The Thrash Metal Guide

Copyright (c) 2007-2013 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

D.A.M. (UK)

Like Slammer and Xentrix, who appeared around the same time to catch the last train to the classic thrash metal genre, D.A.M. feel more comfortable staying close to the Bay-Area scene, and as such do a very good job (in my opinion better than the other two aforementioned bands). "Human Wreckage" is a nice debut, starting quite ambitiously with the 8.5-min long song "Death Warmed Up/Killing Time", which is a heavy, mid-paced number without any technical pretensions, despite the length. The album has its more interesting, technical moments, though: the energetic and elaborate "Prophets of Doom". Those of the kind are not many, but slower moody tracks could be found as well: "Infernal Torment". The band manage to keep the songs from merging into each other by varying the tempo and adding cool melodic choruses to the proceedings: "Human Wreckage" (this is actually a more power metal-based number, the only one here, fortunately). The last piece "F.O.D." is a true revelation, albeit only 2-min long: a stunning mixture of technical and aggressive riffage, which comes too late, but is a very worthy addition.
"Inside Out" begins with the first 3 songs raising the flag of the Bay-Area sky high, in an energetic and headbanging tempo. Towards the middle the music becomes more complex and technical, but loses the biting edge, and the songs are longer, including one not very convincing ballad "Winter Tears". Fortunately the guys return to the more winning formula later on, and despite the presence of another not very appropriate heavy/power metal number ("Circles") and another heavy semi-ballad ("Beneath Closed Eyes"), this album delivers the goods almost as well as the debut.

Human Wreckage Full-length, 1989
Inside Out Full-length, 1991

D.A.M.N. (GERMANY)

Based on "Vermächtnis": melodic Swedish thrash/death metal with progressive pretensions, coming from the epic length of at least half of the tracks, and more intriguing guitar decisions. The music flirts with death metal more, and is quite fast, although the riffage is mostly melodic, with more than obvious nods towards Dark Tranquillity and At the Gates.
"Forbidden Anger" tones down the aggression and is an overall more melodic affair developing in mid to up-tempo with sparce raging outbursts. The music stays closer to death metal again with progressive-tinged sections near the end where the longest compositions have been placed the final opus "Hall Of Fame" alone closing on nearly 8-min and is a cool varied number constantly mixing heavy stomping with fast furious riffs ending in a downbeat depressive mode ala Katatonia.

Vermächtnis Full-length, 2006
Forbidden Anger Full-length, 2009

D.B.C. (CANADA)

One of the better known Canadian thrash metal bands; their self-titled debut is an impressive outburst of energetic fast-paced thrash with touches of hardcore. There are stylish decisions here and there, mostly in the beginning of the songs "Deadlock" and "Monument", which create the impression that the guys warm-up for something really technical, but soon does the direct thrashing start, and seldom lets loose. The aggression sometimes goes even beyond Slayer and Dark Angel: the brutal grinding "Lies", the short explosive "Power and Corruption", and generally there's no speed lost here. The 2nd half is more restrained, with the sound getting more hardcore-based, with clear nods to D.R.I. except on the soft rock-ish closer "Trauma X".
The band were actually aiming higher than that, and the folllow-up is a much more technical affair, quite progressive and complex sounding at times, with a distinctive Voivod-flair. This offering will be a big surprise to those who loved the debut, simply because the approach is entirely different; there are no speedy, aggressive numbers, except for a few sections, and the riffs meander and turn, creating an effective, but at times quite a complicated landscape. Musically the band have considerably grown-up, and Phil Dakin sings less angrily. The soft peaceful approach on the opening "The Genesis Explosion" will leave many disappointed, especially when there's nothing really technical involved to compensate it, but comes "Heliosphere", and things get both more aggressive and more complex. The aggression disappears, but the complexity remains for the rest of the songs being quite jumpy and hectic on "Exit the Giants", which is a really stylish technical thrasher. "Estuary" promises a more energetic entertainment for a while, and remains relatively straight-forward; the same can't be said about the excellent abstract Voivod-ish "Humanity's Child" and "Phobos And Deimos" (this song may have influenced Voivod later for choosing a title for their 1997 opus), or the creepy spacey closer "Infinite Universe", which nicely combines surreal riffage with sharp edgy guitars, sounding quite "out there" most of the time. Despite the sudden turn of style, this album is a fairly satisfying listen showing the guys's more mature, proficient musical side.
The band had a third album ready as an immediate follow-up to "Universe" which was later released under the title "Unreleased", but its release was delayed for five years. It's only 6 tracks and the style tries to preserve the technical patterns established on the previous effort by adding more energy ala the debut which makes the tracks more immediate, occasionally featuring some stylish guitar work ("Siren's Song"), but quite often are the riffs unimaginative as well, settling for repetitive mid-paced patterns, with only the last "Root To All Evil" trying unsuccessfully to liven up the morose atmosphere. This is hardly a worthy follow-up to "Universe", and would have sounded even more confusing if released immediately after it. 6 years later, when there were just a few fans still remembering them, this short effort could have served as a cool, unexpected (and also unreleased), but not exceptional reminder of the good old 80's and their underground heroes.

Dead Brain Cells Full-length, 1987
Universe Full-length, 1989
Unreleased Full-length, 1995

D.E.I.M.O.S. (POLAND)

Soft thrash/crossover mixed with punk and heavy metal; tender stuff mostly mid-paced with careless clean punk vocals.

Atma Full-Length, 1992

D.E.T.H. (BRAZIL)

Based on the "Rehearsal" demo, this band pulls out a brutal intense mixture of thrash and proto-death metal not far from Vulcano and Sarcofago, but with a dirty sound and screechy apocalyptic vocals which are not very well heard throughout. The guys try to play as fast as possible and at times manage to synchronize their efforts to produce more meaningful stuff from which the short screaming leads seem to be the best part.

Hell Demo, 1987
Rehearsal Demo, 1987

D.F.A. (CANADA)

This music is made by the same guys who are behind the wild thrash/death/grind project Poser Disposer. Here they are more controlled offering fast aggressive thrash/crossover coming as a cross between Sick Of It All and Cryptic Slaughter.

Defy False Authority Full-length, 2003

D.F.C. (BRAZIL)

Based on "O Massacre Da Guitarra Eletrica", this is a good thrash/crossover band with a style similar to Ratos De Porao's less thrashy works (their early period before "Brazil"). There are some brutal moments, too ("Mafia Do Jaba").

TChan Nan Nan Nan Nan Full-length, 1994
Igreja Quadrangular do Triangulo Redondo Full-length, 1996
Farofa Kind Live album, 1998
Sob o Signo de Sată Full-length, 1999
O Massacre da Guitarra Eletrica Full-length, 2002
DxFxCx / ANFO 7" EP, 2004
O Mal Que Vem Para Pior Full-length, 2005

D.G.I. (ARGENTINA)

This is intense modern thrash which of the more dynamic variety, with shades of both death metal and hardcore. There is a little bit of groove involved, but on the other hand there are several melodic moments, as well as a few screaming leads. The singer is an angry hardcore semi-shouter with a gruffer death metal blend.

Intensivo Full-length 1998

D.H. (BRAZIL)

This band sound almost unaffected by the modern trends of the 90's, and try to come up with intense thrash/death metal of the old school, similar to Sadus' debut. They only partially succeed, however, as the guitar sound is very thin, the singer is an awful hardcore shouter, and the songs make sudden, sometimes awkward jumps from a more quiet into a more aggressive section, and then backwards. Some faster passages are pure black metal ("Illusions", etc.), and the overall tempo is quite energetic, but often degenerates into mindless bashing ("Cerebral Wash", and elsewhere).

Human Deformation Full-length, 1994

D.HATE (UKRAINE)

This is heavy, doomy modern post-thrash spiced with sparce, but not very appropriate, sudden faster outbreaks of the core variety. The singer is a throaty death metal semi-shouter, and more attached, more soulful singing could have been more beneficial.

Game With Ghosts Full-Length, 2011

D.I.V. (RUSSIA)

This band shares members and ideas (both are open nazi bands) with another Russian formation -Korrozia Metalla. D.I.V. are the better ones music-wise; their debut is furious, raw thrash, frequently bordering on death metal; the musicianship is not so bad, and the guitars are quite sharp; the songs are long, but the delivery is direct and straight, nothing technical, if we exclude "Bal U Satani": a nice, more ambitious song, closing on 11-min, featuring some really great hooks, and numerous tempo changes.
Despite the 4-year gap between the two albums, "Mein Kampf" is a fairly satisfying slab of 80's thrash, less aggressive than the debut, but fast-paced and energetic, with a couple of heavier, semi-groovy numbers thrown in, and one great speedy Oriental piece "Hesh", which is clearly the highlight. "Russian Frost" is another good work, with energetic retro thrashers mixed with heavier, groovier ones, and with several more melodic pieces, clinging towards the balladic sector. The band's later efforts took a more modern industrial turn still retaining their thrashy roots on quite a few of the songs.

Devils' Sabbath Full-length, 1988
Mein Kampf Full-length, 1992
Russian Frost Full-length, 1996
Werwolf (Oboroten') Full-length, 2001
Beshenye Psy Full-length, 2001
Myortvaya Golova Full-length, 2003
Umiraj Full-length, 2004

D.K.R. (BRAZIL)

These guys lash out jolly energetic thrash/crossover in the vein of mid-period Suicidal Tendencies and Excel. The band keep respectable speed throughout thrashing with force on a few moments with sharp but also melodic riffs; it's a pity it all lasts for just over 12-min despite the presence of 8 tracks. The band's guitarists are also involved in the act Persecution where they play more aggressive retro thrash.

What the Fuck is... D.K.R.? Demo, 2009

D.N.A. (USA)

Intense dark thrash with echoes of Deathwish; the track, however, are shorter and have a kind of an undeveloped feel as though the guys ahd a very limited time booked in the studio (although this may have been a garage) and had to rush in order to come up with something. Not surprisingly, the sound quality is awful putting the bad shouty singer up front also giving a very thin screamy edge to the guitars.

Victim in Damnation Demo, 1989

D.O.G. (CANADA)

Wild amateurish thrash/crossover with clear hardcore pretensions; fast optimistic stuff served with an awfully buzzy guitar sound, with short 1-2min tracks, direct very simplistic riffs, and indifferent punky vocals.

A World of One Divided by All EP 1987

D.R.I. (USA)

The kings of crossover/thrash; the band has been an enormous influence on the genre, with almost every second thrash/crossover band readily borrowing from them. Their first efforts were punk/hardcore mixtures, and it was with "Crossover" when they wrote the rules of the genre, although to talk about thrash metal there would be a bit farfetched. "4 Of A Kind" followed a similar pattern, but with "Thrash Zone", like the title suggests, their music took a decidedly more thrashy direction, and most of the time the sound on this one was all-out thrash with longer tracks, sharper riffs and slower heavier compositions. Crossover delights are certainly thrown in later on, but at that point the guys have already entered too deep into the "thrash zone" with no signs of getting out soon.

A 3-year break followed which was good in consideration with the swiftly changing tastes during the early-90's and a time for the band to look around and make "amendments", but "Definition" was another take on the good old classic sound with more nods to thrash again, with nothing of the old speed and energy being lost, except for the light balladic tendencies on "Say It" and the pleasant crossover closer "Let It Go".
"Full Speed Ahead" doesn't justify its title quite well, since at least half of the songs are mid-paced at best ("Dead Meat" is almost doom metal), but nonetheless offers stripped-down thrash/crossover, now sounding more towards the hardcore spectre on the shorter and faster tracks, seeing the guys going back to their roots at a time when almost every 80's act was trying to adjust their sound to the demands of the 90's. Well, it was hardly time for thrash/crossover, especially in the very barren 1995, and the band split-up soon after that. The release of a couple of Best Of Compilations and the "Dirty Rotten Power" EP, containing 3 songs from "Full Speed Ahead", in the new millennium are apparently signs that the guys are planning to come back.

Crossover Full-length, 1987
4 Of A Kind Full-length, 1988
Thrash Zone Full-length, 1989
Definition Full-length, 1992
Full Speed Ahead Full-length, 1995
The Dirty Rotten Power EP , 2001

D.S.O.L. (BULGARIA)

Modern thrashcore which is both heavy and fast offering quite a diversity in the music department; in the vocal one we have a forceful semi-death metal shouter who suits the heavy seismic guitar work well. Nothing too exceptional, just angry simplistic stuff with both Pro-Pain and Madball close soundalikes.

Awakened In This Life Full-Length, 2010

D.T.A.L. (SWEDEN)

These obscure Swedes specialize in dark foreboding thrash of the intense variety wrapping the traditional German speed/thrash elements in an ominous gothic atmosphere which eventually takes one "victim": the long (9.5-min) sinsiter opus "Don't Fear The Winter" which loses the speed for the sake of a not very impressive, one-dimensional mid-paced delivery. The following "Visions Of Darkness" is even longer (11-min), but at least the approach is more dynamic, and interesting tunes have been inserted which work well with the more aggressive riffage. The singer is a scary death metal semi-growler who suits well the sombre tone of the music.
The debut demo is not as good the guys thrashing in a more ordinary crossover manner finishing this badly produced mess with 2 cover versions: Motorhead's "The Ace of Spades"... ha ha ha!, no, not this time- "No Class" from the Brits' more laid-back rock'n roll repertoire; and Venom"s classic "Black Metal" played faster standing for the highest achievement on this otherwise fairly lacklustre work.

Solitude Demo, 1988
Dark Dimensions Of War Demo, 1990

D.T.H. (CHILE)

Based on the 1st demo, which is only 2 tracks, this act plays vicious brutal thrash/proto-death with an awful sound quality which makes parts of the songs barely audible; early Messiah could be cited as a close soundalike including in the vocal department where the singer grunts in a hellish scary manner.

Vomito Social Demo, 1988
Multitudes Demo, 1989

D-GRADE (HOLLAND)

The full-length: heavy, but playful, groovy post-thrash with an industrial shade akin to Ooomph and later-period Skrew; there is a sudden switch onto full-scale aggressive retro thrash on "Cold", and this even happens once again till the end, on the closing "Killer in the Mirror", which thrashes really hard the whole time, too, and one could only wonder what would happen if the guys give more freedom to their more aggressive nature later. This band could actually be viewed as the continuation of the classic thrashers Spartacus who released two demos in the late-80's/early-90's so it should come as no surprise their adherence to more classic riffs from time to time.

