwegians Equinox. The tracks are short, within the 3-min range, except for "Sea of Rage" which is quite an opus featuring slow, doomy riffs, acoustic passages and really engaging technical ones. The singer is a disappointment, with his levelled, impassionate, semi-declamatory voice.

Lack of Society Demo, 1990

CONSPIRACY (USA, MICHIGAN)

"The Dark Journey" offers nice retro power/thrash metal in the best tradition of early Overkill. The album is a mix of mid-paced heavy smashers and faster energetic headbangers. The former are more common as their competition is in the face of the brisk speedster "Metal Is the Law", the galloping power/thrash delight "The Dark Journey" which very well deservedly carries the album-title lashing heavy sharp riffs the whole time, even on the slower heavy section in the middle. "Genetic Default" is a heavy exercise in traditional doom ala Saint Vitus and Penance recalling the similar Overkill composition "Playing With Spiders" from "The Years of Decay". It splits the album into two parts, influencing a couple of songs after it, including the very good semi-ballad "Steele Serenity", until the coming of "Hell Reign Down" which closes the album in a vigorous speed/thrashing manner also reminding of the Metallica debut. The singer is not bad singing in a mid-levelled semi-clean tone with the casual higher-pitched deviation.

3000 Crosses Full-length, 2004
The Dark Journey Full-length, 2007

CONSPIRACY AD (ITALY)

A good death/thrash metal hybrid, which offers a deviation from the pattern with heavy stomping passages which fit nicely along the overall faster music.

The Day Of Burning Souls EP, 2000
Humanity=Destruction: The End is Near Full-length, 2004

CONSPIRACY OF SILENCE (BELGIUM)

A 4-song demo of heavy, doomy thrash which manages to sound quite classic most of the time; the guitars are sharp, but the guys' desire to be a part of some new waves (gothic metal, that is) is more than obvious, and the influence of early Paradise Lost is hard to be disguised ("Cathedral of Rain" and elsewhere). Still this is much more thrash than anything else, and tracks like "Flesh Burned Black" will make quite a few heads bang.

Faceless EP, 1994

CONSPIRATOR (GERMANY)

A side project for two members of Witchburner; based on "Cannibal Of War", the style is not too far from the classic Germanic thrash of Witchburner- here it's spiced up with more aggressive death metal guitar work here and there. There is a lot of singing about beer and drinking (the uplifting, hardcore-ish number "Down In Out Throat (Beer)"), but the music is heavier than the one offered by Tankard.

Cannibal Of War Full-length, 2001
Second Conspiracy Full-length, 2006

CONSTRICTED (USA)

A seismic thunderous mix of doom and groovy post-thrash, with 10-ton hammers shattering the air in a manner no worse than Puncture and Grope. This act is pephaps more melodic, which also comes from the good James Hetfield-like vocals. Shades of The Black Album spring from time to time ("Smothered", the dynamic thrasher "Humans Race"), and 90's Metallica may actually come to mind as another soundalike, although the sound here is way heavier than the one on the Loads, Reloads, Overloads, whatever .

Wide Awake & Breathing Full-length, 2007

CONSTRUCDEAD (SWEDEN)

Sweden has produced so many modern thrash/death metal bands for the past 6-7 years that sometimes it's literally impossible to distinguish one band from another. Construcdead offers a slight twist from the trite formula, introducing crunchy modern thrash ala Pantera and Machine Head on "The Grand Machinery", as well as cleaner vocals, and the final result is not bad at all. The first 2 albums are modern thrash/death metal almost by-the-book.
The guys have gotten lost for a while, maybe waiting to see what would come up on the scene as the "vogue of the day", but "Endless Echo" sounds like a logical follow-up to "The Grand Machinery", although the aggression has jumped a level up, and quite often is the music aggressive fast-paced thrash, adhering to blast-beats whenever necessary. The slower numbers are kind of more proficient music-wise ("Endless Echoes", the semi-balladic "Mephisto"), with more serious guitar work and, again, good clean vocals. Still, bombs like "No Exit", "Transfixed", and especially the "cataclysmic" explosive closer "Cataclysm" are hard to surpass. The heavy aggro-sound of Pantera here has been diminished, only having a slightly bigger impact on "Spiritual Shift" near the end.

Repent Full-length, 2002
Violadead Full-length, 2004
Wounded EP, 2005
The Grand Machinery Full-length, 2005
Endless Echo Full-length, 2009

CONSUMED BU FURY (USA)

Modern groovy thrash which doesn't offer much more than what we all have heard before (Pantera, Machine Head and the likes); the difference comes from the guitar department where some surprisingly stylish riffs spring up here and there ("A Minute to Pray, A Second to Die"), which create the impression that maybe this album will take off towards better fields, but only for a while. Sometimes the aggression comes too much (blast-beats on "Last Chance"), but maybe this is a good thing having in mind the slightly tedious, one-dimensional delivery.

Consumed by Fury Full-length, 2007

CONTEMPT (DENMARK)

Quite good melodic death/thrash metal (based on "Stormforce"), sounding like a thrashy version of the Swedish death metal acts at times, but offers well beyond that. There are moments recalling the Slayer late 80's period ("Burn"), epic-tinged death/thrashers ("Mephisto's Dance"), very cool power/speed/thrash mixtures ("When The Wells Dried Out"), pure speed metal killers ("Gailforce"). In the second half the songs become longer, a bit more complex, and the guitar work acquires a slight technical edge, for the sake of the more aggressive, death metal one. The speed also gets lost quite a bit, and some tracks might start dragging a little ("Crimson Skies"). "The Angel Wore Black" is the leader there, featuring really good intense riffs, speeding up as well.

Stormforce Full-length, 2002
Death From Below Full-length, 2004

CONTEMPT (USA)

On both demos the band offers solid thrash metal with a thick, heavy sound and mid to up-tempo songs. They might remind you of Anthrax's period with Joe Belladonna, and Testament's first two albums.

Demo Demo, 1989
Demo Demo, 1992

CONTINUUM (FRANCE)

The band members have ties to quite a few contemporary French metal acts from all walks of the genre: the progressive metallers Spheric Universe Experience, the black metal outfit Darkenhöld, the death/doom metal act Etheryäl, among others. The title of the opener ("Universe Of Spheric Perspective") is an obvious nod to the former act, also in the music department being a more laid-back lead and keyboard-driven instrumental. Things become both harder and more complex on "Representation Of The Inner Self" which is a heavy progressive thrasher in the Zero Hour vein with heavy pounding guitars and cool mid-ranged clean vocals. "End Of Life" is another sure hit mixing sprawling balladic sections with more dynamic crunchy riffs. "Extinction Of Mu" is a 10-ton smasher with heavy riffage blending doomy sectons with jumpy much faster ones the latter bordering on melo-death. "Faded Illusion" could be considered a semi-ballad with a doom/thrashy twist, followed by the short 2.5-min acoustic instrumental "Lifeless Ocean". "Theater Of War" is a dark power/thrasher reminiscent of Nevermore with a few intense up-tempo passages after which another "break" comes in the form of the heavy ballad "Twisted Paths Of Fatalism" where nice operatic female vocals can be heard as well. "Dark Sight" switches onto a full speed-ahead approach in the beginning, but the guys haven't forgotten about the more romantic balladic side whcih springs up in the middle. "Hell On Earth" is an encompassing closer putting all that was heard up to that point together at times thrashing with force, at times dooming with the finest, at times sounding frankly sinister with dramatic orchestral arrangements. Despite several flaws, like the slightly emotionless never-changing vocals and the constant keyboard background, this album is a fine addition to the more aggressive side of progressive metal, and will hopefully develop further beyond the one-album-wonder stage although one would hardly expect releases on a very regular basis having in mind the musicians' very busy schedule.

Lifeless Ocean Full-length, 2009

CONTORSION (SWITZERLAND)

Retro thrash with a dark, doomy edge; "Witchhunt" starts in a cool headbanging fashion, but the other 3 tracks are heavier, slower, some of them coming with a more playful rhythm ("Law of Nature"), others with a certain doom/gothic touch ("Fade Into Oblivion").

Forgotten Souls Demo, 2007

CONTORTION SESSION (USA)

Thrash/crossover which mixes very fast and brutal passages with more melodic punk-ish ones; might remind you of a more aggressive, but less interesting, Lawnmower Deth.

Demo Demo, 1989

CONTRADICTION (GERMANY)

Contradiction offer solid thrash throughout their career, with nods to both the classic and the modern school. The vocals are of the angry type, and at times could be a little annoying. The song tempo varies from heavy stompers to really fast tracks; nothing really new, but well done. Of all their albums their debut contains the strongest material, with a strong nod to the old school sound, and heavy, thought-out songs, relying mostly on clever, semi-technical riffs and cool balladic breaks, rather than speed and intensity ("Kingdom of the Damned" is probably the only exception, coming up with an energetic Slayer-esque approach); "Trilogy of Darkness" is an original deviation from the more straight-forward pattern, consisting of three tracks: the 1st one is a pure gothic number ala Cemetary with very good female vocals; the 2nd one is the highlight of the whole album, being great atmospheric, but also quite technical and speedy; the 3rd one blends crushing thrash with doomy riffs, and is almost equally as impressive. On later efforts the band increased the speed a bit and introduced more modern elements.
"The Essence of Anger" is vintage retro thrash, and decently done at that. It doesn't sound radically different from "The Warchitect", for example, it's just that the modern elements which have settled in in the band's sound have been removed almost completely leaving all the room for the good old 80's thrash for most of the time. The guys begin in an explosive speedy manner, boosting up the guitar sound which now is crisp and very sharp, especially on the opening trio of bombastic intense speed/thrashers which nicely recall same year Paradox's "Riot Squad". "The Spectator" is the obligatory slower break after such a headstart, but not for long since "Walk of Shame" takes no prisoners with its merciless approach which even switches to blast-beats for a while. "For the Light" tries to mix things up with a few stomping sections, and later on there is not much full-speed-ahead to be encountered which would be quite a pullback to the fans leaving the first 3 tracks sticking out as the "grand illusion" not finding their match anywhere, except for the aforementioned "Walk of Shame" and a couple of more energetic riffs on the final "Commandments". It's not a bad effort as a whole, but the lost inertia in the 2nd half plus the several modern passages included there as well makes it a bit uneven with the 1st one going away with all the pleasant surprises for the headbangers containing the more aggressive and the more classic-sounding material.

Rules of Peace Full-Length, 1993
All We Hate! Full-Length, 1995
Good Company EP, 1998
Contraminated Full-Length, 2003
The Voice of Hatred Full-Length, 2005
The Warchitect Full-Length, 2006
The Essence of Anger Full-length, 2009

CONVICTED (GREECE)

A good debut of energetic retro thrash, with nods to Slayer (their late 80's period) and the Bay-Area scene; the vocals are not the most suitable, being rough, semi-death metal-ish, but are not a detraction from the intense, sharp riffs, sometimes carrying a good sense of melody ("Conscious Apology"). "Raping Your Blood" abandons the short, direct formula, and is longer, boasting great furious speed/thrash sections; there is nothing technical, just pure relentless thrashing for a little less than 7-min.

Nuclear Escape Full-length, 2004

CONVIXION (GREECE)

Most of the time the music is 90's power/speed metal, spiced with some thrashy riffs (sections from "Drink Metal" and "Burning Inside"). This is catchy, melodic, fast-paced stuff, with the obligatory metal hymn ("Heavy Metal Way"). The attitude is Manowar-influenced, but the music packs more punch. The vocals are harsh, with a slight death metal shade.

Metal Drinkin' Conspiracy EP, 2007

COPROSTASIS (BULGARIA)

Heavy, aggressive thrash/death metal is what these guys offer here; the style often recalls Autopsy, or early Six Feet Under, with a more thrashy edge. When things become faster ("Zaklan v Duskoreznica", "Zadrusteni Grobi6ta"), the sound comes close to the works of the gore-thrash acts: Ghoul, Frightmare. "Anal Attack Bloody Fuck" is an interesting interpretation of the funeral march, later turned into an energetic thrasher. This is enjoyable stuff, not very diverse, but with catchy, memorable simplistic guitars and brutal, low-tuned death metal vocals, smelling Chris Barnes at times. To those of you who understand Bulgarian, the song-titles will be quite an experience, as well as the lyrics: definitely not for the squeamish.

35 Minutes of Skull-Smash-Terror Metal Full-length, 2007

CORE DEVICE (USA)

Based on the full-length: this is power metal mixed with thrash and epic passages (including female vocals); the style might remind you of a thrashy version of Falconer. This is heavy, mostly mid-paced stuff, with good guitar lines, carrying the epic/pagan flair, and vocals which change all the time, and are of two kinds: clean, emotional ones, and death metal styled; from time to time comes one rough, semi-clean one as well. This frequent change of vocal styles create a certain operatic atmosphere, also strengthened by the good melodic guitars. The guys harden the course on some songs, which thrash admirably: "Hell and Torment", but there are also peaceful, semi-balladic ones: "Stranger", still the majority of the tracks are power/epic/thrash combinations, albeit not aggressive, focusing more on melody.

God and Man EP, 1998
Our Fellowship Eternal Full-length, 2004

COREMASS (HOLLAND)

Based on the "First Nation" demo, this band offers unimaginative groovy post-thrash with brutal guttural death metal vocals. The riffs are heavy and the pace is never very slow, but this stuff has been heard thousands of times before.

Stamina Demo, 2003
First Nation Demo, 2005

CORONER (SWITZERLAND)

The absolute gods of technical thrash; their beginnings were ably supported by their peers and compatriots Celtic Frost, and more particularly Tom G. Warrior, who produced their debut album and also sang on their first "Death Cult" demo. "R.I.P." was a raw, but highly inspired debut, with the band only slightly hinting at their technical genius, with marvellous short pieces, like "Nosferatu" and "Totentanz". "Punishment For Decadence" boasted a better production, and tighter musicianship, with the band's trade mark swirling, vortex-like riffs gradually settling in ("Masked Jackal", "Shadow Of A Lost Dream"), plus the odd, but intriguing cover version of Jimmy Hendrix's "Purple Haze". "No More Color" shot the band straight to the forefront: a brilliant technical thrash opus, a fabulous combination of melody and technicality. At a time when the tastes were adjusting to the new tendencies, Coroner hit hard with "Mental Vortex"- an album which sums up the term technical thrash in all its completeness, by at the same time giving directions to the future development of the genre; one of the finest achievements on the whole metal scene (with the possible exclusion of another awkward cover at the end: The Beatles' "I Want You (She's So Heavy)", which is a very individual, progressively-laced interpretation of the song). Logically, after such a climactic effort, "Grin" took a more experimental direction, showing the band flirting with the modern trends. After the split up, Tommy Vetterli went to help Kreator get out of their creative cul de sac, and Markus Edelmann joined Tom G.Warrior for his new industrial project Apollyon Sun.