D-structive D-Vice Full-length, 1997
Good For Nothing Worthless Piece Of Shit EP, 1999

D-HUMAN (GREECE)

3 songs of unimaginative groovy post-thrash with rehashed riffs and the staple quarrelsome vocals, those here being a bit more aggressive, with a touch of death metal.

Demo Demo, 2011

D-OZZ (RUSSIA)

Based on "Â Ďđĺäĺëŕő Äîń˙ăŕĺěîńňč", this band plays minimalistic old school power/thrash metal of the less energetic mid-tempo with shades of gothic in a way not miles away from the Swedes Cemetary, plus drunken semi-Lemmy vocals and melodic guitar work. There is no variety at all, and all songs tend to merge together.

Piece Of Granite Live album, 1998
Â Ďđĺäĺëŕő Äîń˙ăŕĺěîńňč Full-length, 2004
Äĺňč Ďîđîęŕ Full-length, 2007

D3ATHCHARG3R (CANADA)

This band offer ordinary modern thrash/death with expressive brutal death metal vocals. The guys rely on the heavy pounding side of the genre and volcanic riffs from all sides will make the fans' day, but those looking for any fast-paced "deviances" whould only be consoled with the energetic "Sexual Deviance" and the several galloping passages on the bonus track at the end "Devilution (Devilz By Definition)".

Forged In Steel Full-Length, 2012

DAARGESIN (GERMANY)

Based on the self-titled debut, these guys play heavy abrasive thrash which tries to give a fair share to both the classic and the modern sound. The guitars are predominantly heavy in mid-tempo with sparce faster moments which are actually the classic "trace" in the band's approach. The riffs weigh, but the delivery is too one-dimensional, and more dynamics could have lifted up the music which is supported by gruff semi-clean vocals which change the pitch here and there being quite intelligible the whole time recalling Chris Astley (Xentrix).

Daargesin Full-length, 1995
Dracul Full-length, 2002

DACHAU (BOSNIA AND HERZEGOVINA)

The first demo sees a band pulling out capable American power/thrash metal moving from laid-back power metallers ("P.O.M.") to more intense thrashers ("Greed"). The latter, however, are not a very common phenomenon, and near the end the guys lose it surrendering to more ordinary heavy metal with balladic and doomy overtones to which the emotional clean vocals suit better.

Demo Demo, 1989
Demo II Demo, 1990

DAEMON (DENMARK)

This band was formed by Anders Lundemark- the man who also sings in the Danish death metallers Konkhra. The band's first two albums are strictly in the death metal camp, and are not too far from the works of Konkhra. This one featured here boasts cool aggressive thrash metal in the modern day Kreator-vein with nice riffage reminding of the 80's Bay-Area scene as well. On drums we have the great Gene Hoglan.

Eye For An Eye Full-length, 2002

DAEMONDROID (RUSSIA)

An unusual approach to the genre full of atmosphere and quite a bit of death metal, among other influences. Regardless, the delivery is not bad all the trade marks introduced on the opening instrumental "Triplicity" which shreds in consistent mid-tempo surrounded by sinister keyboards. Then the bad's more complex infatuations spring up on the following "Lethal Failure" which is an engaging thrash/death metal opera with a wide gamut of nuances insluding a few short hyper-blasting black metal passages. The operatic style carries on until it hits the undustrial oddity "Rusty Railroad ...to Hell" which is a total Froont Line Assembly and Celldweller worship. More surprises on the final "Mystical Incident on the Martian Orbit" which is a spacey "odyssey" ala Hawkwind and early Rush making this short effort a fairly uneven, and not very satisfying in the long run, listen.

Lethal Failure Full-Length, 2012

DAEMONIUS (SWEDEN)

A 3-track demo of fast, but not very aggressive, thrash/death/black metal with vocals which could barely be heard, and are shouty hysterical, at times acquiring those very irritating semi-whispered qualities. The musicianship is on a very low level, especially on the slower sections where the guys unsuccessfully try to capture the magic of early Celtic Frost.

Daemonius Demo, 1992

DAEMOS (USA)

Excellent power/thrash metal with great stylish riffs and a bit strained hardcore-ish vocals.

Dying God EP, 1998
Facing Down Full-length, 2001
Summer 2004 Sampler EP, 2004

DAEVAS (GERMANY)

Extreme ultra-brutal black/thrash/death metal; the extremely awful sound quality hinders the listener from comprehending much from this chaotic offering which is really fast and relentless assisted by very hysterical scary black metal vocals. Some of the band memebrs tone it down big time with their other project: the black/thrash/ambient formation Femegericht.

The First Arrival... Demo, 2004

DAGOBA (FRANCE)

Another band to feature the French drum legend Franky Constanza (Imperial, Outburst, among other acts); based on the debut EP: this one is strictly for the groovy 90's post-thrash lovers, mid-paced chuggy stuff, which at its best comes close to Machine Head's "The More Things Change,..." with the fashionable for the time mix of the angry hardcore shouts and the clean alternative vocals; heavy riffage aplenty with very timid attempts at varying the pace so it's probably good that there are only 6 songs here.

Release the Fury EP, 2001
Dagoba Full-length, 2003
What Hell Is About Full-length, 2006
Face the Colossus Full-length, 2008

DAGON (USA)

The full-length debut: Gothenburg-influenced thrash/death metal: think Dark Tranquillity with a pinch of thrash and nice melodic guitar work plus two vocal styles fighting throughout: one more death metal-lish, the other on the black metal side. "Terraphobic" fits this description as well, although the sound is much closer to thrash metal this time, and the melodic hooks have been increased making some songs sound quite catchy in a playful, Children of Bodom-like manner. "Full Speed Ahead" is probably the only track which is pure death metal and justifies its title quite well.

Secrets of the Deep EP, 2005
Paranormal Ichthyology Full-length, 2007
Terraphobic Full-Length, 2009

DAGOTH (USA)

This obscure act have done a good job on their only album pulling out exemplary retro thrash metal with sharp guitars, vicious raspy vocals, and varied songs. After the short more speed metal-based opener "Death Rides Again", which is an obvious nod to the Anthrax number with a similar title from "Fistful of Metal", both title and music-wise, starts "Terminal", which is furious thrash/proto-death. Then the speedy patterns come back on the excellent galloping "The Mind's Eye", before technical thrash takes over on the fast frantic "Aggression". "Toxicide" thrashes in a more controlled fashion, with nailing pounding riffs, but "Ashes to Ashes" is raging semi-technical thrash at its most unbridled best. Technicality and speed reach new dimensions on the chaotic "Welcome to Reality", which touches proto-death again. Time for a "break" with the 1-min brutal hardcore joke "Bull Dyke" after which comes the sweeping piece of Slayer-esque aggression "Catatonic". "Hammer & Anvil" is way more intense than the similarly-titled same year's Judas Priest number from "Painkiller", although it's the slowest song, lashing heavy jumpy riffs from beginning to end. The closer "Scarred" thrashes with full force, producing a couple of swirling screaming leads as a finishing touch. At the dawn of the genre metamorphosis these underground heroes have effortlessly summed up all the best from the passing decade, crossing over several influences, ending up with an original individual approach.

Tone Zone Sessions Full-length, 1990

DAHACA (POLAND)

This band specialize in laid-back modern power/post-thrash which branches out into pure metalcore on quite a few times making this unspectacular effort even less interesting. Rehashed groovy patterns aplenty will one come across here, the more lively dynamic moments not enough to dissipate the established boredom which is only partially dispersed on the 2 instrumental pieces which at least are devoid of the annoying shouty death metal vocals.

The Pure Misanthropy Full-Length, 2012

DAIJ (RUSSIA)

One of the lesser achievements from the Russian metal scene; thrash meets classic heavy metal resulting in not very energetic, one-dimensional songs with a very few sharp headbanging riffs.

Vynoven Tem, Chto Zhiv Full-length, 1996

DAKSINROY (GERMANY)

Based on the self-titled effort, this outfit pull out intense classic thrash with a modern production which is direct and simplistic with a less overt hardcore edge ("Parasite") also reflected in the relatively short song-length (2-3min). Some songs acquire more dramatic death metal overtones (the pounding dramatizer "Nightmare") and sound better than the rest due to the more proficient execution and the bigger diversity offered. The singer also belongs to the death metal side with his guttural semi-shouty delivery.

Desouled Full-length, 1998
Demons of My inside Full-length, 2006
Dystopia Full-length, 2008

DAMAGE (FINLAND)

Damage were one of the first bands in Finland who started to play a more extreme brand of metal. Their music is more on the melodic side, sounding close to the first two Exciter albums, with nods to Exodus' debut in the more aggressive parts. There are nice heavy, doomy moments ("Time of Madness"). This is very cool, speedy music which at its best ("Mental As Me") comes very close to the legendary "Violence and Force". Later this band changed their name to Warmath, and their music took a more technical and a more aggressive direction.

Damage EP, 1986
The Immortal Death Full-length, 1987

Vibrations of Doom

DAMAGED CORPSE (BELGIUM)

Raw, noisy thrash with a hardcore edge; the songs are short 2-min outbursts, generally fast, but the musicianship is purely amateurish and there's not really much to enjoy here unless you're a fan of the undeveloped, brutal side of thrash/hardcore.

False Reality, True Profit Demo, 1989

DAMAGEFLAG (IRELAND)

3 tracks of uplifting vigorous power/thrash of the old school helped by a crystal clear sound quality. The guys thrash with force adding the melodic hooks and leads whenever appropriate never losing the merry mood except on the final "Lezbianz" probably where they start bashing in a less bridled manner with hard proto-deathy riffs the otherwise cool mid-ranged clean singer acquiring harsher tones on this one again with a shade of death metal.

Lezbianz EP, 2012

DAMARILL (AUSTRALIA)

The full-length shows a band playing heavy modern gothic-tinged thrash, not far sound-wise from Sentenced's "Amok". The music is varied, sometimes mid-paced, sometimes up-tempo (the nice more aggressive thrasher "Snakes"; the longer but constantly thrashing hard "Singularis"), but the opposition between the gruff low-tuned death metal vocals and the clean alternative ones, which are assisted by more melodic semi-balladic breaks, is not very well balanced. Still the music delivers mixing sharp riffs with melodic hooks the whole time.

Heart. Hands. Mind EP, 2006
I Of The Storm Full-length, 2009

DAMARUS (USA)

This album begins with two stomping heavy proto-modern thrashers, and just before it turns into another Flotsam & Jetsam's "Quatro" clone, comes "Cell 315 (Decomposure)" to thrash your day in a major headbanging Bay-Area fashion. But then arrives "Hollow Mirrors" which is a good heavy mix of ballad and mid-paced thrash with a more modern edge, followed by the similarly-styled "Plight of The Slaves". Still, more fast surprises come along the way: "My Friend" is another vigorous thrasher, but the following "Aurora Borealis" "kills it all" being a tender lead-driven ballad; a good, by the way, dreamy piece; all this amalgam finished with the excellent Metallica rip-off "The Day I Die", a heavy pounding number very similar to both "Of Wolf and Man" and "Harvester of Sorrow". The singer doesn't hide his fascination with James Hetfield, and does a fairly good job singing in a clear attached way. Some of the guys also take part in the deathcore project Cry Havoc, as well as in the progressive power/thrashers Xex.

Cell 315 (Decomposure) Full-length, 1995

DAMIEN (SWEDEN)

This band has shared a singer and a guitarist with Hexenhaus. So, can we expect great technical thrash from these guys, too? The answer is no: the music on this EP is power/thrash metal of a more simplistic nature, but also quite good. "Not A Pleasant Way To Die" is a heavy, stomping track, which will remind you of the Nasty Savage debut. "Death Is Part Of The Process" is a mighty speed/thrasher, which needs just a little bit to find place on albums like Toxic's "World Circus" (maybe it's the not as technical guitar work), for example. "Knights Of The Realm" is slower, more power metal-based, with a great, but very short technical break in the middle, showing that the guys would have been capable of more, if they had lasted longer.

Requiem for the Dead EP, 1988

DAMIEN BREED (USA)

An interesting, unusual progressive power/thrash metal band who center their music and lyrics around the-rise-of-the-anitchrist theme taken from The Omen trilogy. The music is heavy, the songs are complex with the appropriate menacing atmosphere, but the approach is kind of one-dimensional, with no much speed involved, except for one track: "Silver Shine". With that small complaint aside, this album is a good example of the more unconventional and original side of thrash metal. Later the band changed their name to Seelenwinter, where the music took an even slower, almost gothic turn, with few ties to thrash.

Ave Satani Full-length, 1994

DAMIEN THORNE (USA)

The band's debut is a competent, quite good for its time power/speed/thrash metal effort. It starts with the forceful up-tempo power/thrasher "The Sign of the Jackal", before "Fear of the Dark" (Iron Maiden later did a very good cover of this song... ha ha, kidding, of course!) speeds up admirably, coming close to the greatness of Exciter's "Violence & Force". "The Ritual" is a more melodic heavy/power metal interlude, after which the more aggressive and faster sound comes back with "Grim Reaper": an awesome speed/thrasher, followed by another more laid-back number: "Hell's Reign". The next "Escape Or Die" is a true revelation: speed metal at its finest, with great guitar melodies and sharp riffs. "Siren's Call" is a nice companion piece to the previous one, being a short brisk speedster ala early Helloween and Vectom. "Damien's Procession" is the prototypical galloping American power metal track, embodying the movement in an impressive manner, closing this commanding debut.
"Wrath Of Darkness" was recorded as a direct follow-up to it, but problems with their label hid it from sight for 15 years when, finally, it saw the light of day. Its age clearly shows, and thrash metal is anything but a distant memory. It has its moments, though, with its dark, brooding songs and melodic, characteristic higher-pitched vocals. The music is slower and more complex, with a few reminders of the more straight approach on the debut: the heavy power/thrasher "Mistress Of Evil"; the aggressive galloping sinister "The Other"; the excellent dark speed metal killer "Former Life".
"Haunted Mind" comes as a revelation bringing back the thrash metal riffs, and combined with the dark atmosphere of the previous release and some progressive overtones, stands for the band's finest hour. The opener "Dark Ancestor" is a very good way to begin this album, with its hypnotic heavy mid-paced riffs. "Haunted" is a nice little, again mid-tempo thrasher. But then starts the more thought-out material, with the more elaborate, and slower, almost doomy "The Suffering". If this one spoils the impression a bit, "Clairvoyant" does a lot to restore the faith: a mighty up-tempo power/thrash number- a great reminder of the once very strong American power/thrash metal scene. Things get even better, with the aggressive speed/thrashing delight "Exit Jeckyll" in the best tradition of late 80's Helstar. "Dante's Mire" is high-octane doom metal, with a faster thrashy ending, but it would be of more interest to the Saint Vitus and Candlemass fans. "Fire In The Sky" is the obligatory heavy/power metal track, but "Claudia Night" is vintage speed metal with a heavy doom-laden twist in the middle. However, the classic heavy metal sound stays around for "Raise Your Horns", which pulls the more experimental and varied second part down. "Enter The Nightmare" is a satisfying closer, though, sounding quite similar to the opening song, scoring high, making this effort one of the better comeback releases of recent years.
The guys lost the inertia after their pretty good comeback release, but they are quick to reclaim it with a very determined return to the old school sound, for better or worse. The opening "The Clincher" is vintage 80's American power metal, and the joy will even get bigger on the next "Face Reality", which is a great power/thrasher with dark Oriental tunes, a very cool reminder of the guys' previous offering. "Me Against The World" is a happy speed metal cut, taken directly from their debut; and "Fire" is a nod to the heavy/doom metal scene, with jolly overtones again. When "You'll Come Around" is happiness all the way through, some may start wondering what the hell happened to the sharp guitars. They return with another speed metal hymn: "Indulgence", and with the intense galloping thrash on "Tarantula", the highlight here. But that's about it from the more aggressive side, since then comes a string of softer power metal anthems, with a touch of speed ("Psychosis"; the invigorating closer "Escape Or Die 2012") here and there. The vocalist Martin DeBourge (who also sings for the progressive metal outfit 7th Overture) is in top form, his melodic high-pitched antics compensating for the not very energetic mucical approach. Generally the album will not disappoint, and could be viewed as a pretty faithful follow-up (or a prequel) to the debut, but the powerful dark overtones of the previous effort are missing for most of the time, replaced by not as impressive optimistic notes.

The Sign Of The Jackal Full-length, 1986
Former Life EP, 1998
Wrath Of Darkness Full-length, 2001
Haunted Mind Full-length, 2005
End of the Game Full-length 2011

DAMIEN'S TRAIL OF BLOOD (PORTUGAL)

The full-length shows a band treading modern thrash metal waters with shades of both doom and death. This is not very energetic stuff adhering to doom/death quite a bit, and one will be delighted to hear a few faster surprises, like the crossover-tinged "Suicide Note, Part One", for example. Still, this is more on the slower side of the spectre, and as such may keep the doom/death metal fans happier.

Damien's Trail of Blood EP, 2007
The Beginning Of The End... Full-length, 2010

DAMMERCIDE (ITALY)

Modern thrash/death metal of the Swedish type with a certain progressive edge; not bad, with good lead guitar work and clever riffs. The band does not keep the music in a constant energetic tempo, but quite often inserts slower, atmospheric passages. Still, the shorter, less varied compositions work better: "Entangled Sun", "Hormonal"; those are more dynamic and carry a bigger technical charge.

Link Full-length, 2000

DAMNABILITY (USA)

Cool thrash/crossover with speedy, sometimes technical, riffs ("Accidental Existence" is an excellent technical instrumental), and a singer who sounds close to Steve Souza from Exodus, maybe higher-pitched. The music is filled with tempo changes, but is mostly energetic and fast. "Power and Soul" is a cool attempt from the "funk-meets-thrash" genre ala Mordred, but better, featuring stylish leads, but when the next song "Watching Me, Watching You Die" carries on in the same vein, you might find yourself hoping that this would be the last one from this type.

Demo Demo, 1990

DAMNAGE (USA)

Based on the "Harsh Reality" demo, this band still sound pretty classic: this is cool heavy, mostly mid-paced thrash reminiscent of the Brits Xentrix, or 90's Sacrifice in the faster sections. The guitar work is simplistic, but has its hooks, plus really good leads.
The debut demo is another heavy affair with good memorable riffs, again mostly sustained in mid-pace, with a few pretty catchy hooks (check out the semi-balladic opus "Persecution Solution", a dramatic eventful composition) and stylish lead guitar work (the closing steam-roller "Living Inferno"). The singer is a convincing semi-cleaner who is helped on the choruses by his colleagues.

Damnage Demo, 1989
Harsh Reality Demo, 1991
Bludgeon Demo, 1993
Expressions of Anger Demo, 1996

DAMNAKLEEZ (USA)

A great and a very obscure gem of aggressive thrash ala Possesssed's "Seven Churches" and Whiplash's debut, mixed with speedy assaults similar to Destruction and Kreator. This demo easily surpasses most of the full-length releases at that time: great music which will satisfy both the aggressively-inclined fans and the speed lovers. The furious riffs from "Victory of the Wicked" will bring you back to the first days of death metal. It's hard to believe that with so much talent at display and the very fashionable for its time sound, these guys had remained buried deep in the underground.

Angel Of Evil Demo, 1986

DAMNAS (UK)

4 songs of cool retro speed/thrash in an energetic up-tempo with a good taste of melody, both in the riff and the lead department ("The End Begins"); "Corrupt Mind" is a really engaging number, starting as a ballad, and later speeding up, remaining in the mid-paced parameters with nice galloping rhythms and again, fine melodies. "Threshold" and "Profit Lies" are full-blooded intense speed/thrashers; "Threshold" offers nice semi-technical deviations and is a great track, a seamless mix of haunting melodic licks and sharp headbanging riffs.

Damnas EP, 2008

DAMNATION (CANADA)

"Speed Anarchy" is a vicious, brutal slab of speed/thrash, sounding like a poor and a more aggressive version of Slaughter's "Strappado". There are semi-successful attempts at mixing aggressive riffs with stomping, Celtic Frost-like ones ("In The Rubbish Of The Church"), but most of the time the guys bash without mercy producing some of the most aggressive and relentless tunes of the mid-80's. Despite its raw, and slightly undeveloped nature, this demo has definitely been an influence on the death metal genre including in the vocal department: these unholy deathy growls would be hard to match even by many of the contemporary death metal singers. This recording must have scared the fans even worse than the same year's efforts of Slayer and Dark Angel: not for the faint-hearted.

Speed Anarchy Demo, 1986
Aggressive Repulsive Symphony Demo, 1987
Damned in Nation Demo, 1989
Demo Demo, 1992

DAMNATION (GREECE)

This is heavy modern thrash metal with sparce faster outbreaks which come more death metal-tinged, and to which the gruff vocals suit better. There is a certain hardcore feeling sneaking through, so it should come as no surprise that a few months later the guys changed their name, and surrendered to the up-and-coming at the time metalcore trends.

Theater Control Law Demo, 2005

DAMNATION ARMY (SWEDEN)

This is a one-man band (Thomas Nyholm is the name) and as such he does a good job, resurrecting the old school black/thrash metal sound from the works of early Bathory and Sodom; this guy emphasizes more on the thrashy side, and his music is probably better technicality-wise, with good solo work.

Towards Damnation EP, 2003
Misanthropic Satanarchy Full-length, 2003
The Art of the Occult Full-length, 2004
Tyrant Full-length, 2006

DAMNATORY (SWEDEN)

Cool American power/thrash metal made in Sweden; this is nice heavy, crushing music which will remind you of Nasty Savage's debut and Jag Panzer. The vocals sound a bit strained at times, though. "Cemetary Of Life" is a magnificent 8-min dark stomping thrash metal opus, the highlight of the album.

The Madness Never Ends Full-length, 1990

DAMNNATION (ISRAEL)

Progressive power/thrash metal band, who have taken their name from the Americans Hades' album. The music is more complex, and at least to these ears better sounding than the one from the aforementioned Hades album. It starts with the softer, progressive power metal number "Forsaken Child", but the sound gets heavier on "Temple Of Light". Then "Peacebreaker" softens down again, and later on this effort offers little to the thrash metal fan: the short, more straight "Media"; the up-tempo, Oriental-tinged "Nothing Else To Do", the heavy progressive "Fun". Still it remains fairly entertaining, recalling the early works of the Canadians Eidolon, mixed with more recent Iced Earth.

Mentally Trapped Full-Length, 2005

DAMNED CREED (GREECE)

Based on the full-length, these Greeks specialize in intense fast-paced thrash ala mid-period Sepultura, Gammacide and Devastation. Don't expect any sophistication here, folks: this is speedy raging stuff with steel riffs, deathy leanings, and a few genuine technical implements (think Gammacide). The songs flow into eahc other due to the never-ending aggressive bash and the whole album works as one big fist in the face the only moments of "tenderness" provided on the longer "Enslaved Thoughts" including a breath-taking baladic exit. "Embers Blaze" near the end is an exemplary technical cut in the spirit of later-period Death, and one may wish there were more of the kind here the closer "N.A.P." being another more immediate head-splitter with piercing leads and stormy paces. The vocalsit shouts in a rending death metal-like manner, a fairly typical for the genre, bit inspired approach. Hopefully, these talents are still alive and well to serve another portion of the same soon.

Dystopia EP, 2007
Enslaved Thoughts Full-length, 2009

DAMNED GRAVE (CANADA)

This is a faithful dedication to early Venom resurrecting the primal sound priduction so well that one may mistaken this effort for a lost Venom album if it wasn't for some sparce modern insertions. The singer is also close to Cronos, maybe a bit more throaty and lower-tuned. The guys change the pace always keeping things on the dynamic side sometimes with galloping rhythms ("City of God"), sometimes with the odd brutal blast-beat ("Dissonant Aggressor"). The band should be given points for the old school atmosphere created so capably, but from a musical point-of-view they still have some catching-up to do even with regards to their main influence.

Blaspheme Culte Full-Length, 2009

DAMNED PLAN (SPAIN)

Modern heavy thrash/death metal of the semi-metalcore type, with a not very convincing vocal "duel" (the painfully familair clean-gruff one), clumsy rehashed riffs, and an overall not very inspired attitude.

Beyond Strength Full-length, 2010

DAMNGOD (FINLAND)

Heavy groovy thrash, mostly mid-tempo, with the exception of the energetic thrash/crossover number "One Of The Nine"; "Fuck Your P.M.A." features some dynamic thrashing, too, but the slower alternative sections "kill" those attempts. The vocals cling more towards the death metal camp, reminiscent of the ones acquired by Massacra on their last 2 efforts. Part of the guys also take part in the death/gothic metal outfit Before the Dawn.

Holy Terror EP, 2008

DAMUDOT (SPAIN)

These Basques offer modern post-thrash with metalcore branchings and a ssuch may not the best the most recommended listen to the hard-boiled thrash metal fanbase. The excitement wears out quickly the band refusing to speed up although some of the melodic licks are quite fascinating (check out those on "Heriotza Da Bakea Dakarren Bakarra"). The singer is a capable throat providing nice clean croons with a few harsher notes added here and there.

Heriotza Da Bakea Dakarren Bakarra Full-Length, 2012

DAMZELL (JAPAN)

A really good mixture of power, speed and thrash metal; on "War Songs" the music is mostly speed/thrash metal with great tempos, good soaring guitar lines, and very good high clean vocals; it's only on "Fist & Steel" where the band takes a break, and offers a nice semi-ballad with an epic feel. The good material presented here would definitely encourage the fans to track the debut down.
The debut provides a similar blend of the three styles with more nods towards the speed metal scene (think early Running Wild, Tyrant (Germany)). The happy-go-lucky heavy metal anthems ("Death March") are inevitable surrounded by edgy energetic speedsters also recalling their compatriots Sex Machineguns and early Aion.

Ready to Attack Full-length, 1989
War Songs Full-length, 1992

DANCEHALL SATAN (GERMANY)

Thrashcore of the more classic variety, fast, but laid-back, stuff with an open punky attitude expressed in the many jolly melodic hooks which are a big contrast to the gruff throaty vocals which come with a certain hysterical shade.

Beyond Good & P.C. EP, 2008

DANGER (COLOMBIA)

2 songs of raw energetic speed/thrash metal with a clear early Metallica influence; the guitars are very buzzy, and the singer semi-shouts in an intelligible quarrelsome manner completely deafening the instruments when in action ably helped by the loud shouty choruses.

Grito De Libertad, Single 1987

DANGER CROSS (GREECE)

Based on the "Recitation of Death" demo, this band takes the sound of late 80's Flames on a more extreme level. Clearly influenced by their more renowned compatriots, these guys pull out quite fast and brutal thrash/death metal, one of the first hybrids of the kind in Europe. There are more quiet, slower breaks, but the band is way better sticking to sheer speed and aggression.

Recitation of Death Demo, 1988
The Art in Pain Demo, 1989

DAOR (FINLAND)

These are 4 tracks of intense modern thrash/death with gruff death metal vocals. Good music with expressive dramatic riffage and effective, but sparce lead inclusions. The songs are sustained in a crushing mid-pace with crunchy, pounding guitars leaving the more melodic infatuations for the last composition "This Great Divide" which is a nice blend of hard-hitting riffs and quiet balladic passages.

From The Bleeding River Demo, 2010

DARCANE (FINLAND)

This band is the former Holocaust (Finland) and the present Mind-A-Stray. The bands' styles vary throughout the years from excellent Bay-Area thrash to post-thrash strongly influenced by Metallica's Black Album.

Survivors of the Holochaust Demo, 2002
The Very Worst of Darcane Best of/Compilation, 2003
Anamorphica Demo, 2004

DARCHAIC (SLOVAKIA)

Based on "Purgatorium", this outfit offer crunchy modern thrash/death which lacks depth and aggression, but relies on repetitive mid-paced patterns and sudden spasmodic blasts which are awkwardly accompanied by very melodic leads. This mish-mash has its more vivid moments: the dramatic dark piece "The Reign of Cain", the brooding doominess of "Diogenesis", the lyrical digressions on the final "Purgatorium"; it's just that it tries to embrace too much without paying its fair share to the aforementioned basic genres ending up sounding like an incoherent gothic metal opera which was reportedly more structured and less scattered on the debut.

Spirit Black Heretic Full-length, 2010
Purgatorium Full-length, 2012

DARGOLF METZGORE (GERMANY)

Based on the EP, this band offers your average modern thrash/death metal, both fast and melodic with sparce blast-beats, with references towards At the Gates and early Dark Tranquillity, above all, the main difference coming from the gruffer lower-tuned vocals.