R.I.P. Full-length, 1987
Punishment For Decadence Full-length, 1988
No More Color Full-length, 1989
Mental Vortex Full-length, 1991
Grin Full-length, 1993

CORPORAL PUNISHMENT (FINLAND)

After one of the most renowned 80's Finnish acts Airdash split-up, the guitarist Markku Niiranen, who also pulled the strings for what could be considered the greatest Finnish thrash metal band Stone, and Agathon Frosteus, who by the way is the ultimate drum guru on the Finnish scene, having graced with his presence acts like Gloomy Grim and Barathrum, among many others, decide to continue their career with this band. Based on the debut, this new formation has very little to do with the style of Airdash, opting for the fashionable at the time thrash/death metal hybrid, which doesn't sound bad, and is full of energy, like on the more death metal-laced "Unpleasant Task" or the thrashing spree "Overlord". The other more doomy trend is not forgotten, and here comes "Time" and "Stifled Cry": high-octane doom/death opuses worthy of My Dying Bride or the Dutch Beyond Belief. Later on the speed comes back for a while, but the numbers are catchier and softer ("Extremely Unemotional"). Watch out for the very good "Bitter Thoughts": another slower piece, which offers a great technical twist at some point. "War Of Independence" mixes the two sides into one, paving the way for the superb closer "Reformation Has Been Done", which smashes everything in its way with hammering doomy riffs ala early Celtic Frost. Based on this really good debut, one might invest some time tracking down the rest of the band's discography.

Profaned Relics Full-length, 1992
Into The Nerve Of Pain Full-length, 1994
Stonefield Of A Lifetime Full-length, 1997

CORPORATION 187 (SWEDEN)

For fans of The Haunted and Carnal Forge: modern thrash/death metal with the typical shouted vocals, quite well done.

Subliminal Fear Full-length, 2000
Perfection In Pain Full-length, 2002

CORPSE (BRAZIL)

80's speed/thrash metal; the band's style reminds of their compatriots Chakal's first two albums, and The Mist with its dark haunting atmosphere ("Back to the World" is the best example for that, being a great hypnotic, doom-laden number which would be a delight to both thrash and doom metal fans) and heavy, smashing riffs. The guys do not forget to speed things up whenever necessary ("I Live You Die", a nice Slayer-influenced headbanger which even finds space for cool technical guitars), and as a whole we have a quite diverse, interesting and engaging listen. A good touch are the fine acoustic interludes, accompanied by a stylish lead guitar which, for some reason unknown, can not be heard much on other parts of the album (elsewhere the solos are mostly of the screaming type, and not really striking).

I Live, You Die Full-length, 1990

CORPUS VILE (CANADA)

Thrash/crossover of the heavier, thrashier variety with nice fast crushing riffs, recalling the Germans Death In Action, or even Demolition Hammer in the more aggressive sections; a good, but forgotten release. The guys mix the predominant faster material with slower, hard-hitting ones ("Tour of Duty", "What Does It Take"), which sound even more aggressive than the faster ones, and have an angrier tone, kind of preceding the future trends on the scene later in the 90's. The aggression sometimes reaches death metal intensity ("Out of Hand", "Oppressed"), a feeling aggravated by the very good gruff, semi-death metal-ish vocals. Of course, there are the typical for the style more up-lifting softer crossover numbers ("Words That Kill"), but one might miss them, because the aggressive vocal delivery and the cool, but short leads kind of disguise them.

What Does It Take Full-length, 1989

Vibrations Of Doom

CORROSION (PARAGUAY)

Apparently the modern tendencies haven't reached the more remote regions of South America in the early 90's. This is a very obscure band, but a worthy one at that. The style at display is quite interesting: at times it is cool technical/progressive thrash, recalling Living Death and Mekong Delta; at times the music becomes quite aggressive moving towards the death metal realm. This mixture works perfect, aided by the very wide range of vocals; the main ones are a blend of "Toto" Bergmann (Living Death) and Jeff Scott Soto (you know him), but there are also death growls, semi-clean singing and high-pitched tones ala Rob Halford or even King Diamond. The guitar and bass work are really good. Only god knows how many more gems like this are hidden somewhere in The Andes.

Report Of Exploitation Full-Length,1993

CORROSION OF CONFORMITY (USA)

This unique band has moved over quite a few styles during their career. The albums included here are those which might be interesting for the thrash metal audience. On "Animosity" the band's punk/hardcore roots are clearly audible, and with the addition of some slow, doomy riffs and more edgy, thrashy ones, one knows that this can not be an ordinary stuff. "Blind" is decidedly heavier and could be classified as thrash although there is more happening here than just standard thrashing. The doomy moments from "Animosity" have been increased for the sake of the hardcore ones, and this mix of thrash and doom has a distinctive alternative edge. Their flirtation with thrash lasted for a short time, and on their next efforts the band moved onto full-blooded southern doom.

Animosity Full-length, 1985
Technocracy EP, 1987
Blind Full-length, 1992

CORROSIVE (USA)

A very obscure band who, like many others at around the same time (or perhaps a bit earlier), were crossing death and thrash metal.

I`m Bleeding Full-length, 1994

CORRUPT (SWEDEN)

This band was previously known as Corrupted. Based on the demos: these guys play more intensely this time, and actually sound like the perfect continuation of their compatriots Hypnosia; in other words, aggressive old school thrash, also reminiscent of Kreator ("Terrible Certainty", "Extreme Aggression") and Necrodeath's "Fragments of Insanity". The music is quite speedy, but also technical; some death metal shades could be heard on the more brutal sections ("Lethal Anger", "Shotgun Death"), and "Warpath" recalls Slayer's late 80's period and Sepultura's "Arise" with its heavy riffs. The vocals remain in the Mille Petrozza camp, with an added more vicious, black-ish blend. The new wave of classic thrash in Sweden is getting stronger and stronger with high quality acts like this one, Leprosy, Caustic Strike, Oppression, Enforcer (all these bands are connected with each other due to the talented guitarist Olof Wikstrand, who takes part in each of them, and is the actual founder of at least half of the pack), and I believe it's just a matter of time before it overshadows the modern scene initiated by The Haunted and the likes.

Destroyed Beyond Recognition Demo, 2003
Born of Greed Demo, 2004
Curse of the Subconscious Split, 2005
Silence Equals Death EP, 2006

CORRUPTED (IRELAND)

Swedish death metal (think At The Gates and In Flames) meets groovy thrash ala Pantera, plus an added more aggressive riffage in the Slayer-vein; at times the music acquires a slight classic sound with a Bay Area-flavour, maybe a hint at a possible future metamorphosis?

Feed On The Weak Demo, 2002

CORRUPTED (SWEDEN)

An excellent young band who play classic Germanic thrash in the Kreator, Destruction-vein with the vocals being a mix between black-ish rasps and Mille Petrozza; remember the Germans Nocturnal. With a proper support these guys could reach far; they are now known under a slight modification of their name: Corrupt.

Lethal Anger Demo, 2003
Shotgun Death Demo, 2003
Destroyed Beyond Recognition Demo, 2003
Born of Greed Demo, 2004
Curse of the subconscious Split, 2005
Silence Equals Death EP, 2006

CORRUPTED INNOCENCE (USA)

Heavy, technical thrash with long, complex tracks not too far from Metallica's late 80's period, and the Japanese Outrage; both the riffs and the leads are quite good; the guys have a fine taste for pace, alternating slower, pounding songs with faster ones. This is really good music, which will give you moments to headbang to (the excellent speed/thrasher "Dissect the Mind"), but it will also make you listen with care on the more complex material ("Anxiety"). "Death's Bed" is a thrashy ballad, which might remind you of "One" (Metallica again).

Dissect the Mind Demo, 1992

CORRUPTION (USA)

Very good speed/thrash metal reminiscent of Agent Steel's debut with strong guitar work (especially the solos); unlike Agent Steel, these guys never take a break from speed, but carry on in the same merciless fashion; a contemporary Finnish band impersonates their style quite well: Solitaire.

Infest Of Rage Demo, 1986

CORRUPTION INC (FINLAND)

Based on "Unbroken": these guys offer heavy modern, mid-paced thrash with dark overtones, sounding like a more aggressive version of the gothic wave from the same country (H.I.M., To Die For, late period Sentenced, etc.) at times ("I'll Give You Nothing", the Madonna cover version of "Frozen", which is interesting, with an individual shade, fitting to the band's overall style). On the more edgy moments the music starts sounding quite close to the Black Album ("10 Years", "Soulless"). Some groovy tracks are also added, but not to a very positive effect ("Belief Within").

Corrupted Full-length, 1997
Pain O.D EP, 1999
Blood.Lust.Blood EP, 2002
Promo CD Demo, 2003
Unbroken Full-length, 2005

CORRUPTOR (USA)

Based on the 2007 demo, this band pull out capable speed/thrash of the classic type, but with modern angry hardcore vocals. 2 of the 3 tracks are fast-paced speed/thrashers, whereas "Nightmare To Come" is more mid-paced, graced by very stylish guitar work (the leads, in particular), with clear technical pretensions, and a fine faster ending.

Corruptor Demo, 2006
Corruptor Demo, 2007
Living Hell EP, 2007

CORTINA DE FERRO (BRAZIL)

The demo is 2 songs of moderate classic power/thrash metal in mid-pace with orchestral keyboard implements which threaten to overwhelm the guitars on quite a few times. This is good original music spoiled by the gruff semi-death metal vocals. The brother and the sister in the band, Luiz Roberto and Maria Alves, later took a radical turn from thrash with their new formation which inherited the name (Cortina), but offers pure techno/trance dance music.

Temple of the Darkness Full-length, 1993
Agitated World Single, 1994

CORUM (USA)

Based on "Riffhead": very good progressive power/thrash metal; this is technical, but also accessible music, full of hard-hitting riffs and nice melodic leads. The style is choppy and jumpy at times, at others more aggressive with sharp, more straight riffage. The songs are generally mid-paced, with more speed and aggression involved on "Judgement Rights", which is a nice headbanging riff-fest. On the other side are the complicated, labyrinthine guitars on "Tangents": progressive power/thrash at its finest, with a shade of Watchtower and Sieges Even. The album closer "Brickfight" richly deserves its title: a heavy, aggressive number with sharp, crushing, less technical riffs. The singer is not the star of the show, but his cool clean mid-ranged voice suits the music fine. This is a very obscure, but an essential band for fans of the more unconventional side of power/thrash metal.
"Not Myself" is an exemplary work of progressive thrash, which goes well beyond the musicianship displayed on the debut, both in terms of aggression and coplexity. It begins with the frantic shredfest "Heaviest", which is quite an intense and very technical piece, and within less than 3-min will make your head spin around in circles. "Proctology" starts with a 2-min peaceful lead-driven/balladic intro, later turning into a labyrinth of tempos and riffs, alternating between heavy and more dynamic passages lasting for about 10-min, with some of the most twisted swirling riff puzzles thrown in in-between. "Cry For Help" enetertains the lsitener in a similar to the previous song fashion, with a calm balladic opening section, later settling for less elaborate technical thrash in mid-pace. The "flirtations" with the balladic genre hit the top on "Angel Beard" to the point that some may get quite disappointed to hear almost 12-min of progressive balladry with not a single harder riff involved. Now the band has to work hard to correct the not very positive impression by this collossal slab of serenity, and "Still Breathing" is quick to bring back the hectic technical shredfest accompanied by 10-ton hammering riffs. The "Intermission" which follows is hardly necessary consisting of pure conversational noise, but no complaints on "Not Myself", which is standout creepy progressive thrash with a nice contrast between very violent heavy guitars and a calm acoustic one. "Overunderachiever" is a weird composition offering doomy sinister thrash with quirky riffs and leads ala Mekong Delta. The final "Magnitude" wraps it up with energetic almost up-tempo guitars, and a great Oriental lead passage which takes quite a lot of space (more than half of the song), but is truly a wonder to listen to. Despite a few flaws along the way, this album delivers in a manner no wrose than peaks of the genre, like Deathrow's "Deception Ignored", Psychotic Waltz's "Social Grace", and End Amen's "Your Last Orison".

Riffhead Full-length, 1997
Not Myself Full-length, 2000

COSMIC HAZE (GERMANY)

This is the band previously known as Riff-Raff. While their previous style clinged between thrash and classic heavy metal, here the guys have decided to pay tribute to thrash metal only, and have done a better job. "Whip of Live" opens the album in an energetic, headbanging fashion, but later the sound slows down, and becomes more technical, featuring more ambitious, progressively-tinged tracks: "Renew Resistance". The guitar work is a nice mix of hard, sharp riffs and cool melodic leads. "Are You God?" speeds up again, and is arguably the best song, with a great galloping pace and mighty guitars, recalling the works of the American masters Helstar, Liege Lord, Attacker. This band, along with Squealer, tried to keep classic thrash alive in Germany in the mid-90's but, unlike the other band, they gave up sooner.

Cosmic Haze Full-length, 1995

COUNTERIGNITION (SERBIA)

A vivid dynamic, albeit pretty generic, mix of modern 90's post-thrash and Swedish thrash; the guys are best when trying to capture the early Pantera anger for which helps a lot the gruff quarrel-like vocals.

CounterIgnition Demo, 2008

COUNTER ATTACK (USA)

On both demos this talented band mixes two contrasting styles: doom and thrash metal. The first demo reminds of the American power metal scene slightly ("Screams of Terror"), but the rest is an example of how the aforementioned styles could exist together. There is a "border" between the two styles: pure doom (only two, actually) and pure thrash songs, plus genuine technical touches gracing some tracks ("Evil Calls").

Screams of Terror Demo, 1988
Demo Demo, 1990

COUP DE GRACE (USA)

Based on the self-titled debut, the band's style is all over the place- there is power, classic heavy metal, even hard rock, and thrash, of course: "Bombs Away" is a great representative of the latter. When the guys thrash, they could make quite a few eye-brows raise, but unfortunately this only happens on half of the tracks. Reportedly, their second album has moved towards hard rock.

The Coup de Grace Full-length, 1990
The Art Of Survival Full-length, 1995

COURAGEOUS (GERMANY)

A very good German band whose dark, progressive power/thrash on the first two albums have won them the tag "the German answer to Nevermore". These guys' guitar work is more technical than the one of Nevermore (check out the brilliant instrumental "Mystic Highway" on "Listen"), and the singer has a lower-tuned voice than Warrel Dane, a bit gruff, but fitting to the music at play. Although the song-structures are relatively complex, and the music is mid-paced with slower, doomy sections, the band do not forget to bring more energy to their works with full-fledged intense thrashers ("Brothers in Mind"). In a pattern similar to their compatriots Squealer, they cover Depeche Mode in a heavy, impressive way: "People Are People". The guys try to stick to the classic sound, but inevitable modern, groovy "updates" could be found here and there ("Lord of the Unknown", and other tracks from the debut). The debut is the more melodic work, having bigger ties to power metal, whereas "Remember" is more aggressive, with a heavier guitar sound.
"Inertia" is a very disappointing release, with some alternative tendencies added, and a lot of modern groove which sounded like an almost new band. "Downfall of Honesty" is a partial return to form, with at least half of the songs being forceful power/thrashers in the old style, but with also some of the more melodic/alternative tendencies of the last album still present, with an increased presence of more complex, progressive passages.