Captured Thoughts Full-length, 2006
Guts, Blood & Booze EP, 2007
Blood Rush Full-length, 2009

DARK (CZECH)

Based on "Zyezn Gamballe & Mental World", this band plays ordinary, unimaginative modern 90's thrash with a strong melodic edge, often clinging towards the balladic type, sounding like a very poor version of The Black Album, or 90's Flotsam & Jetsam. At times the music takes a very aggressive edge: "Endless Envy", which sounds almost surreal on the bleak, listless landscape with its death metal riffs. No idea how the other works of the band sound like, but based on this one the guys richly deserve their underground status.
"Sex 'N' Death" sees the guys in a better and much more inspired shape, pulling out quite intense, but also technical Massacra-esque thrash/proto-death. Good, semi-technical stuff, which will also remind you of the later transformations of Messiah and Protector in the 90's. So expect fast-paced music, seldom very brutal ("The Focus Of Pus", "Sex Shop Of Dr. Fucktor"), with cool technical breaks, nice more melodic hooks, and low-tuned death metal vocals. The more technical moments go straight into Death territory ("Making My Blood Boil"), and generally the songs are nicely technically-decorated, with a couple of stylish leads present. Watch out for "Deadly Coitus": a fascinating mixture of raging very fast play and nice balladic breaks, plus the compelling opening technical riffs.

"Under The Bottom", having in mind the weak material offered on the predecessor, should be no surprise with its boring repetitive riffs trying now to shift from the thrashy patterns into a very unconvincing mix of gothic and 90's groovy post-thrash which clings towards doom too much, and is consequently mid-paced at best. Nothing really worth checking out except perhaps for the interesting attempt at an alternative ballad at the end "I and My Puppet" which at least sounds offbeat.

Sex 'N' Death Full-length, 1992
Zyezn Gamballe & Mental World Full-length, 1994
Under The Bottom Full-length, 1996

DARK ABBEY (SWEDEN)

This is the band who later changed their name to Epitaph, and left a more lasting impression on the metal scene. The style is not quite similar to Epitaph: what we have here is an early thrash/death metal hybrid recalling the Swedes Merciless and the French Massacra.

Blasphemy Demo, 1990

DARK AGE (CHILE)

Melodic semi-progressive thrash/death metal which strangely reminds me of Dark Tranquillity's "Haven"; fast riffs take turns with slower, stomping ones, and in-between them come more elaborate progressive passages. The sound gets unpleasantly groovy and clumsy on some songs ("Void Grip"), other times it goes into doomy waters ("Stolen Sanity"), again offering a non-desirable deviation. The good side are the more immediate thrashers ("Deity Of Rage", the nice complex instrumental "Strong Evidence Of Hostile Aggression"), which carry a cool technical edge, but should have been more.

Psychotic Side Full-length, 1999

DARK ALADAS (SPAIN)

This is heavy groovy post-thrash which apart from the plodding and repetitive riffs offers more dynamic and more melodic crossover numbers: "Nada Por Crear", the cool little Pro-Pain-esque headbanger "Deseaste Tener", "Odiando. T.". The closing instrumental "Trismus" is a cool touch as well providing hard-hitting doom-laden grooves for about 7-min.

Muestra Los Dientes Full-Length, 2007

DARK ANGEL (USA)

True legends of thrash metal, Dark Angel started their career with the inspired, but rough and a bit unfocused, "We Have Arrived" which hesitated between intense all-out thrashers ("Welcome to the Slaughterhouse", "Merciless Death") to much milder power/speed metal hybrids ("Vendetta"). Don Doty's performance is also shaky ranging from throaty proto-growls to much cleaner, almost wailing John Cyriis-like, vocals (check "Vendetta" again). No flaws of the kind, though, on "Darkness Descends", which is a shattering lesson in speed and brutality, aggressive "merciless" thrash which, along with Slayer's "Reign In Blood" the same year, rocked the metal fan's world down to its very roots. With much tighter musicianship, without any non-thrash "dissipations" this time, this album remains one of the most brutal recordings of the mid-80's, also featuring a remastered version of the band's early hit "Merciless Death" from the debut, as well as hints at a more ambitious song-writing: the 8.5-min of total thrash fury on the excellent diverse "Black Prophecies". This album also introduced the legendary drum virtuoso Gene Hoglan who stayed with the band until the end.
"Leave Scars" is an elaboration on the approach from the aforementioned "Black Prophecies" seeing the guys evolving further into a formidable perfectly polished thrash metal machine. The short fiery delivery of the preceding effort has been preserved for a couple of tracks in the beginning, but later on the compositions are much longer, although there is seldom mercy shown the band thrashing fast and tight throughout with bold hints at more interesting things to come. This album also introduced Doty's replacement: Ron Rinehart, whose semi-declamatory antics sound a but annoying at this stage, although to these ears they seem to be a match, most of the time, to the rapidfire musical approach which only falters on the off-beat Led Zeppelin cover of "Immigrant Song" thrown in the middle.

The band's swansong is one of the last masterpieces of the fading thrash metal movement, a grandiose album of tight complex thrash metal, played with both technicality and aggression, a crushing display of the genre at its finest, managing to justify the really ambitious, and pretty boastful, description which was put on the album cover ("9 songs, 67 minutes, 246 riffs!") at the time of release. This, however, would not have been possible without the participation of Brett Eriksen, the ex-Viking guitarist, who joined the band for this last "temptation", and co-wrote most of the songs in team with Hoglan. Rinehart here sounds much more convincing incorporating quite effective attached clean singing, the perfect booster to this ultimate tour de force, which doesn't hide its fascination with the dark sterile sound of Metallica's "...And Justice for All" (the smashing galloping riffs on "Sensory Deprivation" are a nice reverberation from "One"), sounding like the much more logical epitaph to their more renowned colleagues' "flirtation" with the genre, than the latter's much vaunted Black Album.

One could hardly think of a better finish to a short, but eventful, career, but one should also start thinking about resurrecting this "monster", which remained one of the few veterans left unchallenged by the resurgent interest in the genre of recent years. The guys attempted a comeback, as a matter of fact, in 2002 with Hoglan, Rinehart and the founding guitarist Eric Meyer getting together again, with the help of the new member, the bass player Danyael Williams, and things looked really promising until a sad accident, which caused Rinehart a serious spinal injury, forced the band to disband once more. Unfortunately, Rinehart will not be able to perform on stage again, so it remains to be seen whether his former colleagues would manage to find him an able replacement...

We Have Arrived Full-length, 1985
Darkness Descends Full-length, 1986
Leave Scars Full-length, 1989
Time Does Not Heal Full-length, 1991

DARK ARENA (USA)

This band is a side project of two members of the progressive power/thrash metal masters Antithesis. The music is a more melodic version of that band: progressive power/thrash of the more traditional variety, also resembling the Symphony X's more aggressive material ("The Divine Wings of Tragedy") with powerful, high vocals courtesy of Juan Ricardo- the singer who also did a fine job on the only Ritual (USA) album. The music has all the necessary elements of the 90's power/speed metal genre which might be a drawback to some: galloping rhythms, catchy choruses, keyboard melodies, balladic passages ("Dark Sorrow" is a great acoustic instrumental), even some epic ones. The thrashy riffs dominate on some parts, but the sound stays truer to power metal, but is definitely worth checking out: there is enough technicality, mixed with a good sense of melody, involved to attract your attention.
"Flowing Black" is a big improvement over the debut even beating the two Antithesis efforts on the best moments. "Eclipse Of The Sun" opens the album in an awesome crushing technical fashion later adding cool melodic leads and a nice chorus. "9 Days Below" is more dynamic with brisk galloping riffs and a more aggressive thrashy attitude also reflected in the vocal participation featuring a few gruff death metal inclusions as an addition to the very good clean mid-levelled main vocals. "The Holy Grail" is a masterpiece of jumpy technical thrash with dramatic Oriental melodies, and a great doomy exit with a brilliant technical twist at the end, which has a worthy follow-up in the face of "The Offering", a diverse progressive opus with an imposing dramatic speedy beginning later enriched by great lead sections, hard thrashing riffs in mid-pace and several stylish technical hooks. "Dirty Bomb" is a more immediate energetic up-tempo power/thrasher with balladic insertions, but the technical prowess returns with "Another Day Gone By" although on this one the leads are again the highlight if we exclude the very intriguing twisted beginning. "Blind Leading The Blind" is a cool, albeit not exceptional, semi-ballad with the lead guitarist stealing the show for the upteenth time. The end is a true revelation: intense galloping speed/thrash with fine progressive passages in the beginning, plus the closing one which is a great abstract Coroner-esque lick. Although the guys have come with a really strong material here a certain feeling remains that they still have quite a few ideas up their sleeve which would hopefully find a fuller realization on future releases.

Alien Factor EP, 2006
Alien Factor Full-length, 2006
Flowing Black Full-length, 2009

DARK ARMY (USA)

Just one guy (the name is Jon Williams) is behind this noisy amalgam of post-thrash and industrial which (based on the EP) develops in an energetic mid-tempo fashion with heavy, but repetitive, guitars and unpleasant synthesized shouty vocals. The music has a peculiar playful tone which may remind you of Die Krupps and even KMFDM, but the man relies too much on the technology to pull it through ignoring his musical skills a bit for the sake of noisy landscapes on a pounding guitar base.

Dark Army EP, 2001
Death Throes Daemonicus Full-length, 2002

DARK AWAKE (SPAIN)

Dark gothic thrash/death metal of the modern type, mid-paced with a fuzzy guitar sound; the music is too melodic at times adhering to balladic passages, and generally there is a lot of atmosphere, especially on the 8-min progressive opus "Witness of Fate". "Maud-Evelyn" blasts out for a while in a furious black metal fashion starkly contrasting with the other much softer material.

Ragnarok Full-length, 1999

DARK BLACK (USA)

Based on the full-length, this act provides vintage classic power/thrash along the lines of early Iced Earth, Liege Lord and Dragonwyck. The music is energetic without being too speedy relying mostly on galloping riffs ("Sellsword", "Ancient Stone Sentinel") and cool melodic hooks with a pinch of the twin guitar "duels" of Iron Maiden. The singer has a cool clean tember, but is buried too deep in the mix that sometimes it's really hard to be heard clearly. Tracks with an epic "decoration" will also remind you of Drifter and even Bifrost: "...With Lightning Speed". Straight thrash is hard to be found here, but the mix works fine despite its obvious infatuation with melody.

The Barbarian's Hammer EP, 2005
The Sellsword Full-length, 2009

DARK COSMOS (CHINA)

Modern heavy power/thrash metal with numerous metalcore references, among which the clean vocals seem to be quite cool, and should have been better covered than the gruff death-ish shouts which predominate. Music-wise this is melodic emotional stuff which lacks speed and sharpness, and the frequent balladic sections should come as no surprise gracing at least half of the songs.

Metal Heart Full-Length, 2009

DARK CREATION (GERMANY)

Based on the "In the Name of Torment" demo, this is intense thrash/proto-death in the spirit of Possessed and early Protector. The singer is a vicious death metal growler, often interrupted by a snarly black-ish "raven". The songs are fast-paced, one of which crosses the borders of good behaviour towards brutal black/thrash/death: "Church of Lies". The end is occupied by the Slayer cover of "Postmortem".

Campaign in the Sign of Evil Demo, 1998
In the Name of Torment Demo, 1999

DarkCrucifix (INDIA)

Two Indian corpse-painters are behind this noisy buzzy black/thrash metal delivered in mostly mid-pace with brutal low-tuned death metal vocals coming as a more dynamic early Celtic Frost with the casual more aggressive blast-beat thrown in.

Chapters of Damnation Demo, 2000

DARK DAY DUNGEON (SWITZERLAND)

Based on "Know Your Enemy", this band plays modern thrash with shades of metalcore. Paradoxically, the music is more on the slower atmospheric side, the guys only lashng more aggressively on the death metal-laced "Burning Symbols", which livens up the situation near the end with sharp At the Gates-esque riffs.

Dark Day Dungeon EP, 1999
Know Your Enemy Full-length, 2002
Let the Sin Begin EP, 2002
By Blood Undone Full-length, 2005

DARK DREAM (GERMANY)

This young German outfit offers an interesting diverse sound which is based on a heavy mix of thrash and doom metal accompanied by low-tuned death vocals and quite a few intriguing decorations (the Oriental rhythms on "Out of Control"; the nice balladic beginning of "Fight", which is an otherwise cool gothic anthem). Still, the faster numbers work better: the dynamic technical "Infected by Desperation", which abandons the morose, sleepy tempo; or the jumpy, again technical, even progressive "Monster", adding more nice Oriental atmosphere. "My Soul Will Roam on Forever" is a typical example of the dominating doomy sound of the album, but the creepy technical riffage, combined with the heavy one, makes up for an engaging listen. Then comes "Revolt", which elevates this effort to higher levels, providing another doze of first-rate technical performance and cool headbanging moments. The closing "On Fire" carries on in the same vein, including more ordinary passages from the Swedish thrash/death metal scene, plus quite good operatic female vocals which turn it into a fine progressive thrash/gothic/death metal opus. Although the slower moments prevail, there is more than enough here to satisfy the thrash metal fan, especially the one who likes his thrash more thought-out and technical.

Behind Dead Eyes Full-length, 2007

DARK DECEPTION (USA)

Based on the "Tales Of Dark Deception" demo, this band offers a potent blend of speed and thrash metal. The music is heavy and pounding, but there are quite a few moments when it speeds up quite a bit, and if we add a considerable number of stylish technical hooks thrown in here and there, look no further than Torture's "Storm Alert", or Viking's "Man of Straw".