Listen Full-length, 1998
Remember Full-length, 2001
Inertia Full-length, 2004
Downfall of Honesty Full-length, 2006

COVA (BRAZIL)

Based on the live split, this is quite fast and brutal thrash/proto-death which will bring you back to the early days of the Brazilian metal scene: Vulcano, in particular, mixed with early Kreator and Necronomicon.

Headthrashers Live Split, 1987
Demo Demo, 1987

COVEN (USA)

A cool band who mixed quite a few styles on their works with their feet firmly on thrash/speed metal ground. There are more classic heavy metal numbers, slower doomy ones and the overall atmosphere is not very serious with humorous, but at the same time explicit lyrics; enjoyable, but not a very popular band. The debut contains very cool catchy power/thrash hymns ("666", "Burn The Cross"), and actually contains only one really aggressive thrasher: the short, but effective "McDonald Massacre", as opposed to the mid-paced, calm tempo of the rest. "Out of the Grave" is another hymn, but of the doom metal category, sounding like a leftover from some of the Saint Vitus albums- quite good, by the way. The closer "Rock This Church" is a letdown, being a pure hard'n heavy number, more suitable for the works of Quiet Riot or Bonfire.
"Death Walks Behind You" is the guys' real initiation in full-blooded thrash. From the great smashing opener "Too Late To Pray" to the very end we have intense speed/thrashing numbers; no fillers here, even the slower songs, which are an echo from the debut ("Succubus") are served with a considerable doze of meaty, intense riffage. "Silent Night, Violent Night" (no relation to the Christmas carol, music or text-wise) is an analogue to the pop-ish closer from the debut, but comes with a nice fast thrashy ending.
After a long, 4-year break the band were back in the game, but their desire to sound more aggressive and modern has led to a much less impressive work, with a harder guitar sound, but with almost no hooks or melodies, which made their previous releases so memorable.

Blessed Is The Black Full-length, 1988
Death Walks Behind You Full-length, 1989
Boneless Christian Full-length, 1993

COVET CHAOS (UK)

"Terrorvision": a 2-song demo of heavy mid-paced groovy modern thrash. The full-length elaborates on the music from it producing 8 tracks of heavy seismic modern thrash/death which at its best comes close to the steam-rolling approach of Cerebral Fix, but these guys have the tendency to speed up more often, although those moments never stretch into a whole song, "Wendigo" coming close with its energetic headbanging delivery. Still, this is hardly a complaint as the guys hammer a nail after nail in a crushing manner with the able assistance of the rough throaty vocals resembling a higher-pitched Karl Willets (Bolt Thrower); music-wise the band is not too far from the battle-like riff-section of that band, either, but the relatively short length of the songs are an obstacle for those moments to develop into a full-fledged war metal hymn.

Terrorvision Demo, 2008
Trailblazer in Space Full-length, 2009

CP 24 (GERMANY)

Great dark power/thrash metal in the tradition of Vicious Rumors and Nevermore, maybe not as technical; another band which could be cited as an influence, is Overkill, and more particularly their finest hour: "Horrorscope"; yes, indeed, this album resembles that one quite a bit on the finest moments, which are the dominant ones. The music is quite heavy, and there is not much speed involved ("Question of Hate" is the exception: a nice fast thrasher), but this is hardly necessary as the sound simply crushes. The singer is truly a find, managing to sound like several of his more renowned colleagues: David Wayne (R.I.P.), Bobby ``Blitz`` Ellsworth, Mike Howe, David White (Heathen), etc. There is a slight presence of groove on some tracks, and "The Sound Outside" is a Queensryche-influenced ballad, not bad, but the rest is a hard-hitting, appealing stuff.

World Between The Lines Full-Length, 2004

CRANEAL (ARGENTINA)

This is crushing heavy thrash/death quite close to the "exploits" of the early Dutch school: Asphyx, Beyond Belief, etc. One will enjoy hammering steam-roller riffs aplenty, several faster outbursts ("Imperio de Odio"), pure high-octane doom ("Conceptos Nuevos"), abrasive almost industrial guitar noise ("Venganza"), extremely brutal low-tuned vocals ala Chris Barnes all over, and for dessert a not very bad cover of Slayer's "Mandatory Suicide" as a finishing touch.

Furia es Dignidad Demo, 2005

CRANIUM (SWEDEN)

This band did a lot to resurrect the glorious speed/thrash metal sound of the 80's. The style is closer to early Angel Dust and Iron Angel, but these guys play faster, recalling another band from modern times- the Finns Solitaire. All their works are in the same vein- relentless speed/thrash attack (just look at the album titles: they will tell you the story quite well), but what more could one ask for?

Speed Metal Satan EP, 1997
Speed Metal Slaughter Full-length, 1998
Speed Metal Sentence Full-length, 1999

CRANIUM CRUSHING (BRAZIL)

A band which crosses the Floridian school with thrash; this is intense music with brutal low death metal vocals, simple but sharp guitars and a cool faithful cover of Slayer's "The Antichrist" at the end, although the attempts at screaming made by the singer are way more ridiculous than the one on the original.

Reaper of the Lives Demo, 2008

CRAPULENCE (GERMANY)

This album starts in an awesome fashion with a forceful speed/thrash metal number reminiscent of Angel Dust's "Into The Dark Past" sounding like many thrash fans' dream come true. Alas, there is only one more song on this album which equals the opener in terms of intensity and speed; the rest is a more melodic, slower style reminding of later period Squealer. Apparently the very misleading, but great opener will be the most memorable part from this slightly above average album.

Darkness Remains Full-Length, 1999

CRASH (BULGARIA)

Thrash metal bands from Bulgaria are a rarity, but they generally pleasantly surprise with high-quality music (Ira Deum, Fifth Cripples Band, Agresor, among others). Crash are another proof to this rule with their excellent, aggressive style reminding of Sepultura's "Beneath The Remains" and Slayer's "Reign in Blood". The album begins in a truly aggressive manner, with "The Day Of" and "Innocent Death", which sounded as though the sound would join the death metal field at any moment, but it never does, although the tempo remains fast and intense throughout. It slows down for a while, on the excellent atmospheric dark "The Beginning Visions". The singer has a low-tuned, but mean-ish tember, which comes as a blend of Schmier and Kerrmit (Tyrant (Ger).

Unreal Dreams Demo, 1993

CRASH (SOUTH KOREA)

Based on "Endless Supply Of Pain", these Koreans provide us with classic 80's thrash, reminiscent of (if you haven't guessed already by the album title) early Kreator, with a heavy dose of Sepultura's "Beneath The Remains". Great stuff- a proof that apart from Japan there are also other countries in the Far East capable of producing some really good thrash.
"To Be Or Not To Be" concentrates on the Sepultura-influences, by adding 80's Slayer-like aggression, bordering even on death metal (the final part of "Machine Of Silence"), and the result is another good slab of classic thrash. The vocalist suits the hard-hitting music quite well, with his delivery seamlessly crossing Tom Araya and Max Cavalera. More modern tunes could be heard here and there ("Turn To Dust", "Reality Discord"), but they seldom stretch into a whole song. The overall tempo is not as energetic as the one on the debut, but a couple of bombastic thrashers stir the blood ("Hate Breed", "The Addiction Conspiracy"). Clever semi-technical riffs could be caught as well ("In Process Of..."), showing the band readily expanding their horizons by not falling prey to the modern standards.
"The Massive Crush" is weak boring groovy modern thrash, with very few shades of the band's previous output. There are some smashing thrash moments ("Dignity", "Acid Rain"), but the rest is unimpressive rehashed riffs, with no edge and variety whatsoever; a "massive crush" indeed....

Endless Supply Of Pain Full-length, 1994
To Be Or Not To Be Full-length, 1995
Experimental State Of Fear Full-length, 1997
Terminal Dream Flow Full-length, 2000
The Massive Crush Full-length, 2004

CRATERFACE (AUSTRALIA)

17 jolly energetic thrash/crossovers dedicated to famous personalities from all walks of life (singers, actors, politicians, scientists, etc.): check the song-titles for more reference akin to the ones of M.S. "Scruff" Lewty (Hellbastard). The music packs a punch, thrashing wiht force more than now and then, speedy the whole time accompanied by cool both hoarse shouty and semi-clean at times vocals. The songs are short, the longest barely going over 2-min, and the guitar work is razor-sharp and brisk, very seldom "staggering" towards hardcore or punk patterns, although "Flavour Flav" at some stage is pure grinding extreme stuff.

...More Thrash For Ya Gash Full-length, 2009

CRAVEN IDOL (UK)

A black/thrash metal mixture with a sinister atmosphere and vicious, terrifying vocals, not too far from the Canadians Megiddo, with an early Bathory flavour on the slower parts, which are often intercepted by ultra fast ones, and perhaps this demo would be of bigger interest to black metal fans.

Demo #1 Demo, 2006

CRAWCELL (DENMARK)

Based on the "Son Of Society" demo, this band pulls out ordinary 90's groovy post-thrash of the more melodic variety, mostly in mid-tempo, with a couple of heavier doomy riffs and the casual alternative element. The vocals are brutal Anselmo-like ones, with a deeper proto-death tember.

Emanizipation Productions Promo Tape Split, 1995
Divorced From Sanity Demo, 1995
Son Of Society Demo, 1997
Split Personality Demo, 1998
Eat my Pussy Demo, 1999

CRAWLINE (DENMARK)

A curious mix of traditional metal, thrash, death, and depressive moments, the latter recalling Katatonia and late period Sentenced.

Dawn Of The Blind EP, 2004

CRAZER (RUSSIA)

This very obscure band offers (based on "Oderint Dum Metuant") outstanding technical/progressive thrash/death metal with brilliant guitar work, which might make you listen to separate passages over and over. The guys keep the pace up-tempo, with occasional insertions of blast-beats; the lead work takes a considerable place from the album, but is simply amazing, with numerous melodies all around. At first listen some compositions might be hard to grasp, with the fast change of rhythms and moods within a short period of time, but it will all settle down later. The bass bottom is very strong, and although you won't hear any pyrotecnics from this side, its presence is felt all over (think Leif Edling (Candlemass). The amount of melodies is simply overwhelming, maybe a bit overdone at times (the epic-tinged, Bal-Sagoth-esque "Shelter For The Rats"), and some of you will be glad to welcome the more-straight pieces, like "In The Meat Grinder". In the second half the songs become longer, more elaborate, but are all fine progressive death/thrash opuses, which don't betray the sound of the album; they just come with more "decorations" (longer lead sections, orchestral intro/outros, more frequent aggressive moments, etc.). The closing "Imitation Of The Death" is a well deserved take on slower, atmospheric gothic/thrash, recalling early Crematory.
The debut demo is straight-ahead aggressive thrash without any technical leanings: direct assault with a proto-death shade. The guys play as fast as possible which still leaves room for several more melodic hooks reminiscent of Mike Scaccia (Rigor Mortis).

Born To Kill Demo, 1992
Your Cross - Your Death Demo, 1993
The Womb Demo, 1995
Oderint Dum Metuant Demo, 2001

CREATION OF DEATH (POLAND)

This band was supposed to be the continuation of the great Polish band Turbo, but the music is a little more than just ordinary old school death/thrash metal, with most of the stylish technical touches of the other act completely missing.

Purify your soul Full-length, 1991

CREATURES (USA)

The full-length offers competent retro thrash/crossover, fast-paced and energetic, staying closer to thrash in a way not too disismilar to Rumble Militia and Hatrix, so expect a few slower crushing breaks ("Burden", "Death Reigns") along the way, as well as occasional nods to the Bay-Area ("Illusive Faults") and even Slayer ("Suffer"). The vocals are gruff hardcore-ish, quite close to the ones of Tommy Victor on the early Prong efforts, with a more aggressive death metal tone.

Creatures EP, 2008
I, Lucifer Full-length, 2009

CREEPER (USA)

One of the first acts to join the groovy metal legions; the music is mid-paced, but is not heavy, and might have been an influence later on albums like Anthrax's "Stomp 642", Invocator's "Dying to Live" and No Return's "Season of Soul". "Stormbringer" is a really pleasant deviation, speeding up with heavier classic riffage, but is the only one of its kind.

Creeper Full-length, 1992

CREEPSHOW (USA)

Based on the self-titled demo, this is outstanding technical speed/thrash metal with two vocal styles: one is quite screechy (might annoy you a bit, as it is the dominating one), not miles away from the higher-pitched tones of Rob Halford used on "Painkiller"; the other one much lower, almost death metal-like. The music is quite fast at times, with slower, heavy breaks, and great sharp riffs which constantly change. The style will probably remind you of Toxik's "World Circus", Agent Steel's "Unstoppable Force", or Attacker's "Second Coming". The only complaint is the thin lead guitar sound which doesn't hold water compared to the great riff-work. "The Omen" is a furious thrasher with a pounding, machine gun-like rhythm, obviously influenced by one of the greatest riffs in metal: the opening ones from Metal Church's "Metal Church".

Creepshow Demo, 1989
Funeral of the Earth Demo, 1991

CREEPIN’ DEATH (ITALY)

The Italian answer to Agent Steel; the opening track "Solitude" doesn't fit this definition, as it is slower and a bit chaotic and jumpy, as though the guys were trying to produce something technical, but have changed their mind at some stage. Fortunately they don't try anything like this later on, and "Rotten Press" is a nice speed/thrasher, setting the tone for the most of the album. The singer has a slightly harsher voice than John Cyriis, but his high wails are no less striking. "Squirts and Shouts" breaks the gained inertia, slowing down to almost balladic dimensions, but speeds up near the end. No more interruptions of the kind, and till the end we have great speed/thrashing songs, some of them offered with a more non-conventional approach (the ending guitars on "Stop The Car", and the hectic frantic riffs in the middle of the closer "Great White Red").

Errare Humanum Est... Perseverare Diabolicum!! Full-length, 1989

Vibrations Of Doom

CREEPMIME (HOLLAND)

After nailing down a great doom/death opus with their full-length, these talented Dutch decided to try other fields, and here comes "Chiaroscuro" to rock your world with its sophisticated technical thrash/death, mostly following the canons established with the last two Coroner albums (gravitating more towards "Grin", but not as abstract and annoyingly modern-sounding). There is nothing too fast and brutal here, and their doom metal roots can clearly be felt on a few moments. The music is mid-tempo, with wonderful surreal guitar play ("Scarlet Man", "The Colour Still Unwinds"), seldom speeding up ("In The Flesh"), without losing its genuine technical edge, even increasing it. "Chiaroscuro", which well deservedly carries the album-title, is a fine mix between the newly-epitomized technical style and their morose doom sound of old. After it the sound loses dynamics, and starts evolving around more doomy patterns ("Fools Paradise", the high-octane technical thrash/doom closer "Gods Thoughts"), an "idyll" partially broken by the more brisk technical piece "King Of Misrule", which also has a brilliant melancholic gothic flavour, perfectly contrasting to the sharp thrashy riffage. A more than fitting, revitalizing addition to the very bleak (from a thrash metal point-of-view) 1995, this effort was a worthy finish of the band's very short career.

Shadows Full-length, 1993
Chiaroscuro Full-length, 1995

CREMAINS (CANADA)

Good, although roughly produced aggressive thrash with an early Sepultura-flavour; the vocals are a bit dirty and hoarse, but the music packs a punch, boldly acquiring proto-death tendencies ("Back from the Graves", "Valley of the Dead"), being constantly fast and intense. The bonus track at the end "Scourging Canine" is pure fast-paced death metal, with a cool technical edge.

Back from the Graves Demo, 1987

CREMASTER (POLAND)

One of the rising stars on the thrash/crossover circuit; the music is very diverse- there are ultra fast, bordering on grindcore, parts; there are stomping, groovy sections; punk, sludge, and even quite cool technical riffs, all this presented with a great sense of humour in the lyrics. Their jokes reach their culmination on the sophomore release- just check out the song-titles and you know what to expect: thrashing parody at its finest.
"No Nie No No" bears no surprises whatsoever: this is energetic classic thrash/crossover, seldom going towards the more brutal spectre of the style this time, providing instead a couple of slower tracks, which are not better than the raging grinding breaks from the past, and cause the album to lose steam easily, especiaslly on the short ballad and the punkish closer at the end.
"Boletus Satanas" is a brutal affair, even including aggressive death metal parts to which sub-genre belong the brutal low-tuned vocals. They certainly give way to others on the mellow jolly punk tracks which are scattered throughout. The modern 90's scene is paid tribute with a couple of heavy proto-groovy numbers, but in an album containing 19 tracks this diversity could be expected. The band is pretty much an institution in their country having given shelter to numerous musicians who later on continued their career in other acts (Atrophia Red Sun, Sceptic, Virgin Snatch, Decapitated, Dies Irae, etc.).

Boletus Satanas Full-length, 2005
Pumpernikel Full-length, 2007
No Nie No No Full-Length, 2009

CREMATORBAND (ARGENTINA)

Vicious old school black-ish thrash is what these guys offer. The tempo varies from more energetic and intense ("Infeccion") to mid-paced, laidback ("Killer All"). "Black Thrash Atack" does little to justify the "thrash" part from its name: this is the only almost pure black metal composition, ranging from hyper-blast sections to slower, almost doomy ones ala more recent Satyricon and Thorns. "Cremator", on the other hand, is a nice slab of aggressive death/thrash, with more concentration on the death side.

Cremator Demo, 2008

CREMATORIUM (URUGUAY)

A 3-song demo of fast aggressive thrash/death akin to Massacra and the Merciless debut; this is constantly fast relentless stuff, with a few melodic leanings and brutal low-tuned vocals. Later members of this band were seen in the full-fledged death metal outfit Eclampsy.

In My Mind Demo, 1992

CRETIN (HOLLAND)

Based on the "Now They Know" demo, this band offers excellent classic thrash with great sharp riffs and a mighty bass-bottom, which would remind you of Jason Newsted's peformance on "...And Justice for All" and the Flotsam & Jetsam's debut. The tempo is speedy, and there are interesting funk-ish moments ("Proud 2B"), recalling Mordred. The vocals are melodic, clean, but fit the music nicely.

Not Very Pleased... Demo, 1989
Now They Know Demo, 1990

CRI D'AMES (FRANCE)

Modern progressive thrash, a bit uneven at first listen, mixing hard-hitting sections with very melodic, alternative ones, but delivering the goods; the vocal styles also vary quite a bit, trying to keep up with the music. The guys have done a good job ("Accomplished Deed", "Lethal Trip"), keeping the intensity throughout, inserting stylish complex passages; "8 December" is another fine achievement: a fine up-tempo progressive thrasher with nice sharp riffs. But it's the 4-part "Let Me Bleed", which goes away with all the praises: a really impressive opus with great technical guitar work, which was kind of missing earlier, but this one largely compensates for that, although there are no speedy moments, just crushing mid-paced riffage, spiced by numerous time changes and atmospheric balladic sections. There is probably not a very audible musical link between those 4 parts, but they work just fine as separate pieces of well executed progressive thrash. The vocal performance, despite its wide variety, is the downside, so some amendment in this department for the future would only increase the band's appeal.

Redemption Path Full-length, 2007

CRIMINAL (CHILE)

One of the most famous Chilean metal bands, Criminal played quite good thrash/death metal on their early works during the 90's, before moving onto a more restrained, post-thrash, groovy sound on their more recent albums. "White Hell" sees the guys adding more speed, to the point of blasting out on quite a few times, resulting in a decent slab of modern thrash/death, quite on par with their early efforts. There are moments when the sound starts to drag a bit, recalling their more recent output, but watch out also for classic thrash/death surprises, like "The Infidel" and the cool headbanging closer "Sons of Cain".

Victimized Full-length, 1994
Live Disorder EP, 1996
Dead Soul Full-length, 1997
Cancer Full-length, 2000
No Gods No Masters Full-length, 2004
Sicario Full-length, 2005
White Hell Full-length, 2009

CRIMINAL CHRIST (JAPAN)

Vicious, aggressive thrash which is not miles away from Possessed's "Seven Churches" and early Slayer, plus some heavy moments ala Celtic Frost ("Last Command In Hades"); Kerry King is an obvious influence on the lead guitarist, and the singer delivers the songs in a very low death metal growl, resembling Reto Wilhelm "Tschösi" Kühne- the first Messiah singer, but this one here goes over the top. Shades of proto-death metal can clearly be heard, as well as on the works of the continuation of that band: Messiah Death.

Cryptic Doom Demo, 1986

CRIMINAL JUSTICE (GERMANY)

A very good underground semi-technical thrash metal act with very specific, snarly vocals and heavy, mid-tempo tracks; the guitar sound is a bit fuzzy, but it makes the guitars sound even sharper and more vicious. The longer tracks: "White Slavery" and "Schizophrenia" are complex with slow atmospheric parts, and cleaner vocals, going quite a bit towards progressive metal, and are more melodic than the lot, but are more distinguishing, since the other shorter tracks sound quite close to each other as the tempo doesn't change, but "Criminal Justice" nicely compensates for the lack of variety with great headbanging riffage, quite aggressive and fast. This is an efficient, albeit minimalistic style; I'm surprised thaht it hasn't been picked by any modern band (the only other band I can resemble Criminal Justice to, are the Finns Lethargy, but they still have a long way to go to capture completely the magic of the Germans' sound).

Burning The Infidel Demo, 1988
Criminal Justice Demo, 1989
Burning the Infidel Best of/Compilation, 2005

CRIMINAL MOSH (BRAZIL)

A moshing intense EP of classic thrash ala Slayer and Devastation; this is fast blitzkrieg music with short tracks, and there is a hardcore aesthetics involved as well. The singer doesn't strain himself that much, delivering a calmer semi-clean performance in the mid-ranges.

Violência Explícita EP, 2008

CRIMINALLY INSANE (USA)

An awkward and amateurish blend of thrash, crossover, funk-ish parts and death metal; very obscure, but that's well deserved.

Mistaken Demo, 1990

CRIMSON DEATH (USA)

An early entry into the more extreme thrash/death metal genre, well done and pretty intense at times; later the band took a more melodic thrash/crossover approach after they changed their name to Vehemence.

Destined To Die Demo, 1987

CRIMSON JIMSON (CANADA)

Based on "Freak", these guys have quickly orientated towards the order of the day: the groovy modern thrash. Their approach is more melodic than the one of Pantera and Machine head, and actually reminds of 90's Anthrax taking the place between the first two John Bush albums (more aggressive, and better than "Stomp 642", and much inferior to "The Sound of White Noise"). The music slows down quite a few times, as though the guys were trying to pay tribute to some doom metal acts on some parts. However, tracks like "Slow" (which, despite its title, is the fastest song on the album, with cool sharp riffs, and a nice solo) save this album from being a complete failure.

Freak Full-length, 1992
Blunt Trauma EP, 1993

CRIOGENIA (CHILE)

Based on "Even Worst", this band plays a diverse mix of thrash and death, which sounds both modern and classic, and both aggressive and more moderate. The guys try to put all trends together into one composition, and surprisingly this cocktail delivers, especially on the more extreme numbers: the opening "Games of Illusion", "Citizen of Hell". "Relapse", on the other hand, is a nice short technical piece, and "Justice" is another hit: mid-paced stomping semi-technical thrash. The 2nd part is more technical, with direct and more complex parts mixed quite well, although the extremity is perhaps too big (the grinding passages on "Killing Signs") on some tracks, and the Swedish melo-death "traps" claim at least one "victim" ("Rituals") at the end.

Immortal Disease Full-length, 2005
Even Worst Full-length, 2009

CRIONIC (CZECH)

One of the best thrash metal albums that the Czech metal scene produced; the vocal style is akin to Max Cavalera, but the music is much more technical than the one offered by Sepultura. The opener "Difference" is a mighty 8-min progressive thrasher, which will remind you even of Deathrow's "Deception Ignored", although the delivery is more straight-forward and standard. The next "Mortal Anxiety" takes a more aggressive, more accessible approach, thrashing intensely and fast. "For You" is a short, effective bass-instrumental, followed by the great intense technical thrasher "To Die For Descent", which brings back the technical play from the opener. Later things get even more interesting with the excellent, Coroner-influenced "The Pictures of Torture", and the up-tempo galloping power/thrashing "Irritating Inertia". "Absent-Minded" is another interlude in the vein of the short instrumental earlier: a nice little acoustic number. The last song "About Tenor" is a more direct headbanging piece, closing not only the album, but the whole "flirtation" of the band with thrash; the guys' career went downhill after this one, moving into a modern pop-metal territory.

Different Full-length, 1993

CRIONIC (DENMARK)

A standout 4-song demo of technical thrash which sounds quite close to Artillery in the faster parts, but is more varied, with slower and heavier parts, and long 5-7 min tracks. The sound has this dark genuine quality, also typical for Cyclone's "Inferior to None". "Sneaking Disease" is a brilliant technical thrasher with marvellous guitar twists, worthy of Coroner and Infernal Majesty. If these guys had carried on, Invocator and Artillery would have had a very strong competition on the Danish metal field.

The Land Which Once Were Demo, 1986

CRIPPER (GERMANY)

"Freak Inside" (despite the slightly silly title) is quite good classic thrash, calling to mind Holy Moses at their best (think "Terminal Terror" in this case). And if we add that the person behind the mike is a girl, then your imagination shouldn't stretch further than the Sabina Classen's gang: the similarities in the vocal department are simply striking. The album is rich with catchy, but at the same time semi-technical riffs; by all means one of the main pretenders for the "best thrash metal debut of the year" award for 2007.
"Devil Reveals" doesn't lose the gained inertia with the debut, but carries on in the same blistering vein: dynamic semi-technical retro thrash, again sounding quite close to Holy Moses' "Terminal Terror", although this time more longer slower compositions are included: "Kids Killing Kids", which smell modern thrash a bit, but are "besieged" by the brisk thrash bombs, which clearly dominate, some of them jumping bolder on the technical thrash field: the nice varied "Devil Reveals"; the cool mix of aggressive fast riffage and melodic Oriental hooks melodies "Hysteria". The girl (Britta Görtz is the name) here sings even in a more throaty and aggressive manner, touching Arch Enemy's Angela Gossow on quite a few times.

Killer Escort Service EP, 2006
Freak Inside Full-length, 2007
Devil Reveals Full-length, 2009

CRIPPLE (SWEDEN)

Based on the demo, this band mixes fast, aggressive thrash in the Slayer and Sepultura mould with genuine technical riffs ala Infernal Majesty. The final result is clearly on the positive side, with great sharp guitars and energetic, but never ultra fast or brutal, tempos.
The full-length is firmly on the modern side, and the groove has calmly settled in into the band's approach, but the technical leanings have not been fully removed, and as a whole this album offers a fresher take on the already established 90's trends. The bad news is that the speed is almost completely gone, and this blend of mid-paced post-thrashy and clever semi-technical riffs becomes monotonous and not very interesting well before the end.

Independent luminary Demo, 1991
Green Pillow Full-length, 1994

CRIPTOFONIA (ARGENTINA)

A 2-song demo of moderate, mid-paced power/thrash, owing much to their colleagues and compatriots from Hermetica. The EP elaborates on the same approach, offering the same longer tracks, which try to vary things up a bit, but end up sounding not too far from each other, especially the more mid-paced material ("Oscuros Recuerdos"); worthy of note is the very ambitious 10-min "Arquitecto de las Pesadillas", which is clearly progressively-inclined, and gains a lot from the couple of intense thrashy sections thrown in. The shorter numbers ("Leyes") are sharper and better, clinging more towards the speed metal genre. The last song is a cover of the famous Savage hit "Cry Wolf", done by the book, which is hardly the best choice, as the version could have benefited from a more hard-hitting interpretation.

Factor de la Destruccion Demo, 2007
Sinfonía de la Cripta Full-Length, 2008

CRISIS (USA)

Karyn Crisis managed to turn her band into one of the leaders of the contemporary metalcore/hardcore scene, but on the debut she tries to kind of adapt ro the aggro-trends of the decade, albeit with ahealthy pinch of alternative and the typical for her avantgardism. The attempt doesn't bear any fruit though since the music lacks speed and intensity relying on heavy riffs and jumpy structures with only the cool unpredictable versatile vocal parts of Crisis keeping the listener only lightly put into the proceedings.

8 Convulsions Full-length, 1994
Deathshead Extermination Full-length, 1996
The Hollowing Full-length, 1997
Like Sheep Led to Slaughter Full-length, 2004

CRISTAL NEGRO (ARGENTINA)

Progressive power/thrash is what this young Argentinian band offers, which clings more towards the progressive power metal genre, but "Esclavo De Los Sin Mora" opens with really aggressive twisted riffage. The "Instrumental" also contains edgy guitars and galloping tempos, but the style meanders into heavy/power metal fields quite often, especially on the longer compositions, like the multi-layered progressive opus "Cortinas Negras".

Marchando al Olvido EP, 2007

CRISTO (ARGENTINA)

Based on the "DLHTI" EP, this band offers groovy post-thrash with the traditional heavy riffage involved, with the casual faster "sparkle": "Cristo". The rest is more gentle, bordering on hardcore ("Cruento Sacerdocio") at times.