Sadistic Intentions Demo, 1988
Tales Of Dark Deception Demo, 1990

DARK EMPIRE (USA)

The band debut (not reviewed here), is a cool slab of proressively-laced power/speed metal, a sound typical for the other two acts where the singer Jens Carlsson (Persuader, Savage Circus) displayed his vocal talents. On this work the guys have hardened the sound, adding a certain doze of thrash metal into the power/speed proceedings, and the final mix is worth checking out. The music comes as a more aggressive, and more technical, version of Savage Circus, and really takes off on the faster compositions ("Salvation Denied", "Humanity Dethroned"). The "Prelude" in the middle is a very interesting instrumental of technical power/thrash metal followed by the superb heavy progressive thrash monster "Haunted". More speed comes to bang the head that doesn't bang, on the furious "Possessed (We Are One)", fully compensated on the closing "Closure" (is this not a very appropriately chosen title?!): a peaceful balladic composition; not bad, but hardly the best option to finish such a fast-paced energetic effort.
The "dark empire" is rising again, and "From Refuge to Ruin" shows the guys, who are now a trio, in an inspired form again, pulling out the staple convincing mix of speed, progressive and thrash mixing all in a cool, memorable way on the opening "A Plague in the Throne Room". Heavy crunchy riffs take over on the longer "Dreaming in Vengeance" which is a brooding moody composition with an overt doomy edge, and the following "The Crimson Portrait" is just a bit faster. Formidable aggressive thrash is the order of the day on "Dark Seeds of Depravity", but don't expect two in a row of the kind, "From Refuge to Ruin" being 10-min of pensive heavy progressive which at least scores high in the lead department. "Lest Ye Be Judged" offers more explosive speed/thrash, the intense delivery ably supported by a few deathy growls which try to oppose to the cool attached clean vocals. The deathy vocals stay around for "What Men Call Hatred" which is an otherwise good mid-paced shredder, before "Black Hearts Demise" makes the heads bang with another portion of fast'n hard riffage which gets well translated on the closing megaopus "The Cleansing Fires", a diverse 14-min song which blends furious proto-deathy passages with very quiet balladic ones, constantly changing creating an encompassing, operatic atmosphere. This is another pretty good effort from the band who surely have more up their sleeve to offer in the days to come.

Humanity Dethroned Full-length, 2008
From Refuge to Ruin Full-length, 2012

DARK ENTROPY (USA)

This formation play buzzy modern thrash which has power and aggression aplenty, but the noise in the guitar and drum department is a major obstacle at times. The band stick to heavy volcanic riffs in mid-pace which surprisingly get interrupted by more melodic inclusions ("Broken Night") and sudden fast sections ("Sins of Our Fathers") which even smell death metal. The singer shouts in a not very pleasant, unrehearsed fashion, but suits the undemanding, ultra-heavy, musical delivery. Some of the band members are also involved with the more dynamic death/thrash metal act Central Disorder.

Demo Demo, 2011

DARK FROZEN ARK (COLOMBIA)

This Colombian formation play cool edgy old school thrash, generally fast-paced with an added death metal-ish dramatism ("Melancholy" which is full of addictive melodies both in the lead and riff department) at times. "Darkland" is a surprisingly slow piece with some epic touches, but don't expect too much mercy shown elsewhere. The singer is a subdued death metal grunter, but is comprehensive and tolerable.

Through The Iced Sky Demo, 2010

DARK INTENTIONS (HOLLAND)

Based on the full-length, these guys pull out energetic edgy thrash/crossover; fast optimistic stuff with slightly gruff semi-death metal vocals. A few modern proto-groovy moments can be caught ("Today is the Day"), and the mid-paced stomper "It Dies Today" is not bad at all; it's just that they can not stand on the way of moshers like "Whispers" and "Suffer Severe". Watch out also for the cool heavy doomy closer "Empty Eyes".

Remorse Will Die Today EP, 2005
Destined to Burn Full-length, 2008

DARK ISLAND (ITALY)

A 4-track demo of classic power/thrash with nods to the American 80's metal scene; this is mid-paced music, on the melodic side, with balladic overtones ("The Dessert", "Play Cheat", which speeds up nicely at the end) and simplistic, but catchy guitar work.

Killing Inside Demo, 2007

DARK LEGION (CANADA)

Brutal stuff: fast, intense thrash/death, one of the early examples from the death metal genre, with very suitable deep death metal vocals; the music is simplistic and raw, with no big musical merits, but from a pioneering point of view this demo scores high.

Psychosis Demo, 1986

DARK LEGIONS (SWEDEN)

Cool black/thrash which will take you back in time when bands like Celtic Frost, Venom, Bathory and Sodom were the order of the day. The band keeps a good pace with fast numbers, but heavy slower ones (hence the Celtic Frost influence) are also present.

Satänic Deströyer Full-length, 2006

DARK MASTER (CANADA)

This is raw pristine black/thrash in the spirit of the very early days of the genre, mixing early Sodom and Venom with more happy-go-lucky rhythms with a crossover shade. So expect generally up-tempo riffage and rough, underground vocals with more of a death metal shade, but suitable enough. "Mourning Star Morning" is a pleasant melodic surprise, a nice epic power metal cut with echoes of Children of Bodom; which influences the last 2 tracks, both being more laid-back with more concentration on melody, although the latter could hardly be felt too much, due to the very noisy muddy sound quality.

Upon The Altar Full-Length, 2011

DARK MASTER (CHILE)

A brutal and vicious mixture of thrash and death metal, similar to early Protector and the Brazilians Vulcano; the sound quality is very bad, and at times what you'll hear is just an impenetrable wall of sound; well, the guitars can be distinguished most of the time...

Undead Slaughter Demo, 1989

DARK MIND (SPAIN)

A 3-song demo of heavy mid-paced thrash of the classic variety, rich on atmosphere; the riffs are sharp, and the music slides down to power/thrash metal at times ("Visceral Love", which boasts fine leads and a good chorus), and this is where the guitars "flirt" more with melody, producing some fine moments. The singer is the big flaw here with his semi-clean mid-ranged tember which completely lacks emotion and is inappropriately interrupted by the occasional death-ish growl.

Fire at the Ardennes Demo, 2008

DARK MIRROR (USA)

Based on the EP: classic power/thrash metal ala Sanctuary; heavy mid-paced, sometimes doomy, stuff with very good emotional high-pitched vocals, a bit harsher than the ones of Warrel Dane, but equally as screamy. "Asylum" crushes with force, a potent doomy thrasher; "At The Edge Of Reality" is on the other pole: a brisk speedster also recalling Deadly Blessing and Damien Thorne. "The Arrival... Unholy Crusade" adds a nice epic shade to the proceedings, and may remind you of the legends Warlord (USA). "Forever Young", which is not an Alphaville cover, is a fine mid-tempo power/thrasher with cutting sharp riffs.
The full-length debut is a cool slab of 80's American heavy/power metal, but there is not much to relate it to the thrash metal field.

Visions of Pain Full-length, 2007
Immortalized EP, 2008
Portrait of Evil Full-length, 2009

DARK MIST (PORTUGAL)

4 tracks of classic thrash metal with gothic overtones which come in the form of nice melodic leads and the odd keyboard background. The guitar work is not very sharp, and the concentration is clearly on melody bringing the sound close to the early efforts of the Greeks Nighfall.

Behind a Black Curtain Demo, 1995

DARK MORDOR (SLOVAKIA)

Based on the debut demo, these guys pull out aggressive thrash/proto-death with a very buzzy guitar sound and unrehearsed throaty death metal vocals. The band bashes tirelessly through the 11 tracks, two of which are pure instrumentals, showing a little mercy here and there, which never extends into a whole song. The title-track is a tiring experience lasting for whole 13-min offering one-dimensional monotonous thrash mostly in mid-pace. Some of the guys also take part in the power/thrash metal outfit Midnight Scream.

Záhuba života Demo, 1992
Na konci je smrt Demo, 1993
Agonia Demo, 1994
Symbol Alfa and Omega Demo, 1996
Corpus Delicti Demo, 1997
Dark Millenium Demo, 1999

DARK MYTH (USA)

A good demo of dark technical/progressive power/thrash which sounds like a precursor for the sound epitomized by Nevermore a few years later. Certainly, it bears resemblance to Sanctuary's "Into the Mirror Black" as well, as the music is heavy and mid-paced for most of the time, adhering to balladic "pauses", which are a good deviation since the songs are long (2 of them are beyond the 10-min limit), and the lack of speed makes them a slightly tiring experiences at some point. The singer has a good mid-levelled clean tone, and his higher shouts are not bad at all. "Black Is The Faith", which is shorter, is a nice take on more hard-hitting thrash, still in mid-tempo, but sharp and biting with a cool faster twist at the end.

...And Darkness Shall Follow Demo, 1993

DARK NATION (USA)

A thrash/death metal hybrid of the classic variety sounding close to the early Swedish attempts in the genre (Dismember, Entombed, Merciless, early Cemetary); the music favours death metal more although the vocals are too screechy for the style rending in a higher-pitched, almost hysterical, way to a not very positive effect. The guitar work is fast and intense, and the guys keep the tempo up for most of the time despite the presence of heavy doom-laden passages on almost every song.

War on the Church Full-length, 2002

DARK ORDER (AUSTRALIA)

A nod to the 80's scene with more aggressive death metal elements; for fans of Slayer and Sepultura. Both albums are in the same vein: merciless aural assaults, containing a few heavy up-tempo numbers where shades of 90's groove could be heard as well as an occasional adherence to blast-beats on the faster ones.

"Cold War of the Condor" sees the band having not forgotten how to pull out good old school thrash metal, although here it comes mixed with quite a few other influences, and this effort can pass for the band's finest hour moshing out with a nice technical edge at times. "Dissension of the Raptor" is a sure-handed opener with heavy meaty riffs delivered in a cool hectic fashion, but "State of Siege" is all-out speed/thrash, a faster and more aggressive number. "A Lament For Victor Jara" is a very surprising unexpected tender acoustic ballad, and the next "Tears of the Exiled" is a more ambitious slower take on the thrash metal idea with doomy overtones. This diversity may worry the listener, but "Caravan of Death" will put him back on track being a great jumpy technical death/thrasher with loads of riffs and tempos. "Villa Grimaldi" may be another pull back: another semi-balladic composition of the progressive type which, despite the couple of heavy brutal guitars present, fails to deliver as well. "Operation Condor" is 8-min of exemplary technical thrash/death metal seamlessly blending raging semi-blasts with clever elaborate decisions. The alternation between faster and slower songs continues till the end which is preserved for another romantic ballad: "Requiem Eternal", which is longer and better, but again is kind of off-context except as considered a valuable addition to the varied nature of this good, but too contrasting for better or worse, album.

5000 Years Of Violence Full-length, 1998
The Violence Continuum Full-length, 2002
Cold War of the Condor Full-length, 2010

DARK RHAPSODY (UKRAINE)

This is dark doomy thrash/death metal wuth a crushing rhythm-section with echoes of Gorefest and early Death before it hits "Funeral Mournful Song" in the middle which is sinister doom/death ala Asphyx and Runemagick. The problem is that after this monstrous composition the guys never manage to capture the intensity from the beginning, and settle for slow morose riffs which reach a My Dying Bride and early Anathema-like melancholy on "Sarcastic Flourish", the depression further deepened by the low-tuned growly vocals.

Funeral Mournful Song Demo, 1994

DARK SERPENT (ISRAEL)

A cool release of classic technical thrash which combines puzzling decisions with more direct speedy sections in a way not far from the US underground heroes Intruder with a pinch of the Bay-Area (think early Testament). "M.K.C" is a ripping opener which also boasts great melodic leads among the technical thrashing madness which never lets the speed down. "Shot by Friendly Fire" gets more aggressive, with a few brutal deathy blasts roaming around, but "Fully Charged With Hate" adds heavy mid-paced riffage to the picture. Soon, however, the album returns to the speedy patterns from the beginning, but fails to recapture the genuine technical atmosphere. The last 3 tracks are live recordings of an older material coming with a fairly good sound quality and a more straight-forward delivery.

M.K.C. Full-Length, 2011

DARK WARRIOR (ARGENTINA)

A 3-song demo of passable retro thrash of the more laid-back, melodic type with, still quite up-tempo with not very good throaty, somewhat blacky, vocals, The last cut is a cool version of destruction's "Mad Butcher".

Thrash 'till Death Demo, 2010

DARKANE (SWEDEN)

Darkane was formed by two members of the technical death/thrashers Agretator, after that band's demise. The music is not too far from the one of the previous band, being technical and experimental at times, maybe a bit Gothenburg-influenced and less intense: a really good band, one of the leaders of the Swedish metal scene nowadays. "Rusted Angel" is a sure-handed debut where the band prefers to lash more directly with faster and more accessible songs, although their bigger skills are more than obvious on more complex numbers like "Rusted Angel" and "Frenetic Visions". The music is almost pure thrash metal with the exception of the At The Gates-influenced "July 1999".
"Insanity" is a commendable follow-up, again concentrating on thrash more with crisp sharp riffs, fast pace, and excellent lead guitar work. The energetic up-tempo on the first two tracks moves up on the aggressive shredder "Impure Perfection", which introduces more technical hooks as well. The technicality remains for the drier more mechanical "Hostile Phantasm", which crushes with heavy dynamic riffage, the very cool music partially ruined by the bad semi-clean industrialized vocals. "Psychic Pain" is a superb fast technical/progressive thrasher with echoing hardly audible vocals which at that point have completely given up competing with the much better music which here reaches the top. Relatively straight headbanging thrash awaits you on the next "The Perverted Beast" and the bashing speedy "Distress", which contains the only blasts on the album, and in the 2nd half this song develops in a cool death metal fashion. "Inauspicious Coming" is a nice combination of fast smashing sections and slower progressive ones bordering on power/thrash. "Pile of Hate" elaborates on that same mixture, turning into a fine progressive piece, a maze-y complex riff-fest with constantly changing fast and slower tempos, the former at times being quite technical.

"Expanding Senses" continues the technical tendencies from its predecessor with the guitar work (the leads especially) being almost as good, but is hardly superior, reducing the intensity and the speed in the process, which results in the inclusion of quite melodic, gothic-tinged numbers: "Violence From Within", "Chaos Vs. Order", which are fortunately compensated by the short thrashy outbursts ("The Fear Of Oneself", "Fatal Impact").
"Layers of Lies" is probably the band's most aggressive offering with more frequent nods to death metal and more intense riffage. As a result we have several speed/thrashy explosions ("Godforsaken Universe", "Decadent Messiah"), as well as impressive, also quite fast, technical tracks ("The Creation Insane"), topped by fine melodic hooks and orchestral keyboard-laced sections, quite well entwined with the twisting guitars.
"Demonic Art" begins with the impressive 1.5-min "orchestral vs. leads" intro, after which the guys start thrashing without any further ado with the intense direct "Leaving Existence". "Demonic Art" retains the aggression by adding some technical "decorations". "Absolution" slows down, but the following "Execution" lashes with no mercy once again, putting the technical performance a level up as well, offering great twisted technical guitars. The semi-clean vocals, which the band started to use on the preceding album, here are more accentuated on, but are far from the alternative blend of the numerous clean ones used nowadays. "Impetious Constant Chaos" rages on: an impeccable fast-paced technical thrasher leaving a room for a slower progressive section. "Demigod" is a heavy pounding track with great lead guitar work and hammering riffs. Then the speedy thrashing begins, quite furious on "Soul Survivor" and "Still in Progress", and more controlled on "The Killing of I". The bonus track "Wrath Connection" is an exemplary technical piece with fast-paced guitars, fine lead performance and a very cool pounding heavy closing section, finishing this nice release with style.