Estigma Full-length, 2002
Premeditado EP, 2004
DLHTI EP, 2006

CRO-MAGS (USA)

The thrashiest of all the members of the NYHC scene; "The Age Of Quarrel" is their finest hour, filled with brutal, uncompromising crossover/thrash. "Best Wishes" is a worthy, but less uncompromising and a more melodic, follow-up. The next two acquired tendencies outside the thrash/crossover genre, abandoning the band's hardcore past, adding a mellower power/heavy metal sound into the proceedings.
"Revenge" is areturn to the more stripped-down crossover patterns, but the music is not as edgy despite the energetic delivery ("Tore Up" and "Pressure Drop" are instant thrash/crossover classics, and "These Streets" is cool stomping hardcore ala Pro-Pain), at times spiced with more modern throw-ins ("Jones") in the spirit of 90's Anthrax. There are numerous references to punk as well, and the old fans of the band would not be totally disappointed by this effort.

The Age of Quarrel Full-length, 1986
Best Wishes Full-length, 1989
Alpha Omega Full-length, 1991
Near Death Experience Full-length, 1992
Revenge Full-length, 2000

CRODOR (POLAND)

Stylish interesting thrash of the classic variety with long compositions, twists and turns aplenty, a very strong bass support, and a cool "duel" between gruff death metal and curious clean vocals, which awkwardly high-pitch scream at times. The music is not very easy to describe, since it has a characteristic sound of its own, and could have fitted into the German progressive/technical thrash wave which spread around the same time, although these guys are more aggressive, touching mid-period Death and Pestilence ("Desert") at times, as well as Coroner on the marvellous unpredictable technical thrasher "Paper on the Road". "Sadness in this Mirror (It's My Face)" lashes in a more direct modern Swedish thrash/death manner, and the closing "Seven and Life" is kind of a disappointment, being a soft friendly half-ballad/half-crossover piece.

Epitomizin' Demo, 1993

CROM (SPAIN)

This act is one of the four who put speed/thrash metal on the Spanish music map (the other three being Muro, Legion, and Fuck Off). Crom are the least thrashy of the four, with their style on the debut deeper rooted in epic power/speed metal, some kind of a less thrashy and a bit more dynamic Drifter (Switzerland). There is speed enough to make your day: "Final Warning", "Galadriel", the proto-thrash gallopers "Mirrors Tale" and "Mother Loneliness", etc.; it's that there is a frequent alternation between fast and slower passages on the longer material, which may not satisfy the thrash metal fan a lot.
"Wasteland" abandons the epic/progressive aspirations, and rushes onto power/speed/thrash, with the only further ado being the sinister intro "The Dragon's Prelude". "Wasteland" is hard-hitting speed/thrash, with a nice balladic chorus section. "Uther's Order" is dark doomy power/thrash with heavy riffs and an Oriental melodic main theme. "Ninth Moon" carries on in the same slower vein, being a lead-driven instrumental, and "The Chosen One" is another doom-charged number. "The Shining Lie" is finally a more intense faster song, but "Morgana" returns to the slower, doomier patterns, which are not bad at all, but are too many. "Tears Of Madness" is a short ballad, but at the end comes more speed/thrash: "Legends Of Swords", which partially captures the mood from the beginning. As a whole this album will remind you of the Swedes Morgana Lefay quite a bit, especially on the slower moments, where the dark pounding guitar sound is quite similar; the singer is another resemblance between the two acts, with his clean, slightly hoarse, high-strung voice. Like Fuck Off the guys disappeared after only two albums, with only the singer been seen later in a couple of hard'n heavy formations.

Steel For An Age Full-length, 1987
Wasteland Full-length, 1988

CROM (USA)

A mixture of contrasting styles like thrash and stoner/sludge/doom have become quite popular for the past few years, and most of those acts come from the USA. Based on "Hot Summerian Nights", these guys are another addition to this trend. Their music has a considerable doze of hardcore as well, and their songs are very short, very often barely exceeding 1-min., and this is the reason why there are whole 21 tracks here. The singer is utterly irritating with his hysterical, hoarse delivery, but when the sound slows down to doom dimensions, it becomes quite listenable, especially when it comes mixed with a sudden thrashy outburst ("Battle Axe Butchery - Banned I"). Some numbers will be a delight for the headbangers ("Zamora", which is a nice straight, direct thrasher), some will make fans of Saint Vitus listen with care ("Second Koming").

The Cocaine Wars 1974 - 1989 Full-length, 2001
Hot Summerian Nights Full-length, 2007

CROMOK (MALAYSIA)

Based on the debut: cool fast-paced 80's thrash with interesting Oriental guitar melodies; the style is similar to Torture's "Storm Alert", maybe more straight-forward, and more often adhering to slower, atmospheric passages, which work quite well, by the way, supported by very good, melodic hooks (including the aforementioned Oriental tunes). On the other hand, separate pieces pick up aggression, not too far from the death metal acts at the time, which are hardly the more attractive side of the band's music, but serve well as deviations.
"Forever In Time" is another good effort, but the speed from the debut has been left a bit behind for the sake of doomy, slower, atmospheric melodies which work fine all the way, spiced up with great thrashers ("Colour of Truth"). The style is still heads-down thrash, but the guitars are less hard-hitting, and the concentration is clearly on melody, displayed by two fine instrumentals, one of which is purely balladic ("Another You"). This is probably a transitional album, if the band had the intention to move into other metal genres on later works.
"Yours Truly", which comes 3 years after, continues the music from the preceding effort, without stretching into other directions, and does a fairly good job once again. The music is dark and atmospheric, but this time more intense numbers are included, reminding of the debut: "Stranger", and especially the furious 1-min thrash/death piece "Maram Perapu Kepunden Paran Se", which contrasts to the slow, doomy instrumental "IC". Later on faster, more energetic songs alternate with slower, pounding ones, with very occasional moves towards other metal genres.

Image Of Purity Full-length, 1991
Image Of Purity & Live Full-length, 1992
Forever In Time Full-length, 1993
Yours Truly Full-length, 1996
Mean, Meaner, Meanest Full-length, 1999
Image Of Purity (Remastered) Full-length, 2001
What's Left Full-length, 2001
Deafening Silence Full-length, 2002
Untitled Full-length, 2004

CRONIC DISORDER (USA)

A pretty decent thrash/death mix of the heavy, stomping variety (think a more thrashy Bolt Thrower) with clean vocals thrown in and calmer, semi-acoustic passages.

Dead to the World Full-length, 1999
Torture Test Full-length, 2001

CRONOS (ROMANIA)

Doom metal mixed with more intense thrashy parts; worth hearing just out of curiosity.

... Si Voi Ucide Timpul EP, 1998

CRONOS (VENEZUELA)

Groovy thrash sounding like a clumsy, slower Pantera, with no memorable riffs at all, and heavy-handed ballads included, mixed with hardcore to make things even worse.

Rules Full-length, 2003

CROSKILL (BRAZIL)

Excellent power/thrash metal close to Aftermath and Helstar; the singer possesses a nice, mid-ranged voice and the guitar work is really good. The great galloping rhythms and the melodic hooks are simply addictive: check out the excellent opener "Escape Into Fantasies", or the sophisticated, with a technical edge, thrasher "Days Of No Trust". The 90's power/speed metal scene owes a lot to albums like this: listen to any of the catchy choruses or the dual lead guitar work. The down side of this great album are probably the semi-ballad "In Quest of Truth", and the pure ballad "Wings of Destiny"; not bad at all, but two in one album of this kind is probably a bit too much.

www.badongo.com/file/3561810- this is the link which will take you to the place from where you can download this album, provided for you by the band's founder Eri Soares.

Escape Into Fantasies Full-length, 1991

CROSS EXAMINATION (USA)

Based on the "The Hung Jury" EP, which is whole 14 songs long (because it also includes their 2004 demo probably?), these guys pull out enjoyable thrash/crossover in the vein of S.O.D. with a clear thrashy edge, although this edge hasn't been given a big chance to develop, as the longest track is 2.5-min. The tempo is quite fast, and I can see quite a few of you out there jumping around on this stuff. Somewhere in the middle two covers are thrown in: S.O.D.'s "Kill Yourself", and Suicidal Tendencies' "I Shot the Devil".
The split is in the same vein, fast edgy thrash/crossover, maybe a tad more thrashy and more aggressive "courting" early Nuclear Assault at times, except in the vocal department where those screechy hysterical vocals may get on your nerves a bit.

Demo Demo, 2004
The Hung Jury EP, 2006
Super Party Brothers Split, 2007

CROSS FADE (USA)

Based on the "Ruined" demo: a 3-song demo of aggressive fast thrash/death along the lines of Incubus and Revenant with nice acoustic interludes inserted within the songs, and very good leads (2 of the songs); "Rape for Profit" steers away from this description into slower, heavy fields with smashing riffs and an almost doomy tempo. Reportedly their last Untitled demo is a major improvement over their previous efforts, being quite well-executed technical thrash/death in the Atheist, Pestilence tradition.

Cross Fade Demo, 1991
Ruined Demo, 1992
Untitled Demo Demo, 1994

CROSSCUT (GERMANY)

Based on "Director´s Cut": these guys come up with ordinary, modern post-thrash, which at times is groovy, resembling mid-period Machine Head quite a bit ("Points of the Virus"), with the typical duels between the shouty, hardcore and the semi-clean vocals, and seldom is energetic ("Focus"). The music lacks vitality and inspiration, and descends to nu-metal, pulling the final impression on the negative side.

God Given Time Full-length, 2001
Nonesizefitsall Full-length, 2003
Director´s Cut Full-length, 2004

CROSSFIRE (TURKEY)

This is a cool mixture of Iced Earth and modern-day Testament (think "Low" and "The Ritual"). Some of the tracks are long, with a certain epic, battle atmosphere, and move away from the thrash metal field. The singer is worth mentioning, having a voice similar to Matt Barlow, but also able to shout out more aggressive lower-tuned lines. This is not a full-fledged thrash metal effort, but is worth checking out.

Aggression Treaty Full-length, 2005

CROSSINGATE (FRANCE)

These Frenchmen pull out a modern thrash/death hybrid. The music is fast, with more nods to the death metal genre, with shades of black metal as well ("Infinite Darkness").

2K6 Demo, 2006

CROTALUS (USA)

This excellent thrash metal band was later transformed into another great one -Blistered Earth. Both bands share the guitar wizard Peter Rutcho who is also responsible for the instrumental progressive thrash formation Vomitron (which is actually only one person- Peter Rutcho himself). Crotalus' sound is heavy, technical, along the lines of Metallica's late 80's period, or Heathen's "Victims Of Deception". The album features a cool faithful version of Iron Maiden's "The Trooper".

Machines of Doom Full-length, 2000

CROWN OF THORNS (USA)

A heavy blend of classic and modern power/thrash, mid-paced to slow/doomy, built around long compositions which seldom vary things away from the heavy tedious riffage; that's why the nice tender ballad in the middle "Acts Of Contrition" comes as arevelation, the singer pulling out good clean performance, as opposed to his gruffer mid-ranged more ordinary delivery. However, when the next "Maybe Tomorrow" offer the same romantic nostalgic sutff for nearly 9-min, one may start moving forward, but he wouldn't come across anything more interesting, since the rest of the songs are clumsy slow affairs with doomy overtones, with the closer hitting the bottom being an awful jazzy ballad.

Loneliness Is Black Full-length, 1994

CROWN THE LOST (USA)

Very cool technical power/thrash metal in the vein of Helstar's "Nosferatu" and Bezerker's "Lost"; the guitar work is standout, and the tempo nicely varies from slow to mid-paced, to several quite fast sections, all this "accompanied" by nice clean emotional vocals. "Devoid of All Praise" is a great instrumental piece which sums up all the elements of the band's music; a really impressive debut which puts the stakes quite high from the very beginning. Hopefully this band will develop further beyond the one-album-wonder stage.
Three years later the guys are alive and well, and the follow-up to their commendable debut delivers almost as well. This time the pace is quite fast, and the album develops in a brisk technical speed/thrash fashion, drawing similarities to the Polish Hellfire and the early works of the Danes Manticora. There are more blast-beating passages, of course short and spontaneous- don't expect death metal here. "Bound To Wrath" slows down after the first two intense speedy tracks, but "Symbiotic" quickly restores the speed domination, stretching into a 7-min progressive speed/thrash delight. The intensity hits the top on the aggressive thrasher "Finality", which comes accompanied by some death growls. Then the technical speed/thrash "marriage" returns for two more numbers, before the coming of the next "break": the more moderate slower "Impose Your Will". Expect no mercy, though, on the following "Hollow Refuge", which thrashes in a more melodic way (check the leads on this one). The closer "Blind Faith Loyalty" concentrates on melody again, and may be considered a drawback to some extent, as it doesn't faithfully reflect the preceding material. Still, there is plenty to enjoy here, especially those who like their speed/thrash served with a strong doze of both technicality and melody, occasionally nicely elaborating to progressive perimeters.

Reverence Dies Within Full-length, 2006
Blind Faith Loyalty Full-Length, 2009

CROWNEAR (RUSSIA)

The band's style (the debut) is cool, albeit uneven technical thrash, recalling Wolf Spider and Turbo's "Epidemic", and despite the presence of more melodic balladic, funky, and even rap-moments, it delivers the goods. The debut: "Gay_Forobundo" is a jolly, technical thrash/crossover opener, and remains the only one of its kind. The guys like mixing intense, technical riffage with jolly, hard'n heavy tunes: "Crazy Girl", "Lucky Winner", and although this approach might unnerve the average thrash fan, cool heavier numbers, like the atmospheric, mid-paced "Die But Stay Alive", or the speedy, hectic "Full Moon Fever" will bring you back on track, but not for long, since the last 3 songs exit the thrash, and even the metal field, at times.
"Zombie Television" is a disappointment, with a strong modern, industrial edge and a lot more passages outside the (thrash) metal field. There are very few moments where you would like to bang your head ("Acid Diethylamide"). Apparently the guys have tried to exit the scene ala Equinox ("Labyrinth"), but the final result is much much inferior.

Full Moon Fever Full-length, 1991
Zombie Television Full-length, 1995

CRUCIAL UNIT (USA)

A thrash/crossover sensation with a very uncompromising, intense delivery, akin to other similar bands, like Attitude Adjustment and Municipal Waste, maybe deeper rooted in punk; based on "These Colors Get The Runs", the guys take no prisoners with their direct approach, topped by slightly irritating, screechy hysterical vocals. Some calmer moments await you along the way: the parody "Bruce Springsteen Needs The Workers, But The Work", the rock/punk joke "No Loafin'". The guitar work is quite captivating and melodic at times ("Keep Punk Moderately Dangerous"), but the "uglier" side of their style is just around the corner: the brutal grindcore explosions "Cleanliness Is Next To Godlin" and "Communitea III".