Rusted Angel Full-length, 1998
Insanity Full-length, 2001
Expanding Senses Full-length, 2002
Layers of Lies Full-length, 2005
Demonic Art Full-Length, 2008

DARKBLOOD (USA)

This band play a blend of modern and classic thrash with a pinch of death metal ala mid-period Death with groove assisting here and there resulting in a less predictable listen with a few progressive pretensions which are not completely justified due to the short song-length and the abrupt change of moods and riff-patterns some of them left unfinished. There are whole 15 songs here so one would by all means get a good impression about the guys' interesting, but quite incoherent at this stage, delivery.

Shelf Life of the Damned Demo, 2009

DARKCORPSE (JAPAN)

The Demo I is two songs raw hardcore-ish thrash which is more on the classic, and also mid-tempo, side despite the buzzy industialized guitar tone which is a constant "companion". "Your Grave" is a stomping hymn in the best tradition of early Celtic Frost aptly assisted by the guttural death metal vocals.

Demo I Demo, 2011
Demo II Demo, 2012

DARKDAYRISING (HOLLAND)

Based on the "Underworld Dreams" EP, this band offers a fast and a potent mixture of death and thrash metal with a modern sound, as well as some atmospheric doomy thrashers ("Infernal Darkness").

Underworld Dreams (Mcd) EP, 2002
Ascent of Despair Full-length, 2005

DARKEND FATE (USA)

Another very good band buried deep in the underground: aggressive thrash reminiscent of Devastation and Torture. The band have clearly had potential for more technical performance, displayed on the excellent "Dead" from the "The Last Hour" demo, but the lack of any official release after that left these attempts without any further continuation.

The Last Hour Demo, 1989
The Only Witness Demo, 1991

DARKER HALF (AUSTRALIA)

A good power/thrash metal band with a capable singer who sounds not too far from Rob Halford himself at times; the sound favours power metal a bit more, except on the last track "Holocaust" which thrashes in quite an aggressive manner aggravated by rougher vocals.

"Duality" is a much more aggressive offering, thrashing bravely, adding the odd melodic death metal element. The music is still on the more melodic side with very good solos and cool melodic riffage (check out "Duality"). "Stranded" is a very nice heavy semi-ballad, followed by the equally as melodic, progressively-tinged "Helpless". The thrashing continues afterwards, owing to 3 new songs, as well as the remastered version of the furious "Holocaust" from the EP plus the intense headbanger at the end "Heads are Gonna Roll" (not many relations to the Judas Priest hit music or vocal-wise this time), on which I see quite a few heads "rolling" from the mosh.
"Desensitized" is another modern melo-thrash affair with the singer now really shining with his clean emotional tember which inevitably brings a few slight adjustments in the musical approach which settles for less eventful happy 90's speed/power metal at times ("End Of The Line"). The aggression of the previous album has been reduced, and now at least one third of the songs are mellow heavy/power ("Tomb Of The Unknown Soldier") metal offerings, a not very desirable shift from the guys' past approach.

Enough is Enough EP, 2006
Duality Full-Length, 2009
Desensitized Full-length, 2011

DARKEST DAYS (USA)

Modern industrialized thrash with numerous dreamy atmospheric moments, heavy in mid-tempo; the music is without any pretentions, and flows effortlessly, often offering soft heavy metal tunes as well. The best song is the heavily-charged doomy industrial cut "I Slip Away" which is graced by haunting Oriental hooks and sinister declamatory vocals.

Noone Knows Full-Length, 2009

DARKFALL (AUSTRIA)

Based on the "Winter Leafes" demo, this is prototypical Gothenburg modern thrash/death metal. The music stays closer to thrash than the one of the Swedish bands, and the vocals have a higher, slightly hysterical pitch. The tempo is mid-paced, with the exception of the best song: the good smasher "They Are Few" (next time they should be more!).

Winter Leafes Demo, 1998
Dimensions Beyond Demo, 1999
Firebreed EP, 2001
Dimensions beyond & Winter leaves Full-length, 2004
Phoenix Rising Single, 2006

DARKHAT (GERMANY)

A 2-song demo of excellent speed/thrash along the lines of Paradox and Toxic Shock; the guys nicely vary things with slower semi-balladic passages, all that topped by aggressive death-ish vocals.

Demo Demo, 1990

DARKKAM (SPAIN)

Melodic power/thrash metal with a crisp biting guitar sound and a good tempo, but the overuse of keyboards and the very clean melodic, soaring vocals (very good, but kind of not suiting to the style) lessen the impact. Apparently the band is willing to make a bigger appeal on the music scene, and other insertions used, like acoustic, balladic moments and catchy choruses would definitely win them many fans from all walks of metal.

Raíces de la Noche Full-length, 2007

DARKLAND (GERMANY)

This is a fast and aggressive blend of hardcore and thrash with death metal vocals. The music is quite brutal, and one could hear some of the first blast-beats on the music scene.

Violent World Demo, 1989

DARKLIN REACH (USA)

This is mostly power metal along the lines of Omen and early Helstar, but it has its thrashy moments, too (check out the speedy "Contaminated Preaching"). The music is not very fast, although the opener "Impact & Elegance" might mislead you with its intense delivery, but after the next couple of tracks slow down considerably, one quickly realizes that this album won't be the best headbanging material. The sound has a certain epic feeling as well, but it packs a punch on a few times, topped up by cool, powerful, semi-high vocals.

Where Evil Dwells Full-length, 1992

DARKNESS (CHILE)

One of the first demos to contain a considerable doze of death metal from the South American scene; the music is still a blend of thrash and death metal, resembling the first two Pestilence albums, but not as fast, and heavier. "Under the Grave" is a cool nod to early Celtic Frost.

Demo I Demo, 1989

DARKNESS (COLOMBIA)

Based on the EP: this is melodic thrash of a very simplisitc and basic nature with numerous hard-rock influences and moments reminding of Metallica's debut in the more thrashy parts. "Soberanía: Soberana Ironía" continues the same line with slower guitar work, still classic-sounding, but pretty repetitive, except for the nice power/speed metal instrumental "Soberanía" which is a cool nod to the speed/power metal scene at the time.

Espías Malignos EP, 1989
Soberanía: Soberana Ironía Full-length, 1995

DARKNESS (GERMANY)

One of the less known German thrash metal bands; "Death Squad" is a great debut, thrashing with no mercy, presenting some of the finest thrashers around: the aggressive, direct "Critical Threshold", "Death Squad", "Staatsfeind", where the shadow of early Destruction is clearly felt. "Tarsmann Of Chor" is an awesome instrumental, more melodic and a bit slower at times, with great leads and smashing riffs. "Faded Pictures" returns to the aggressive formula, but this time we have a nice, memorable chorus, something which very few bands from the thrash metal spectre could be proud of. "Burial at Sea" is a masterpiece of a more thought-out song-writing, with haunting guitar hooks, a great acoustic intro/outro, and despite the lack of any fast-paced sections, is a truly satisfying piece of heavy dark thrash.
The second album is another solid achievement with a more compact, more technical sound. It starts in a scarily aggressive fashion, with the crushing "Bloodbath", which has a certain Slayer touch, and the following "Inverted Winds" is not too far behind. "Battle To The Lust" retains the speed, but the guitar work takes a more polished, even technical edge, and nicely alternates between faster and slower parts. "Caligula" is a great stomping thrasher, which loses the speed, and "They Need A War" carries on in the same vein, showing the guys feeling equally comfortable, without thrashing relentlessly the whole time. "Locked" is a short aggressive number serving to break the "idyll" established for a while. "Predetermined Destiny" is a more complex closer, starting in an energetic thrashy fashion, before settling down for a nice balladic interlude in the middle, only to burst again later, accompanied this time by superb melodic leads.
However, two albums of such a high quality were apparently the limit of the band's creative powers, and their last one is a fairly uninspired affair, relying mostly on remastered versions of the band's older material.

Death Squad Full-length, 1987
Defenders of Justice Full-length, 1988
Conclusion and Revival Full-length, 1989

DARKNESS (ITALY)

Based on the "Unholy Sacrifice" split, this band comes up with vicious black-ish thrash which mixes heavy twisted riffage ala early Celtic Frost and Hellhammer with fast brutal parts. Those fast brutal parts are not too many, and the concentration is clearly on heavy smashing music which delivers the goods, albeit losing its headbanging potential quite a bit. "Aemathien" is pure funeral doom, but quite well done, balanced by the follower which is the fastest track here: "In The Empty Plane", and goes into brutal death metal territories. Apparently the guys are perfectly well-off staying in the underground, releasing splits on a regular basis.

Let the Napalm Rain Demo, 2001
Pure Necrodarkness Split, 2002
Flag of Monotheistic Destruction Demo, 2003
Archdukes Of Hell vol.1 Split, 2006
Unholy Sacrifice Split, 2007
Kulto Split, 2007

DARKNESS (MEXICO)

Based on the "Songs About Death" demo, this band plays fast aggressive thrash with a slight death metal touch; very good stuff which precedes the style adopted by the French Massacra a year later, although the concentration here is more on speed rather than technicality.

Songs About Death Demo, 1989
Post Scriptum Salmodia Demo, 1990

DARKNESS DYNAMITE (FRANCE)

Based on "The Astonishing Fury Of Mankind", this band offers modern thrash with elements of metalcore; melodic stuff, nothing "dynamite"-like, mostly mid-paced with gruff semi-shouted vocals. The several sharp moments are dissipated by soft metalcore breaks, including two pure balladic instrumentals where the singer tries to give a more melodic blend to his style, and those moments may remind you of the last few Misery Loves Co. efforts which are the closest soundalike. "Dare I Say" is a good dynamic thrasher which comes near the end to bang the sleeping heads...

Darkness Dynamite EP, 2007
Through the Ashes of Wolves EP, 2007
The Astonishing Fury Of Mankind Full-length, 2009

DARKOLOGY (USA)

Excellent dark power/thrash metal with progressive overtones sounding like a heavier and a more aggressive version of more recent Iced Earth and Outworld (the singer of that band also takes care of the mike here); the other people involved in this project are the guitar wizard Michael Harris (also Zanister, Leather, Surgeon, Arch Rival) and the drummer Brian Harris (could be his brother?), who also hits the drums for Firewind, Decay, Solstice, etc. "Violent Vertigo" is a relatively energetic for the standards opener with brisk mid-paced riffs, but "I Bleed" is a heavy pounder with a crushing rhythm section. More heavy "darkness" comes with "Dark Energy" which is a bit more energetic, but all pales before the galloping winner "Nobot" which brings more optimism breaking the brooding atmosphere created until that point. "Eyes Of Argus" is a nice heavy power/thrasher in the spirit of Sanctuary and early Nevermore, followed by the crunchy dynamic "Aura Of Xhad" which nicely speeds up once again. "Alone" is a cool atmospheric progressive piece with semi-balladic shades, fully compensated by the speedy vigorous "Revitalize", which will indeed "revitalize" the listener also helped by the good higher vocals. The closer "Trance Of The Gorgons" is a 10-min progressive opus, quite interesting with frequently changing rhythms and time signatures. The style presented here doesn't really recall any of Harris' other projects, opting for a more complex, more aggressive, and an overall more interesting approach.

Altered Reflections Full-length, 2009

DARKPHASE (TURKEY)

Thrash metal with touches of hardcore ala Nuclear Assault and D.R.I.

Waining Moon, Setting Sun Full-length, 1994

DARKSHINES (SERBIA)

Laid-back power/thrash metal with gothic/doom overtones; the main vocals are female of the mid-ranged not very expressive variety seldom spiced by more extreme male death metal ones. The music is mid-paced with sparce up sections which rather recall the 90's power/speed metal movement, and the guitar work borrows both from the classic and modern school clinging more towards the melodic rather than the sharp end.

Where Full-length, 2005

DARKSIDE NYC (USA)

Based on the EP, these guys provide still classic-sounding power/thrash with not very relevant shouty semi-death metal vocals. The sound quality is really muddy and more simplistic hardcore patterns ("Forgiven Not Forgotten") can be come across which are surpprisingly not misplaced, but make this small effort even more interesting, albeit with a strong unfinished feel.

Suffer in Silence EP, 1993
Ambitions Make Way for Dread Full-length, 1998

DARKWAY (BRAZIL)

Based on the "Court of Iron" demo, these guys offer modern thrash/death metal in a fast energetic tempo, with a few nods to Slayer where the sound takes a cool classic direction for a while ("Violent Inertia"). There's no speed lost here, the riffs lash and bite the whole time, and the singer does a good job with his gruff semi-clean tember.

Something About Rage Demo, 2004
Rest In Pieces Full-length, 2005
Court of Iron Demo, 2009

DAROSHAM (SWEDEN)

The "Warmachine" EP is 2 songs of buzzy black-ish thrash/death metal with a lot of melody, sounding like the blacky version of Amon Amarth, with a very similar consistent stomping riffage and epic references. The singer rasps in a scary blacky way, but his antics are comprehensive and authoritative.

Warmachine EP, 2010
Behind The Eye EP, 2011

DAS CABINET (GERMANY)

This talented formation serve multi-layered, all-instrumental, modern progressive thrash with surreal melodies, twisted head-scratching sections, virtuoso leads ala Steve Vai, and more. There is acertain presence of keyboards and they create a macabre setting for this really ambitious musical picture. The band shred with both technicality and speed the latter never lasting for too long. "The Maze" richly deserves its title being a very diverse shredder ala Coroner embalmed in scary undercurrents mostly coming from the sophisticated semi-lead assistance. "The Curse of Baba Yaga" is a dramatic stomper with sudden technical "explosions" including a brutal deathy passage near the end. "Papanasam" is a weird spacey number with laid-back rhythms and not too much aggressive shredding. The beginning by all means looks promising, but will this turn into a full-length recording? It has the feel of a jam session done of musicians who don't intend to embkr on a full-time musical career despite the high level of musicianship displayed here.

Das Cabinet EP, 2012

DASHBOARD (MEXICO)

Cool brisk thrash/crossover with very nice bass support which overshadows the guitars quite a bit at times, which in their turn are of the abrasive heavy type. There is not so much speed covered as a whole as at least half of the songs are of the seismic mid-paced kind, the final damage done by the intense speedy closer "Kill", and the somewhat screamy hoarse semi-clean vocals.

1900 Full-length, 1992

DASTER (FINLAND)

Based on the single, this obscure Finnish trio pull out dark brooding thrash with brutal low-tuned death metal vocals. This is tedious stuff with a heavy repetitive rhythm-section which just for 2 tracks (the last one is just a 1-min joke) works all right.

Darker Than Black Single, 1990
Inheritance from a Noble Soul Full-length, 1992

DAUNTLESS (FINLAND)

Based on the full-length debut, this band mixes thrash and death metal, at times having a clearly modern flavour (Dew-Scented), at times recalling the glorious 80's (Dark Angel, Slayer). The music is by all means professionally executed, but there is hardly anything new here.

Cold I Am Demo, 1998
Inhumankind Demo, 1999
Modern Ways of Discipline Demo, 2002
Ruins MMIV Demo, 2004
Obey - Erase - Obey Demo, 2005
Execute the Fact Full-length, 2007

DAVIDIAN (GERMANY)

Both the band's name and the music will take you into a Machine Head's direction, and that's the right one. These guys have apparently been fascinated by "Burn My Eyes", and follow its pattern very closely. Having in mind that present-day Machine Head are far from the high standards of their early works (except for "The Blackening", of course), Davidian are perfectly acceptable to fill in the gap. Fans of the aforementioned band and Pantera will rejoice.
"Hear Their Cries" arrives after a long 5-year pause, and shows the guys embracing the retro thrash metal idea by not completely losing their heavy approach from the debut: "Judas Cross" is a cool up-tempo thrasher with a classic edge; this edge is present on the next "Count Your Beads", which also introduces some elements of old. But "The Prince" thrashes with conviction once more, even inserting furious blast-beats for a second. Later on more groovy moments mix with old school thrash ones ("Follow", "40 Days"), but most of the time the band unleashes a heads-down thrash metal attack again coming with more aggressive proto-death moments: the excellent intense "Little Man". Things remain quite interesting till the end, with the nice semi-technical headbanger "Empty Gold", and the heavy thrashing closer "Shadow". With the quality material on offer here, it would be better if the guys remind of themselves on more frequent terms for the future.
"Our Fear Is Their Force" is another intense modern thrash "monster" killing from the get-go with the ripping opener "Behind An Angelic Smile" which comes after a pompous orchestral intro ("F.S.O."). The "massacre" continues with "Manmade Hell" and with the thrash/death metal madness "Shattered Illusions" which will "shatter" your "illusons" big time that you will hear anything groovy or post-thrashy here. Run to the dentist for new fillings after the smashing headbangers "Fake Society" and "Vicious Circle", where death metal is again an "assistant", threatening to turn into more than just that. From this moment until the end the guys thrash with no remorse only relaxing on the atmospheric closer "Freedom Of Choice" which clings more towards the Swedish side, but is a desirable shift from the mosh which should keep entertained every fan of the genre, not leaving room for any ados (technicality or balladisms) whatsoever.

Abuse of Power Full-length, 2003
Hear Their Cries Full-length, 2008
Our Fear Is Their Force Full-length, 2012

DAWN OF CONFUSION (JAPAN)

2 tracks of laid-back melodic modern thrash/death, with loads of melodic hooks and leads, blasting out for a moment on "Dawn of Confusion"; the rest is mid-paced at best.

Sleepers Awake Demo, 2005

DAWN OF CRUCIFIXION (BELGIUM)

The band are represented with two songs here, which see them serving playful black-ish speed/thrash metal of the old school which can get a bit more brutal on occasion (the blasting sections from "Belial Rex Imperator") to which the gruff low-tuned vocals are better suited.

Obscene Perversion in Genocide/Goat Ass Split 2010

DAWN OF DECLINE (FRANCE)

A 4-track EP of classic thrash/death metal which tries to sound moderately chaotic and technical in a way not far from early Suffocation, and admirably succeeds not relying on too much hyper-speed, scoring high in the lead department as well where one will hear brilliant melodies over and over in dramatic spiral-like structures. "Call Of Utopia" is a prime headbanger with a slight Swedish touch, and "Lost In Time" is a commendable technical speedster boasting stupendous leads which are some of the best to grace these ears recently. The only drawback would be the very guttural low death metal vocals which are not on par with the inspired musical delivery.

Kingdom Of Madness EP, 2010

DAWN OF DEFIANCE (URUGUAY)

This project is just one man: Diego Sendra, who offers cool dark thrash/death metal of the classic variety with his vocals being one of the lowest-tuned to ever befall these ears. They provide a good contrast to the more melodic music which is closer to thrash in the 1st half, providing a couple of epic/pagan moments along the way. The songs mix faster and slower elements the whole time, but with "Love Denied", which is a nice semi-ballad, comes a change of course to slower more atmospheric metal. "The Ungod Command" is a good reminder of mid-period Bathory, and "Haunted Dreams" is another potent blend of hard-hitting riffs and haunting balladic melodies. "Payback Time" closes the album in an energetic fast thrashy fashion with a fine balladic lead-driven twist at the end.

The Obscure Awakening Full-length, 2005

DAWN OF ETERNITY (USA)

This is your average modern Githenburg-styled thrash/death metal which feels quite at home in the USA, in particular, with hordes of acts walking the path of their Scandinavian colleagues. There are no surprises for the thrill seekers here, everything has been done hundreds of times before the alternation between the fast and slow numbers well achieved the deep guttural death metal singer also a fitting, but fairly predictable, asset.

Shadows Of Ruin Full-Length, 2013

DAWN OF ORION (USA)

Competent semi-technical death/thrash metal with vocals which will remind you of Martin Van Drunen (Pestilence, Asphyx, etc.); the music is close to the Pestilence's first two albums and the Asphyx's more up-tempo stuff. "To Hunt The Ethereal Sun" is a nice instrumental with a nod to the In Flames' heydays.

For the Lust of Prophecies Undone Full-length, 1999

DAWN OF RETRIBUTION (AUSTRALIA)

Modern thrash with certain death metal additions; hard stuff, albeit hardly original or not heard many times before. The tempo is up with the casual blast-beat thrown in, and the obligatory Swedish melodic "decorations". The singer is the prototypical death metal growler of the low type. Some of the musicians have also released one demo under the name Befallen where they concoct a mixture of black, thrash and death metal.

The Plan To End Humanity Full-length, 2010

DAWN OF TIME (SWEDEN)

A nice little demo containing two songs of vigorous classic thrash; "A Force Of One" is a short headbanger, whereas "The Quest" is longer and more varied with a couple of more restrained modern sections. The guitar work is pretty sharp, and the vocals are cool semi-shouted with a slight semi-death metal flavour at times. The guys keep themselves busier with their other formation Reclusion where the style is pretty much the same.

A Force Of One Single, 2000

DAYCORE (COLOMBIA)

Brisk energetic thrash/death metal which starts crushing from the intro ("The History Has Spoken"), providing numerous headbanging moments. This is not very aggressive stuff, staying much closer to thrash metal, with more classically sounding guitars, with the leads worth mentioning, especially those on the more melodic numbers ("The Eyes Of The Future Mind", "World Warfare Competition"), although the highlight comes in the shape of the pounding more technical thrasher "World Of Sadness".

The Beginning Of Purgatory Full-length, 2008

DAY OF RUIN (USA)

This outfit acquit themselves with heavy quasi-doomy modern power/thrash which is ultimately marred by the forced shouty death metal vocal performance. Its saving grace would be the sparce cleaner vocal insertions and the short, but cool, leads. The music has its moments, but they would rather please the doom/gothic fans (check out the fine morose elegy "Desire"). "Trinity" is an attempt at more serious thrash and remains the highlight with its dramatic cutting riffs and the unexpected time-changes. Another detriment is the buzzy sound quality which is all over this uneven effort making it sound like it has been recorded into some timber workshop, intentionally or not.

Human Monsters Full-length, 2011

DAYS OF ANGER (SWEDEN)

A more energetic take on the modern post-thrash idea coming with the casual faster riff, but the guys feel safer grooving in a heavy slow-ish pace which also suits the several balladic attempts which bring the sound close to Down. "Life Form" literally brings some "life" to the album thrashing more aggressively, but don't expect this to last through the whole song. The singer is expectedly semi-shouty and angry, but his more soulful side can also be encountered on the aforementioned softer balladic sections.

Death Path Full-Length, 2011

DAYS OF GRACE (GERMANY)

Modern groovy post-thrash with shouted hardcore vocals mixed with cleaner ones; the music recalls the more melodic period of Machine Head (after 1997).

Painter Full-Length, 2007

DAYS OF LOSS (AUSTRIA)

Modern death/thrash (based on "Life is Decay") metal trying to sound both melodic and aggressive, the latter tendencies starting and finishing the album leaving the melodic parts to hang at times awkwardly in the middle, consequently ending up sounding like many other acts nowadays with clear nods towards mid-period Dark Tranquillity.

Sleeping Gods Lie Full-length, 2004
Life is Decay Full-length, 2009

DAYSEND (AUSTRALIA)

Another run-of-the mill death/thrash metal band of the modern variety; these guys are perhaps a bit better than some of the others, with more tasteful guitar work recalling Arch Enemy.
"Within the Eye of Chaos": the modern thrash/death metal saga continues unabated without any innovations so don't expect this effort to surprise you in any way. It is actually inferior to the band's older material being too soft at times with borrowings from heavy and power metal, alternative and balladic leanings apparently trying to attract a wider audience in a way similar to Raise Hell's "City of the Damned" and The Haunted's "The Dead Eye". Good luck with that...

Severance Full-length, 2003
The Warning Full-length, 2007
Within the Eye of Chaos Full-length, 2010

DAZD (SERBIA)

Based on the split with their compatriots Nakot, these guys pull out crusty speed/thrashcore with a slight death metal shade, the latter boosted by the shouty death metal vocals. The music is generally fast developing in a one-dimensional manner clinging more towards the hardcore side.

Dažd / Order Of The Vulture Split 2008
Nakot / Dažd Split 2008
Dažd Full-length 2009

DD (THAILAND)

Melodic heavy/power/thrash metal of the modern variety, mid-paced with numerous balladic leanings bordering on stoner/doom as well, surprisingly picking up speed near the end with two brisk headbangers, again with more melodic hooks.

Khon La Khua Full-Length, 2009

DE LIRIUM'S ORDER (FINLAND)

"Victim No. 52" is a wild thrash/death metal shred with a few more technical decisions which remain undeveloped due to the guys' manic delivery which is full of high-speed antics on a more romantic melodic base. There is a certain Swedish influence in the guitar approach which disappears on the fine semi-technical thrasher "Dr. Lirium Orders: Suffering", and the more elaborate progressive semi-opus "Pathologist's Perverse Fantasies". The closing "The Sunrise" is the full-blooded opus here thrashing in a thought-out, less aggressive manner with tempo and mood changes galore.
"Diagnosis" is the band's most aggressive work, where from the aforementioned genres it's only death and thrash metal that have been left. The speed has been increased quite a bit, and the guitar work has become much more technical, drawing resemblances to Death, and even Atheist. The leads are simply stunning, some of the finest to grace these ears in the new millennium: both melodic and complex. The brutal parts might come as too much for the more technically-inclined fans, but this is simply too good to be ignored.
The debut is an ambitious undertaking, combining thrash, death and a bit of gothic metal (not much black metal here yet) on a complex progressive base which at its more stripped ("Termination In Surreal") comes close to later-period Death, bit there is a certain baroque aestheticism ala Bal-Sagoth ("Metempsykhosis") present which makes this effort a fairly multi-layered offering. Guitars and keyboards co-exist well on almost every song, and at this early stage the mix is more on the lyrical melodic side even acquiring optimistic crossover tendencies ("Too Drunk", the speed metal happiness "Convent Orgia"). The vocals remain in the brutal death metal camp, but suit the energetic delivery which gives a fair share to both styles with a few more leanings towards death metal.

"Veniversum" is the band's 4th effort, and it shows them in a fairly bright light shredding in an inspired fashion producing bombastic operatic semi-technical death metal with not much thrash present. This is eventful music which switches from one time change to another in no time, lashing out furious riffs all over which come accompanied by beautiful soaring melodies both in the lead and riff department. The subdued brutal death metal vocals are not the very suitable addition to the superior musical delivery, often semi-whispering in a forced harsh manner. The album has its slower moments which never stretch into a whole song (the exception being the elegiac, semi-balladic closer "The Aftermath"), but nicely interrupt the fast-paced passages on the appropriate places creating a complex, progressive atmosphere.

Termination In Surreal Full-length, 2002
Victim No. 52 Full-length, 2004
Diagnosis Full-length, 2007
Veniversum Full-length, 2012

DE TVEKSAMMA (SWEDEN)

This is modern thrash with dark epic overtones sounding like a mixture between the Finns Gandalf and mid-period Cemetary. Overall this is melodic stuff sustained in a playful mid-tempo even with jocund funky sections present on "And You'll See". The singer is a gruff death metaller trying to emulate Mathias Lodmalm (Cemetary) and doing it quite well.

Perform Songs About Old Nick and Other Friends Full-Length, 2001

DEAD (USA)

Based on the debut demo, which starts in a really annoying way with a noisy 5-min long intro which unsuccessfully tries to bring atmosphere from the very beginning, this act plays (this is really relative) utterly amateurish raw metal which even the most devoted connoisseur would find increasingly hard to get back to, simply because apart from a very impenetrable wall of buzzy sound, this effort offers nothing else; literally. It's viewed as one of the early entries into the death metal genre, but it could as well be considered an entry into any other extreme sub-genre since it can be interpreted in numerous ways depending on the listener's mood: it could be hardcore, grindcore, black, thrash, death metal; even NWOBHM-influenced heavy metal (ha ha- I'm kidding here!). So it's your choice, folks... The drummer Jim Coker later took part in Brutality and Nasty Savage (incredible, but a fact!).