Premium Iced Tea EP, 2001
Moshzilla EP, 2002
Crucial Unit / Municipal Waste Split, 2002
These Colors Get The Runs Full-length, 2003

CRUCIBLE (USA)

Based on the 1990 demo, these guys literally walk over the thrash metal spectre, presenting us with quite an appealing cocktail: there is a Slayer-like aggression, there are stomping sections ala Sacred Reich's "The American Way", there are interesting tempo changes, all that topped up by superb bass work reminiscent of Steve Digiorgio. The music takes a considerable technical edge on a few times, and the leads are quite stylish ("Lethargic Mind"), and the only downpoint perhaps would be the vocals, which are too low in the mix, sounding like a rawer version of Chris Astley from Xentrix.

Demo Demo, 1990
A Dying Breed Demo, 1992

CRUCIFER (USA)

Based on "Pictures Of Heaven", this is heavy, stomping thrash/death metal, with certain doom/death parts, not too far from Asphyx, but great energetic thrashers like "Death Becomes Us" will surely keep you awake. In the more technical sections the band reminds of another great short-lived Dutch band: Nocturn. Depending on the taste, the longer, slower, complex songs might be viewed as the better side of the band ("Pictures of Heaven", "Sister Crematorium"), although their thrash merits are debatable, but the atmosphere and musicianship displayed are hard to match. The band raises the technicality on a higher level in the second half, offering a couple of really nice technical death/thrashers ("False Sense of Hope", "Impaled"), before returning to the slower, dark sound on the closing "And Once Again...", which still provides technical moments, mostly in the bass department.
The "Festival of Death" demo is aggressive thrash/proto-death with a haunting keyboard background at times, reminiscent of Nocturnus and early Therion. The music also recalls Infernal Majesty and Massacra on the more aggressive sections. The vocals are very brutal low-tuned, and are not very comprehensible. The band's staple doomy passages are already here ("Crucifer"), but come rudely interrupted by very intense fast ones. "Atheist" is cleared off them, and is a nice take on dark doomy thrash/death with intriguing technical moments. But then comes "Mindrape", which is 1.5-min of fierce death/grind. "Flowers" is another very good mix of doom and thrash/death, and the closing "Post Nuclear Dream" is a great retro thrasher with a masterful technical edge.

Pray for the Dead EP, 1992
Festival of Death Demo, 1992
Pictures Of Heaven Full-length, 1993
Separation EP, 1995
Sickly Divine Full-length, 1996
The World Dies (1989-1999) Full-length, 1999
Pictures of Heaven 2007 Full-length, 2007

CRUCIFERAE (FINLAND)

Atmospheric dark thrash/death in a predictably mid-tempo and nice additions, like orchestral passages, organ tunes, acoustic deviations, etc. There are plenty of melodic hooks and slower distractions, and fans of mid-period Sentenced and harsher gothic acts like Evereve and Crematory will also find a lot to like here.

The Light Prevails EP, 1997

CRUCIFIED MORTALS (USA)

Excellent classic thrash of the faster, more aggressive type, similar to Torture's "Storm Alert" and Rigor Mortis; the music is constantly speedy, with occasional slower breaks ("Masked Mu"), also reaching for more extreme means: the death-ish "Converted", which would "convert" anyone into a raging death/thrash metal maniac. "Sentenced" is probably the best number here which, among the wall of fury and aggression, finds time to pleasantly surprise with more stylish guitar work of the semi-technical, chaotic variety.

Converted by Decapitation EP, 2004

CRUCIFIER (GREECE)

The "Escape Or Die" demo offers fast thrash with hardcore touches; only "Heroine's Death" slows down, but just for a while. The intensity is so big that at times the sound borders on death metal. "Cursed Cross" abandons the hardcore and death metal-influences, and with a more compact sound is a much better offering which shoots the band straight to the top of the thrash metal movement in Greece; this is actually excellent classic thrash metal which will remind you of many great bands from the 80's: Slayer, Sepultura, Sacrifice, Destruction, among others.

Merciless Conviction Full-length, 2002
Escape Or Die Demo, 2004
Cursed Cross Full-length, 2006

CRUCIFIST (USA)

The bass legend Dan Lilker has formed this band with the help of two members from the doom metallers Orodruin, and the final result is a crushing mix of doom, thrash and a bit of death metal. All three styles alternate withing the song structures creating a compelling sound reminding of Usurper, Lair of the Minotaur, Dream Death and early Celtic Frost. There is also an abrasive black-ishness present on the shorter tracks ("Skull Smashing Face Ripping Death", "Demon Haunted World") with an early Bathory flavour, but the twisted doomy riffage is just around the corner ("Honor"). "Curse Of The Plasma Hound" and "Tumefaction" suddenly switch onto aggressive death/thrash bashing in the middle, although both come "decorated" by nice heavy doomy passages. "Witchgrip" is a stylish flirtation with more technical guitars, followed by the good cover of Angel Witch's "Angel Of Death", before the epic doom thrasher "Anus Mundi" closes the album in a stomping crushing manner, also offering a cool chaotic technical exit. Music-wise this effort contains very little to be related to Lilker's other bands, providing a nice doomy twist to the classic thrash sound.

Demon Haunted World Full-length, 2009

CRUCIFIXION (JAPAN)

Based on the "Necrolatry" demo, this band plays aggressive thrash/death metal, and are probably the first ones who introduced the death metal side of the genre in Japan, with very good guitar work, sounding like a better version of the Brazilian bands around the same time (Volcano, Sextrash, etc.). The sound quality is bad, and it takes away a considerable part of the music.

Corpse Decapitation Demo, 1986
Necrolatry Demo, 1987

CRUCIFIXIONHAMMER (USA)

Raw deeply underground black/thrash sounding like a more extreme Venom with the echoing semi-whispering vocals being a really scary addition. The band sticks to the one-dimensional Venom-esque mid-pace for most of the time, with the exception of "Final Revelations", which is indeed the "final" song, and thrashes faster and harder akin to early Bathory and the Canadians Megiddo. Although the level of musicianship is not high at all, kudos should be paid to the guys for creating the genuine early underground 80's atmosphere so well.

Graveyard Lust Demo, 2009

CRUEL EXPERIENCE (GERMANY)

Based on "Eternal Suffering", this is rough, amateurish aggressive thrash/death, which often adheres to uncontrolled spasmodic blast-beats, which take turns with more laid-back sections in the vein of early Six Feet Under; on top of that there is one awful joke rock-ish closer "Schnauze Voll Blues": skip it if you can. The singer also tries to imitate Chris Barnes, but his "chants" are more intelligible.

Hate Flows Full-length, 2002
Forward Full-length, 2003
Eternal Suffering Full-length, 2004
Suffocated in Emotions Full-length, 2006

CRUENTION (FRANCE)

The promo shows a competent act playing dark black/thrash. The riffs are decidedly thrashy, but there is a lot of atmosphere created by the keyboard background, the vicious raven-like vocals, and the occasional melodic gothic/black Cradle of Filth-like tune. The music is not very fast, except for separate moments from the songs, being mostly mid-paced, heavy on atmosphere and mood.

Promo Demo, 1998
Rudis et Indigesta Moles Full-length, 2007

CRUISE MISSILE (SWITZERLAND)

Raw thrash metal similar to early Messiah; actually, it's the Messiah singer R.B.Bröggi who lends his vocal abilities to this band; the music is more of the mid-tempo variety and a tad less aggressive than Messiah's.

The Legend Demo, 1987

CRUMBSUCKERS (USA)

The band's debut is a very good fusion of punk/hardcore and thrash (although thrash is an elusive definition here). The follow up brought about a more metallic, technical sound, a clear sign of the band's ambition to move into the metal realm. Despite its undeniable qualities, without the energetic punk/hardcore spirit of the debut, this release failed to grab the attention of the metal fanbase as successfully.

Life Of Dreams Full-length, 1986
Beast On My Back (B.O.M.B.) Full-length, 1988

CRUOR (BRAZIL)

This is an interesting album: it combines the early 90's works of Flotsam & Jetsam with intense speedy parts which are not too far from Paradox, or even Sodom's "Persecution Mania": the album closer "Torture". However, this is just the base on which a lot more has been placed; the music twists and turns into many directions: there are quiet atmospheric moments, balladic ones, crossover touches ("Galeria de Horrores"), even jazzy, funky passages ("Banditry"), which are suddenly broken by more aggressive riffage, or by screaming, but quite good leads: a typical example for this diversity is the excellent 8-min instrumental "Mortal Reality". There are a lot of progressive elements in the band's style, and whereas these sections are not very easy to swallow, here come the straight thrashy ones to save the day; so you can't possibly get bored with this one. The album is actually split into two parts, which are mixed together: short 1.5-2 min tracks, and longer, more complex ones. The overall result is quite close to Flotsam & Jetsam's attempt at more elaborate music "When the Storm Comes Down", but this is way better. Near the end the guys have seemingly gotten tired with the complexity, and the last two songs: "Slow Death Machine" and "Seca", are very good more conventional aggressive thrashers, which still retain a certain amount of the technicality.

Insane Harmony Full-length, 1995

CRUSHER (FINLAND)

4 songs which offer a blend of feelgood Exciter, Motorhead-like riffs ("Metamorphose"), black metal blasts ("Mass Destruction"), Swedish death metal ("Hate Is My Messiah"), and crossover ("I'm The Batter You Are The Ball").

Crusher Demo, 2005
Metamorphose Demo, 2007

CRUSHER (FRANCE)

Based on "Corporal Punishment": typical for the time, and especially place/country, thrash/death metal hybrid, sounding like more brutal Massacra; the music is more death metal-based, and slower doomy passages ala Bolt Thrower are present as well, although their involvement is not as expertly done. The vocals also strongly recall those of Karl Willets, and they could pass for the band's strongest asset.

Undermine EP, 1993
Corporal Punishment Full-length, 1993

CRUSHER (TAIWAN)

Thrash/death of the Swedish school, not miles away from Dark Tranquillity; the guitar work is very cool with very stylish leads, and these guys look well set to make a more lasting impact on the music scene, at least in the Far East, if they step the pedal harder on the technical side of their music.

Armageddon EP, 2007

CRUSHING JACKHAMMER (HOLLAND)

A brand new act who pull out awesome old school thrash, along the lines of Rigor Mortis. This is great, fast-paced music with great sharp riffs and vocals which resemble Bruce Corbit quite a bit, but more aggressive and throaty. The guitars have a slight technical edge, and at times come close to the pyrotechnics of Mike Scaccia. There are moments where the guys seem to take a break from the intense thrashing, which sound slower, but quite crushing. With the word "thrash" present in four of the seven song-titles here, it's clear that the band look no further than the good old 80's, so prepare your handkerchiefs and tissues: there'll be a lot of nostalgic memories with this one. There's always "time to thrash"... especially when it's done in such a good way.

Time To Thrash Demo, 2008

CRUSTACEAN (HOLLAND)

Based on "Insaniac", these guys are obviously fond of Slayer, but mix their fondness with old school death metal, and as a result we have a very cool sound. The band have found the perfect balance between the raging thrashers and the heavy numbers which sound as though directly taken from "South Of Heaven" or "Seasons In The Abyss". Few bands nowadays have managed to capture the 80's Slayer magic as well as these guys.
Their full-length debut, on the other hand, is probably the better achievement, with more technical guitar work and a sound closer to the Bay Area scene (early Testament, Vio-lence), although the fascination with Slayer has started to show up ("Injected with Blood").

Headcleaner EP, 1995
Burden Of Our Suffering Full-length, 1998
Satanized EP, 2000
Insaniac Full-length, 2003

CRUX (CZECH)

Crux share members with two other bands from the Czech metal scene- Root and Denet. Based on the demo, the band's music is a raw, but frequently interesting combination of thrash, black and doom metal. "Navrat Vladce" is an aggressive, frantic opener, with a great bass bottom, and a cool slower, dark second half. "Rev Smrti" is slower, but still thrashes intensely with good mid-paced riffage. "Demoni Temnot" is pretty much in the same vein, and the listener might start wondering whether there would be any more aggressive play on this one. The answer comes in the form of "Belzegor", which is even slower and more melodic. "Klic Prvni" is a very good 9-min doom metal epic, and is not totally unexpected, in consideration of the direction taken with every subsequent song. "Awathea" is a nice quiet, acoustic instrumental, closing an album which would appeal to quite a few fans from several metal genres.

Øev smrti Demo, 1991
Øev smrti Full-length, 2000

CRUXMORTIS (BELGIUM)

Heavy thrash with a rough, not very pleasant death metal singer who uses synthesizers here and there which makes him sound even less appealing. The music goes into quite a few directions: most of the time it is classic thrash of the stomping, not fast variety, but early modern 90's implements sneak through, as well as pure doom metal sections ("Sickminded Maniac", "Deserve to Live"). A mixed bag as a whole, would also appeal to fans of the doom/death metal wave which started around the same time in their neighbours Holland.

Demo Demo, 1991

CRUZADAS (BRAZIL)

"Troia" is an epic power/thrashing instrumental, which is followed by the speed metal hymn "Despertar", and the more aggressive speed/thrashing "Templo da Escuridão". The songs are decorated by catchy choruses, good bass support and melodic, fast-paced riffs.

Guardiões Do Apocalípse EP, 2005

CRY OF TERROR (HOLLAND)

Based on the debut, these guys come up with raw intense thrash, which sounds not too far from Sacred Reich's "Ignorance", mixed with some crossover aesthetics. The sound is fairly aggressive and fast, reaching Slayer extremes at times: "An Inhuman Choice", the brutal proto-death "Don't Feed Me With Your Words". "Loser" is first-rate aggressive instrumental thrash, and the immediate follower "Absurd Hate" pours something more of the same, adding guitar licks ala Mike Scaccia (Rigor Mortis, Ministry). Finally something slower for a break towards the end: "Life Such - As Hunting Wild", which even abandons the thrash idea for a while, but "Black Memory" largely compensates for that with its furious merciless death-tinged riffage, which goes on with full force on the closing "Born to Survive". It was good to know that still there were bands in Holland in the late 80's, who were not afraid to bash tirelessly, as opposed to the technical wave which was at its peak around the same time.
The sophomore effort offers longer and a little more thought-out songs, although the intense thrashing never stops, like on the 8-min opener "The Prodigal Son". "Holy Truth" is a shorter blitzkrieg thrasher, but "Bloody Terrorist Transaction" increases the length again, introducing clever semi-technical riffage, which in this case is for the sake of the speed. "Four Walls" is expectedly faster, but the intensity gets lost, and this piece has a strong crossover tinge. The alternation between more immediate shorter and longer more serious compositions continue with "An inhuman Tension", which provides a cool blend of speedy and more technical riffs, which on the closing minute turns into furious Slayer-esque thrash. "Little Poor Man" is a direct continuation on this closing minute, a brutal aggressive number, which influences the closer "Storm Inside": another heads-down merciless headbanger. The more extreme death metal-ornated moments are gone, and this album proudly waves the classic thrash flag high in a way no worse than same year's Sepultura's "Arise".

Terror of the Concrete World Full-length, 1989
Unnatural Prospects In A Concrete World Full-length, 1991

CRYONAX (USA)

Cool classic thrash; the style is not very heavy, with a melodic singer; the tempo is mid-paced, missing the necessary edge of the stuff played by the Bay Area acts, whose model the guys try to follow. The music takes a nice technical turn at times: the instrumental "The Awakening", with the bass playing a major role. "Stand And Be Counted" shows the more melodic side of the band, where the guitar work is really soft and playful, but unfortunately this is the predominant sound here.

The Awakening Demo, 1992

CRYPTIC DEATH (GERMANY)

Both demos show a band miles away from the average achievements of the genre at the time. This is instrumental music of a very low quality, mixing furious thrash riffs with screaming contrasting leads, and is really hard to compare to anything out there; maybe early Messiah, partially or completely drunk, playing live without a singer, trying hard to remember their early repertoire while on stage... this description should be close.

Megathrash Demo, 1986
The Watcher Demo, 1986

CRYPTIC LORD (USA)

Both demos are examples of fast-paced speed/thrash close to early Blessed Death, early Metallica and Exciter. The music is simplistic, but catchy, with a Motorhead flavour present on the lighter tracks. "Speak to Defy" is perhaps the better effort with a more aggressive sound and sharper guitar work.

Speak To Defy Demo, 1990
Sanity's End Demo, 1991

CRYPTIC RITES (POLAND)

Based on the "Attack From The Past" demo these guys play vicious black/thrash/death mixing speedy Impaled Nazarene-like outbreaks with heavy stomping riffs along the lines of Bolt Thrower. There is another "duel" in the vocal department between the very low-tuned death metal vocals and the raspy black metal ones.

Murder Handmade Demo, 2005
Live Extraction Demo, 2007
Attack From The Past Demo, 2008
The Return Of Skullcrusher EP, 2008

CRYPTIC SLAUGHTER (USA)

One of the finest, and the fastest thrash/crossover bands; their debut pushed the boundaries of metal in a way similar to the Wehrmacht works from around the same time, both acts competing as to who could play faster, the competition being won by the heroes reviewed here by a looong shot. Listening to "Convicted" on regular terms one may develop very serious migraine: this is ultra-extreme brutal stuff, and some may say that grindcore was virtually born with this album, predating Napalm Death's "Scum" with more than a year, and they can't be blamed: constant blast-beats with barely a few seconds offered as a relief (there's no space for more, the songs are seldom more than 2-min long) in the form of lightly slower sections will either make your day or ruin you for life. Whatever the outcome, there's no denying the fact that this album was a big influence on the development of the more extreme side of metal.
Those prepared for a similar exhausting listening experience on "Money Talks" will probably be delighted, although the slower breaks now are slower and longer, dangerously stretching into a whole song in the middle: "Freedom Of Expression", and later on also "flirting" with punk on "Too Much, Too Little", and with a more melodic form of hardcore on "Positively".
"Stream of Consciousness" increases the presence of the bass, which is never a good sign for the high speed lovers, and indeed the extremity has been diminished even further than on the preceding effort, now the slower parts clearly predominating over the fast ones, with even some attempts at a semi-balladic song-writing(!): "Drift", and quite a few pointless really slow "drifting" tracks. As a result we have a very ordinary, and not really engaging, take on hardcore, seeing the band falling behind acts like D.R.I., Wehrmacht and Cro-Mags who by that time have embraced the thrash metal idea tighter.
Their swansong "Speak Your Peace" has very little to do with their past, showing the guys willing to join the thrash metal cohorts at probably the least appropriate time, and this is the reason why this otherwise very stylish exercise on technical thrash remained underappreciated and ignored by many. This hallucinogenic mechanical effort is a nice companion piece to same year's Holocausto's "Negatives" and Anacrusis' "Reason" (and here one must also add the German one-album-wonder Of Rytes, with Mem Von Stein (Exumer) on vocals, whose "Without...", released 1 year later, is probably the closest soundalike to the album reviewed here) and was a big influence on the modern technical thrash scene from the 90's up to present times: Meshuggah, Obliveon, Baghead, Aleister (France), Aftermath (USA), mid-90's Voivod, etc. The opener "Born Too Soon", which is 5-min(!) long, is a masterpiece of abstract surreal technical thrash, full of puzzling time signatures and illogical guitar decisions, which will literally stun the band's fans with its radical shift from their basic sound; followed by the more updated "remnant" from the past "Still Born, Again" which is faster and hardcore-ish, but the harder-to-swallow insertions are there, too, and this is far from an immediate headbanger. "Insanity by the Numbers" is more direct mid-paced thrashcore, the only relatively more conventional "filler" here, but on "Co-Exist" be prepared for the next portion of elaborate unusual riffage, this time served on a slow, almost doomy base. "Deathstyles of the Poor" gives a nice technical twist to thrash/crossover, before "One Thing or Another" mutates into a cool creepy technical thrasher. The mutation stays around for "Divided Minds", which speeds up nicely, and is a good reminder of Voivod's "Killing Technology" and DBC's "Universe". "Speak Your Piece" is an odd doomy song, with a weird robotic main riff, something which was later perfected on efforts like Voivod's "Phobos". "Killing Time" is an excellent closer: another meisterwerk of jumpy hectic technical thrash, a fascinating and engaging mix of fast intense sections and abstract twisted passages, which go even beyond the distorted genius of the Japanese Doom on a few times.
This last release was way ahead of its time, pushing the boundaries of the genre into unknown, untrodden waters, along with Holocausto and Anacrusis, and another one in the same vein could have made more heads turn, having in mind the swiftly changing tastes in the early 90's, considering also the fact that the other 2 aforementioned bands abandoned this mechanical dry sound on future works: Anacrusis took a more accessible atmospheric/melodic direction on "Manic Impressions", whereas Holocausto metamorphosed into something so exotic that I still have problems defining, on "Tozago As Deismno". Alas, the band were no more after this one, to re-emerge in 2003, with a covers-only EP paying tribute to their colleagues and contemporaries from the hardcore circle (Bad Brains, Minor Threat, Attitude Adjustment, Gang Green), with a couple of less likely covers of evergreens from the repertoire of The Rolling Stones, Beastie Boys, etc.

Convicted Full-length, 1986
Money Talks Full-length, 1987
Stream of Consciousness Full-length, 1988
Speak Your Peace Full-length, 1990
Band in S.M. EP, 2003

CRYPTIC VOID (USA)

A good 4-song demo of technically-minded thrash, combining the heavy, pounding riffs of late 80's Metallica with a more sophisticated approach, not too far from Megadeth and Forbidden ("Twisted into Form"). The last track "Armageddon" is a pure speed/thrash delight, with fewer shades of the technical charge of the preceding numbers, a fast and a very enjoyable track.

Inception Demo, 1988

CRYPTIC WARNING (USA)

Technical thrash/death of the heavy, not very fast variety; great, crushing technical riffs with a singer who alternates between deep growls and occasional meaner, higher tones: imagine a more crunchy version of Carcass' "Heartwork" with a pinch of thrash metal, and with a stronger bass presence. From the very beginning ("Internally Reviled") the stylish lead guitar work will grab you, and will seldom let you loose. The band are experts at short, technical numbers, where the technical riffage is simply great, albeit often overshadowed by the even better leads. At times the guys obviously show an impulse to start bashing mercilessly, and this is exactly what happens on the excellent, bu still technical "Counterfeit Corporeality". "Rite of Initiation" breaks the pattern, being considerably longer than the rest, slower, even groovy and offbeat at times, but preserves the technical flair all over. After it the speed increases considerably for a couple of awesome, fast-paced death/thrashers, which also excel in technicality, and are not too far from Atheist and Pestilence at their best. "Caught Beneath Conscience" crushes down like a steam-roller, being slower, but very aggressive. "Man in the Dark" takes away some of the aggression, being a nice peaceful, semi-balladic instrumental, which pulls all the stops near the end, with a nice technical outro. "Sanity's Aberration" sums up all that was included in this album: the speed, the technicality, the slower sections, the groovy ones as well, coming up with something new even: the very stylish jazzy ending. Unfortunately, it would be very unlikely to hear something new from this very talented outfit, as they changed their name to Revocation, although the style there is not miles away from the one displayed here (check out the Revocation's full-length debut "Empire of the Obscene" (2008): an awesome technical thrash/death metal offering).

Sanity's Aberration Full-length, 2005

CRYPTKICKER (USA)

A typical "product" of the 90's, this band plays heavy, groovy thrash similar to Pantera, but more aggressive, with occasional nods to death metal. The riffs are smashing, hammer-like, and there is a sparce use of lead guitars. The vocals are also in the Pantera-mould, recalling Phil Anselmo spiced up with death growls. Fans of the modern 90's tendencies in thrash metal will love this band.

Unusually High Level of Hate Full-length, 1996
Welcome to the Church of Hate EP, 1997
Blessed Be Thy Shame Full-length, 1998
Euphoric Slaughter of Life Full-length, 2000

CRYSTAL FAITH

This is all the information I can provide for this band at the moment. Otherwise this is outstanding power/thrash metal with a progressive edge on the longer tracks. The thrashy songs predominate (actually there is only one song which is pure power metal: "Electric Chair"), and the short numbers will make your head bang in no time: "True Peace", whereas the more complex and the longer ones will engage you in a more careful listen ("Life After Life", "Shadow In My Head"), but without overdoing it. The style is similar to Helstar, Aftermath, Stygian, Ritual, Wrath. The tempo never goes beyond the mid-paced sector, but the riffs are sharp, topped by great high clean vocals which sound like a very interesting mixture of John Arch (Fates Warning), Buddy Lackey (Psychotic Waltz) and Mark Shelton (Manilla Road).

In the Forest Full-Length

CRYSTAL LAKE ( BRAZIL)

Retro thrash with a modern production and a hardcore/death singer; the music is fast and aggressive, in the Slayer and Atomica mould, with occasional slower moments (the heavy, groovy "Self Hate", or the late 80's Slayer-influenced "Face Your Enemy"). Near the end the sound becomes considerably more brutal, with two longer, death metal-tinged tracks: "Wide Open Sores", "Bombardment", and the short, 1-min bashing hardcore number "Marafo De Exu". The drums are put too much upfront in the mix, but not to the point of annoyance.

Terror Machine Full-length, 2007

CRYSTAL MYTH (USA)

Heavy power/thrash with stomping doomy riffs, sounding like a thrashy version of Saint Vitus at times; "Dragon's Breath" stirs the mood with a good headbanging rhythm, but the rest of the music is slower and mid-paced.

In Christ's Name Demo, 1989

CRYSTALIC (FINLAND)

A pretty good act offering progressive thrash/death metal using later-period Death as a base. The compositions develop in a calm mid to up-tempo also recalling the Swedish scene- mid-period Dark Tranquillity, in particular ("Damage Done", "Haven"). The singer is a find with his forceful semi-shouty delivery ably assisting the technical sharp, but also quite melodic whenever needed, riffs both perfectly "married" on the excellent "Faith Redefined". Quiet semi-balladic breaks are added in the best tradition of Death's "Voice of the Soul", as well as sparce more direct headbanging sections ("Worlds Collide"). The bass support is really strong reminiscent of Steve Digiorgio. The songs never stretch too much, and are quite memorable with characteristic semi-choruses and distinct melodic hooks.

Watch Us Deteriorate Full-length, 2007

CRYSYS (SPAIN)

3 songs of fast-paced old school thrash following the German patterns- think Necronomicon, Destruction. After 2 brisk short numbers comes the long almost epic "Mummified By Society": a multi-layered composition thrashing with both aggression and melody for about 7-min, moving things a bit towards Paradox's "Heresy".

Demonthrashion Demo, 2008

CUATRO X (GERMANY)

A modern mixture of thrash and hardcore; old-school thrashers might not find a lot to like here.

At Nightfall Full-length, 2000
The Last Days Full-length, 2002
Hatefront Full-length, 2005

CULTUS (TURKEY)

The band's debut is excellent speed/thrash close to the first album of the other 90's Turkish thrash metal heroes- Mezarkabul, and Paradox, but the singer here has a more melodic, albeit a slightly impassionate voice, and the guitar work is simply phenomenal, calling to mind the one from the early Helloween albums (Kai Hansen), with a cool technical edge at times. There's no speed lost on this one, as there is no track where the pace staggers towards the mid-range, except on several small sections: the joke punk-ish song towards the end doesn't count ("Dastards'N Bastards"). Certainly, there are moments which remind of the 90's power/speed metal scene, mostly in the choruses, but the riffage here is much more impressive and sharper. It must have been an utter shock for their fans when they had heard their second effort which is groovy modern thrash, a lot inferior to the amazing debut, and released less than 6 months later (!)...

Bodhisattva Full-length, 1994
Eye Full-length, 1994

CUNTSCRAPE (AUSTRALIA)

Thrash/crossover with borrowings from death metal and occasionally grindcore; very short, not very fast, mostly up-tempo, songs with the tongue-in-cheek humorous attitude of Lawnmower Deth captured really well although the guys could have benefitted from longer compositions: cool energetic thrashy passages are left undeveloped. abruptly finished, because of the minute length of the material (the longest number "Wam Bam Didn''t Know You Were A Man" is 2.33min long, and is the softest and less interesting one offering bland modern stoner/heavy metal).

Thrush Bang Mania Full-length, 2007
Split Roast Split, 2009
Papsmear Campaign Full-length, 2009

CURARE (GERMANY)

Based on the debut EP, this is a first-rate thrash metal band with a rich, dark sound similar to Risk's "The Reborn", but Curare have the tendency to speed up at times ("Generations Talk"), and their song-writing is a tad less complex.
I got ahold of the band's last work: the EP "Zeit" which is industrialized metal akin to Rammstein, having nothing to do with the first one. These guys must have undergone quite a metamorphosis in the span of a decade...
"Moments Before Detonation" comes too late to preserve the classic spirit of the EP, and this effort is run-of-the-mill modern thrash, starting misleadingly with the energetic Bay-Area thrasher "Raw Conversation". Later on one will encounter a clumsy mix of heavy groovy tracks and uplifting short crossover ones, with only one more pleasant surprise: the cover version of Exciter's "Violence & Force", done in a vigorous classic manner faithful to the original.

Just a Scratch EP, 1991
Moments Before Detonation Full-length, 1995
Diary of a Barfly Full-length, 1997
Zeit EP, 2000

CURRICULUM MORTIS (PERU)

Fast, intense thrash not miles away from Sarcofago and early Kreator, even clinging towards the death metal side on the more brutal parts ("Reaper"). What makes this band stick out among the hordes of similar acts from South America, is the nice melodic guitar lines which show up from time to time (especially those on "Sentencia de la Muerte"), which have this unique folk/epic sound, and are quite fast, by the way. The vocals are brutal, violent, again recalling Sarcofago.

Sentencia de la Muerte Demo, 1987
Demo Demo, 1989

CURSE RITUAL (POLAND)

Raw Bay-Area thrash sounding like a lesser Defiance; the guys try to blend fast-paced with slower pounding tracks, but end up nowhere with dull clumsy guitar work, awkward tempo changes, and awful drunken semi-death metal vocals. Their guitarist Roman Batyra did a much better job in Geisha Goner a few years later.

Rehearsal Demo, 1989
Easy Madness Demo, 1990

CURSED EARTH (AUSTRALIA)

Typical groovy 90's thrash, mid-paced, with a slight hardcore edge, one-dimensional and uneventful; "Jesus On Line" is the only more dynamic track here, featuring more vivid thrashy riffage, and partially the crunchy "Spit In My Face".

Gravewish Full-Length, 1998

CURSED EARTH (IRELAND)

Imagine vintage Candlemass or Saint Vitus, the way they used to play in the 80's, mixed with nice semi-technical thrashy riffs, and the result will be this album. This is by no means fast music, so fans of the more aggressive side of thrash metal will probably not like it a lot. But those who are into heavy, smashing riffs with a cool semi-technical edge will rejoice. A similar sound was displayed on the Americans Last Descendants' only release, but it featured some up-tempo moments, whereas here the only temptation at a faster play is on "Perfect Amour": a really nice thrasher, and partially on "Symbiosis". Hats down to this band who tried to keep the classic sound of thrash during the difficult 90's, by giving it a nice, more unusual touch.

Symbiosis Full-length, 1994

CURSED CARNIVAL (POLAND)

A cool mixture of classic and modern thrash coming close to modern day Kreator and another contemporary German act: Blood Red Angel. The tempos change all the time from mid to up and vice versa hitting the very fast ("Clawed Impostors") perimeters occasionally. The second part sees the guys obviously tired from the energetic approach, settling down for a mid-paced more moderate delivery. The instrumental "Fuck It", despite its silly title, offers nice dynamic speed/thrash also touching Paradox, plus genuine creepy closing riffs with a doomy twist.

Taste the Fear Full-length, 2009

CUT THROAT (JAPAN)

One of the representatives of the wave of Japanese black/thrash metal bands (Abigail, Barbatos, etc.); there are only two original songs on their full length; the rest is covers of songs of heroes from the 80's: Razor, Voivod, Hirax, Sacrifice, Exodus, Warfare. etc. The sound is raw, especially on the live tracks at the end, but the musicianship is surprisingly tight with cool, sharp riffs.

Rape Rape Rape Full-length, 1999
Please show me your pussy EP, 2002
Anal Electrocution EP, 2005
Branded Then Whipped EP, 2006

CUTTHROAT (GERMANY)

Heavy, modern, groovy thrash which, for some strange reason, reminds me of Skid Row's "Slave To The Grind" quite a bit, mostly in the music department.

Ten of Seven Full-length, 2005

CUTTHROAT (USA)

Based on the self-titled demo, these guys offer very cool thrash which is at times quite heavy and pounding ("976 Slut"), at others speedy and intense- "Dying Earth". The guitar work is very sharp, and the riffs lash you like whips from all sides, all this coming with a very good sound quality. The singer has a good, clean tember slightly reminding of Michael Coons (Laaz Rockit), especially when he goes for the higher notes.

Cutthroat Demo, 1989
File To Death Demo, 1991

CUTTING DAISY (HOLLAND)

Atmospheric death/thrash metal, recalling the Danish Withering Surfaces, with a very tasteful use of keyboards and slower, doom/death passages calling to mind their compatriots Orphanage.

The Fools Crowned Themselves Gods Full-length, 2006

CYANIDE (USA)

Brutal, uncompromising thrash, along the lines of Recipients Of Death and Morbid Saint; the music has a strong shade of hardcore as well ("Country Mosh-Cya"), and even punk ("Fucking"). The sound gets quite chaotic and disjointed ("Unstoppable Madness"): some slower riffs get mixed with ultra-brutal grindcore-ish ones, and this amalgam doesn't sound very appealing. When the guys slow down, which doesn't happen very often, they deliver the goods in a better way: the heavy mid-paced thrasher "Nightmare", which also speeds up quite a lot at the end. The instrumental piece "Transistion" closes the album in a more controlled manner, again nicely slowing down, even managing to sound occasionally semi-technical.

World Peace Six Feet Under Full-length, 1989

CYBERHED (GERMANY)

This obscure trio pulls out competent modern progressive thrash, influenced by Voivod, Meshuggah, Obliveon, Alchemist, and the likes. The guys ably mix abstract and brutal riffs, almost to the point of absurdity on the opening "Inheritance" and the next aggressive death/thrasher "Waiting For Her", which ends in a great surreal fashion. "Mother" is spacey progressive in the best tradition of Alchemist, but "The Cyberhed" switches on a more guitar-driven approach. "Anasstasia" is an eclectic atmospheric thrasher, after which comes the short industrial noise "Mindraiser 6". "Lobotomy" is a modern progressive thrash masterpiece, constantly switching from very complex labyrinthine sections to direct intense bashing ones. The closing "Worlds Embrace 8" concentrates on the more aggressive side, thrashing with power, with not too many stylish decorations.

Face It Full-length, 1995

CYBORG (DENMARK)

This act was started as a side project for members of the death metallers Detest. The music on offer is still death metal-influenced, but is more along the lines of industrial modern thrash acts like Grope (from the same country) and Puncture. So expect heavy crushing riffs, intercepted by speedy jumpy passages in the best tradition of Fear Factory ("Falling"), or with the occasional more classic-sounding death/thrash outburst ("Sow the Child"). The final brutal touch comes in the form of the very low-tuned grunting vocals.

Chronicles Full-length, 1996

CYBORG (ROMANIA)

This young Romanian act plays a dark semi-complex mixture of modern and classic power/thrash. The album develops in a peaceful mid to up-tempo, with occasional more brutal throw-ins (the death metal section on "My Stabile Delirium"). Certainly the more dynamic parts are more appealing ("Skull", the cool early Metallica-influenced "Indefinite Culprit"), although the guitar work relies more on melody and heaviness. There are keyboards, sparce female vocals, balladic passages, and other gothic elements which kind of take away from the thrashiness. Two cover versions stand at the end: Celtic Frost's "Dethroned Emperor", done in a faithful pounding seismic manner, and Testament's "Over the Wall", which nicely translates the original's fury, as well as the stellar Sckolnik's guitar wizardry, and one may regret that such energy was seldom heard on the original material offered previously.

The Last Thing You'll See Full-length, 2009

CYCLE SLUTS FROM HELL (USA)

The name suggests that this band shouldn't be taken seriously, especially after one expects to have girls here, and it turns out that there are only guys, some of them being part of quite a few of the big names on the scene: Overkill (Bobby Gustafson himself), Nuclear Assault, The Great Kat, Deadly Blessing, etc. The style is actually quite close to the jolly, unpretentious thrash played by the girl-bands like Original Sin, Meanstreak and Volkana, this time mixed with a certain doze of traditional metal.

Cycle Sluts From Hell Full-length, 1991

CYCLONE (BELGIUM)

The title of the debut suggests very well what happpens here: aggressive speed/thrash, not too far from the works of their colleagues from Germany Kreator and Destruction, but not as intense. The introductory "Prelude To The End" nicely warms up the listener for the speed/thrash madness, which follows suit. The fast-paced formula is nicely "betrayed" by the heavy power/thrash stomper "The Call Of Steel", after which the music becomes more speed metal-based for a number of tracks, also "courting" Exciter and Destructor. "Take Thy Breath" restores the thrash domination with full force, confirmed by the intense speed/thrashing closer "Incest Love".
The band inexplicably disappeared instead of nailing down a few more pieces of the same. After their second album was released four years later, it was clear the the guys were preparing their magnum opus. The musicianship is so much better that the band sounds like an almost completely different one, with heavy, technical riffs and longer, more thought-out songs which recall Metallica's heydays. Again we have a warming thrashy intro, which seemlessly flows into the mighty "Neurotic": a great up-tempo technical thrasher, followed by the slightly faster "So Be It": another masterpiece of dynamic technical thrash. "Paralyser" mixes slower and faster sections, but "Throw the First" brings back the speed, increasing the technical performance a bit. Another slower track comes: "The Other Side", but the ball of fury which follows it ("I Am The Plague") will make you jump around in no time. "Crown of Thorns" is probably the best way to close this great work: a very cool instrumental, which sacrifices the speed for the sake of heavy riffage, accompanied by nice leads, with the final result recalling Metallica's "The Call of Chtullu". Unfortunately, this climactic release was left without a follow-up, because the band disappeared again soon after, this time for good.

Brutal Destruction Full-length, 1986
Inferior To None Full-length, 1990

Vibrations of Doom

CYCLONE P. (AUSTRIA)

This is industrial post-thrash with sparce hardcore outbreaks, sounding like a mix of early Pro-Pain, Acid Bath and GZR. The singer tries both aggressive angry shouts and intriguing semi-clean tones. The music is crushingly heavy, in mid-tempo, with the aforementioned hardcore moments breaking the pattern.

Braindead EP, 1996

CYCLONE TEMPLE (USA)

This band is the continuation of the great Znowhite minus the girl Debbie Gunn. Of course, "Act Of God" can not be beaten so don't expect this to happen here, but Cyclone Temple pull out really cool heavy, at times technical, thrash on their debut, calling to mind late 80's Metallica and Heathen's "Victim Of Deception", a surprisingly classic sound having in mind the year of release. The second effort adopted a more modern, Pantera-influenced approach with more off-beat, experimental parts, and is the lesser achievement of the two.

I Hate Therefore I Am Full-length, 1991
Building Errors in the Machine EP, 1993
My Friend Lonely Full-length, 1994

CYDHIE GENOSIDE (POLAND)

Based on "Ashes to Ashes (Only Rosie Forever)", this band fits into the overall quite cool picture from the Polish scene: I mean the more technical side, occupied by Turbo, Wolf Spider, Astharoth, Atrocity, Geisha Goner. These guys are much more melodic than the others, clinging more towards the power metal territory, but in terms of complexity they try hard to rank with them, like on the excellent "Reality...I’m Alive", but sometimes it's offered with some relief, like the faster more direct passages on "Day After Day". "Come Back and Stay" is a cool ballad, and is not totally unexpected having in mind the big sense of melody displayed before it. "The Bridge pt. II (Ashes to Ashes)" (where's pt. I?!) contains another lengthy balladic section, and until the end there is not much in terms of thrash to be heard, although the rough semi-clean tone of the singer is hardly the best choice for the softer moments. Reportedly their debut featured a much more aggressive and elaborate thrashy material.

...As a Goblet of Gore Full-length, 1989
Ashes to Ashes (Only Rosie Forever) Full-length, 1991
Flood and Field (For the Common Man) Full-length, 1992

CYNTHIA WITTHOFT (POLAND)

This talented Polish guitar player is a nice companion to the Great Kat in the female instrumentalists' section. Witthoft is not as classically-inclined as the Kat, actually there are very few classical moments in her career. She provides instrumentals only, and in each album there are at least half a dozen of those which would be quite interesting to the thrash metal fan, especially those on "Girl of a Thousand Faces", which is mostly intense thrash shredding, favouring the classic sound more, with aggressive death metal sections, slow atmospheric black metal ones as well, one pure electronic experiment, and more. Apart from the very expert leads, she gives quite a room to the sharp riffage to develop, and as a whole there is not a technical show-off to bother the listener, maybe on a very few occasions. The tempos are quite varied, including a few super-fast brutal moments. The songs are normally-structured compositions, which simply miss the singer. Only "Porn Blues in My Bed" could be skipped by the extreme metal fans, as it is a collection of blues-ish instrumental pieces (not much porn here), with no many relations to metal.

Death Experience Full-Length, 1999
In God We Cannot Trust Full-Length, 2001
Girl of a Thousand Faces Full-Length, 2002
Progressive Metal Experiment Full-Length, 2005
Porn Blues in My Bed Full-Length, 2007
Classy Metal & Charm Full-Length, 2007

CYPERUS (USA, NJ)

"Infliction of Pain" opens this demo in a furious way, being a smashing 3-min speed/thrasher in the best tradition of Agent Steel's "Unstoppable Force" (think the song of the same title). Unfortunately what follows is just average power/thrash ala Savage Grace and early Laaz Rockit, not bad, but too disappointing considering the great start.

Nothing is Sacred Demo, 1987

CYPERUS (USA, WA)

This is a pleasant surprise: progressive power/thrash with a heavy, thick sound; the music is not too far from A Lower Deep, or even Nevermore on the more inspired moments, but these guys come before them in terms of time, and are heavier than both. "Sanity Management" is a more light-hearted opener, relying quite a bit on the modern 90's trends, and doesn't really promise much, despite the timid attempts at more technical performance. "No Fear" takes a more thrashy edge, and "Society Saves" speeds up admirably with nice sharp riffs. "No Regrets" is probably not the best continuation, and kills the gained inertia, but is a commendable achievement in the balladic sector, boasting heavy crushing riffage as well. "Say Good-Bye" brings back the intensity, which again takes faster dimensions, on the energetic "The Nature of Things", which nicely combines direct and technical guitars, and is the best song here. "Invitation To Injury" is a major thrashing delight, quite fast and aggressive on some parts. After such a good performance all over, the ending is by all means underwhelming: the doom metal opus "Beaty" is maybe slightly off the track, but is cool and heavy, but hats down to the guys for the cover version of this awful "Mississippi Queen" (other metal bands (Wayne (R.I.P.), etc.) have also tried their hands on this one- why!?): one can hardly come up with a worse choice for a closer of a thrash metal album.

Sanity Management Full-Length, 1992

CYPHER (HOLLAND)

This band, which line-up includes Joost van der Graaf- the bass player who was a member of the death metal masters from the mid-90's Creepmime, plays typical, energetic modern thrash/death metal with a Gothenburg flavour. This is good stuff, with sharp riffs, without too many melodic trappings, and casual leanings towards the old school sound.

Darkday Carnival Full-length, 2006

CYST (USA)

Very few bands have managed to capture the controlled aggression of Slayer's "Reign In Blood" like this one: intense, fast thrash attack from beginning to end, bordering on death metal; a magnificent cover of "Angel Of Death" awaits you at the end; not for the faint hearted.

Concussion Symphony Full-length, 2002

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