Musical Abortions Demo, 1986
Raw Sewage Demo, 1988
Dead Demo, 1989
Dead EP, 1990

DEAD & BLOATED (USA)

Hectic technical thrash, often quite agressive; the music reminds of another one-album wonder: Terrahsphere, and is almost as good, albeit less aggressive and less jumpy. And if we add the vocals which are a wild mixture of Exodus' Steve Souza and Jeff Walker from Carcass, then the picture is close to complete. The bass work is brilliant, and is given quite a space, especially on technical masterpieces, like the aggressive "You Don't", or the complex and diverse "Encopresis". Other tracks are more direct with a jolly crossover attitude: "Farewell, Life" and "Convulse". It might take time to get used to the band's style, but it would be well worth the time.

You Don't Full-length, 1992

DEAD AWAKEN (SWEDEN)

Based on the "The Noble Art Of Agitation" demo, this band pulls out brutal death metal with a few thrashy breaks inserted to take away some of the pressure. The sound is quite close to Morbid Angel, providing a couple of technical twists along the way as well as at least one more thrash-influenced number: "State Of Corrosion". Some of the band members also play in another act: Suffer, whose style is not dissimilar to the one displayed here.

Death Before Dishonour Demo, 2002
Instrument Of War Demo, 2003
..Tomorrow We Die.. Demo, 2004
Scar Graced Earth Demo, 2006
The Noble Art Of Agitation Demo, 2008

DEAD BEAT (USA)

2 tracks of bashing, one dimensional mid-tempo thrash which is not very exciting trying to capture some of the magical atmosphere of early Celtic Frost, not very successfully, unfortunately despite the efforts put by the good expressive singer who is the only one coming close to their Swiss peers pulling out impressive forceful performance resembling indeed Tom G. Warrior sounding even more attached.

Sick Mind EP, 1992

DEAD CHILD (USA)

Based on the full-length, this band plays pretty decent power/thrash metal with a pounding, almost doomy guitar sound, mid-paced, with the obligatory nods to doom ("Twitch of the Death Nerve", "Rattlesnake Chalice", the heavy, Saint Vitus-influenced opus "The Coldest Hands"), but the more interesting side are the energetic power/thrashers ("Screaming Skull"). "Eye To The Brain" is a fairly interesting mixture of power, doom and thrash metal with even stylish semi-technical moments inserted. The end is disappointing, though, with "Angel of the Odd": an ordinary hard'n heavy track, and the even less impressive rock-ish closer "Wasp Riot".

Dead Child EP, 2007
Attack Full-length, 2008

DEAD CHRIST CULT (UKRAINE)

Based on "Stigma", this band offers a potent blend of thrash and black metal which is often quite brutal, infused with hyper-blasts and other black metal gimmicks, but it will have its appeal to the thrash metal fan as well: there are quite a few thrashy riffs thrown in, although the full-fledged thrashers are not too many: the epic mid-period Bathory worship "Hristos. Izrekayushchiy Nechistoty", the atmospheric black/thrasher "Golgofa. Put' Naverh", and the two short, but very cool intense outro/intros.

…When It Begins to Remain Full-length, 2004
In Hell... Through Pain... And Death Split, 2005
Christdeath Full-length, 2005
Stigma Full-length, 2005

DEAD CLAW (JAPAN)

A strange (after all they come from Japan: the land of eclectism and avantgardism) obscure act who play an unusual mixture of power, thrash and crossover. The music is mid-tempo for most of the time supported by very good bass work. The riffs are jumpy and quite heavy at times speeding up on a couple of songs ("Ride The Guns", "After Mission", "Ashes to Ashes", which is a very cool speed/thrasher), recalling Exciter and the Germans Warrant. These numbers, however, are compensated by the rest which is mid-paced at best moving from one mood to another, creating a hallucinogenic effect without being technical, especially on the progressive closer "The Lone-Horseman" which offers numerous gimmicks, including sleepy dreamy interludes and the obligatory speed metal inclusions. This is by no means easy to swallow music, and at first listen it will not make much sense, but those who prefer to dig deeper with patience will surely find something to like.

Bombed and Blasted Full-length, 1990

DEAD CLOWN INC. (GERMANY)

Laid-back thrash/death metal with melodic guitars, but quite fast at times as well, crossing awful death metal vocals with much better, but totally inappropriate, gothic female ones. There are couple of semi-technical ideas to be felt, but they hardly elevate this effort above the average for the style.

Clown Connected Demo, 2009

DEAD CONSPIRACY (USA)

Based on the first demo, this band is one of the earliest entries in the death metal genre. The music is a mix between thrash and death, but surprisingly stays closer to death metal, which puts it right next to Death's debut as the first genuine death metal releases. This is brutal and frequently very fast stuff, including some of the first blast-beats ever used in metal, which also boasts the first real "duel" between two extreme vocal styles: the prototypical low growling death metal vocals, and the higher-pitched snarls, more along the black metal "ravens", but equally as effective. With this very first demo this band had made major claims for a place in the death metal pantheon.

Demo #1 Demo, 1987
Demo #2 Demo, 1988
Demo #3 Demo, 1988
Vomit Gore Demo, 1988
In the Insane Demo, 1989
The Wall Within Demo, 1989
As You Would Have Them Do Single, 1991
Gore Drenched Legacy Best of/Compilation, 2006

DEAD EARTH POLITICS (USA)

The full-length reveals a band playing groovy sludgy post-thrash not miles away from Acid Bath with heavy pounding guitars and several more dynamic up-tempo moments. The riffs are more on the melodic side, and as a whole the album is full of catchy memorable tunes with an epic shade which retouch the sharpness, but give this effort a characteristic individual spirit. The main singer is a gruff death metal grunter, but there is the inclusion of nice melodic vocals in a way again similar to Acid Bath, and those inclusions should have been more.

Mark the Resistance EP, 2008
The Weight of Poseidon Full-length, 2010

DEAD END (SWEDEN)

Based on the "Infinite" demo, these guys offer pure classic thrash entertainment to those who were not very happy with the "turn of the screw" in the 90's. This is aggressive music with a slight death metal edge, reminiscent of Torture's "Storm Alert" and Devastation's "Idolatry", with vocals sounding like a more vicious version of James Hetfield at times.
The debut demo is whole 8 tracks long sticking to edgy dark riffs not far from Infernal Majesty the ominous quality of the effort strengthened by the forceful semi-death metal vocals. This is pretty good music, albeit not as aggressive as the one on the subsequent demo, the guys changing tempos at will without messing it up inserting the odd instrumental acoustic break. "The Art Of Dying" is an intense proto-deathster, but on the other material there is a cool alternation between several tempos which are surrounded by fine lead guitar work. The closing "The Edge" is a dramatic headbanger which echoes the Bay-Area movement with its Forbidden-esque gallops and an all-guns-blazing delivery. Alas, it was too late to try to keep the dying 80's movement alive, and the band folded quickly seeing the futility of their cause.

2 Minute Warning Demo, 1991
Infinite Demo, 1992

DEAD EVIL (POLAND)

Raw old school thrash with a bad sound quality and evil semi-death metal vocals which surprisingly unleash the odd melodic pitch. The guitars adhere to melodic hooks quite a bit, and as a whole the sound is mellow and soft, mostly mid-tempo. Some of the guys later continued their career in the death/thrashers Sacriversum.

Visions of Death Demo, 1991

DEAD GARDEN CULT (CROATIA)

Based on the Live, this act pulls out competent retro power/thrash metal with an American flavour well expressed on the galloping complex opener "The Plan of Faith" which later on becomes both calmer and faster in a nice Bay-Area fashion. "Four" is straight-ahead headbanging thrash, and "Anticipation" is not far behind despite the several more technical vortex riffs. "The Hive" is an ambitious progressive opus which acquires more modern tendencies, and slows down with heavy steam-roller guitars. "Honor Thy Vulture" is a bit edgier and faster, but the final "This Dawn/Am I Evil" hits the top with the wide amalgam of riffs and tempos blasting in a vicious proto-death manner at some point, too. The vocalist is quite a versatile story as well, his main style being deep semi-clean, but he adds death metal growls at times, and a certain alternative pitch can also be heard here and there.

Obsidian EP, 2009
Live in a Dead System Live, 2010

DEAD HEAD (HOLLAND)

A representative of the more brutal side of the Dutch thrash metal scene; except on "Dream Deceiver", a more polished and refined effort (and their best so far), the band plays very aggressive thrash/death metal of the classic variety which has acquired modern tendencies on later works. The vocals on the debut are one of the most vicious, tortured ones you might ever come across, more on the black metal side- think a more brutal variation of Patrick Ranieri (Hellwitch); the music there also tries to follow that same band's patterns, but the guitar work is more simplistic, and most of the time the sound is just brutal bashing. One would be surprised to find that these are the same musicians who took part in the technical death metal masters Lethargy (some of them).
"Dream Deceiver" features a heavier and tighter guitar sound with genuine technical sections, and better mid-ranged death metal vocals. The aggressive approach hasn't been abandoned, but here it produces much better, and listenable results: "House of Ambiance", "Repulsive Emission". On the best moments the guys come close to Pestilence and Death: "Unholy", "Dream Deceiver"- tracks full of energy, technicality and great leads. The slower, heavier side of the band's style is also quite good and technical: "I or the Needle", "Dying Angels".
Whether the band would continue into a more progressive and abstract direction, the way Pestilence did on "Spheres", remained to be seen, but the fans had to wait for 6 long years in order to hear something new from their camp. "Kill Division" would be a disappointment to those who expected something more technical in the spirit of the predecessor. This is a direct, aggressive attack, very similar to the debut, with even shorter songs, and more straight-in-your-face delivery. Stylish guitar riffs could be heard occasionally ("Sprayed into Oblivion", "Where Silence Dwells", which slow down, and are really intriguing). The vocals take a more hysterical, vicious turn, which sound appropriate, except on the last song: a cover version of Saxon's "Heavy Metal Thunder".
Another long break followed (these guys like to take it easy), before "Haatland" was released. The sound is more modern, but the music is more controlled and not as fast, compared to the previous offering, and is way better. It's the faster tracks, as a matter of fact, which sound more appealing: "Phantom Palace", "Supreme Forgery", "Dog God", and this is where the guitars have more edge and technicality. The rest is slower and heavier, and it sounds as though the guys are looking for a new face, which would hopefully be further polished on future efforts.
Wow, what a pleasant surprise: these guys never cease to startle the listener: "Depression Tank" is nothing like its predecessor; it shreds in an awesome classic fashion, not as vicious and brutal as their early efforts, but not too far behind, and with great technical riffage, not omnipresent, but quite a stylish insertion, when it comes around. Otherwise this is aggressive retro thrash, quite fast, sounding closer to Invocator's "Excursion Demise", rather than their earlier output, reaching even further on the more inspired technical moments: the speedy technical shredders "Daemonique" and "Less Than Zero". The lead guitar work is much better than before (check out "Firegate"), and shattering speed monsters like "Hateland" and "Green Angel" will break your neck. "Nero Dies" is the only slow track with steam-rolling heavy pounding rhythms, and although being a worthy number, gets buried amidst the sea of raging uproaring super-fast riffs. This is by all means a great return for the band to the field, and a main pretender for the thrash metal crown of 2009.

The Feast Begins at Dawn Full-length, 1991
Dream Deceiver Full-length, 1993
Kill Division Full-length, 1999
Dog God EP, 2004
Haatland Full-length, 2005
Depression Tank Full-Length, 2009

DEAD HEAD (RUSSIA)

A two-member band who play quite good technical/progressive thrash along the lines of Megadeth, and Annihilator (their early, better period). The faster songs are more Annihilator-influenced ("Dead Head"), whereas the slower ones are vintage Megadeth, helped by the good Dave Mustaine-styled vocals. The guitar work is superb, and the guys play effortlessly, switching from more straight-forward sections to striking swirling technical ones. There is one moment where the band drops the ball, though, again in a Megadeth manner: the unconvincing groovy number "Monster's Mind", which might remind you of Megadeth's "Use the Man" from "Cryptic Writings". The peaceful ballad "Time To Go Away" sounds a bit misplaced, maybe, as well. At the end there is a tribute to their idols: a nice faithful cover version of "Hangar 18".

Regressive by Default full-length, 2006

DEAD HORSE (USA)

Based on the debut, this band is one of the first to jump the death metal wagon in the late 80's. The music is still more of a thrash/death mix influenced by Dark Angel's "Darkness Descends" and Slayer's "Reign In Blood". The tracks are short brutal electric shocks which might startle those not prepared to hear this, especially coming from a not very known band.

Horsecore: An Unrelated Story That's Time Consuming Full-length, 1989
Peaceful Death and Pretty Flowers Full-length, 1991
Boil(ing) EP, 1996

DEAD IDEAS (SERBIA)

The demos show a band who play thrash/crossover along the lines of early Rumble Militia, mixed with a more modern sound ala Biohazard. The music is cool and energetic at times, but shades from the 90's scene are quite frequent as well, widening the band's appeal, although their more aggressive side is by all means the better one.
The "Rejection" EP carries on in the same vein, this time also courting mid-period Pro-Pain, as well as the doomy scene with the pounding "Question of Trust".

Welcome To The Abyss EP, 1991
Promo Demo, 1992
Where To? Demo, 1993
Rejection EP, 1994

DEAD IMAGE (USA)

This is sludgy doom metal spiced with faster post-thrashy moments coming as a less monolithic EyeHateGod; it works better as a slab of doom, though, with the nods to thrash coming with a strong abrasive hardcore edge ("Goodnight Forever"), further noise created by the throaty semi-shouty vocals ala Jan-Chris De Koeijer (Gorefest).

The Most Bass Demo, 2006

DEAD MAN'S HAND (NORWAY)

Cool energetic thrash metal of the modern The Haunted school, with the vocal "duel" being more death metal-influenced; no complaints, since the guys spare no speed, although the approach is a bit samey, with all the tracks developing in up-tempo, few of them longer than 3-min, one of them being a nice atmospheric mid-paced thrasher: "The Last Stand", the other one (the closer "The Combination") a nice attempt at a more technical play, also boasting a very heavy doomy ending.

The Combination Full-length, 2009

DEAD ON (USA)

Good melodic thrash metal in the same vein as Meliah Rage and early Megadeth; the music nicely switches from speedy tracks to heavier, more technical ones. The second half of the album is not as hard-hitting, and slower, including more melodic power metal numbers: "Full Moon", "Merry Ship"; the headbanging atmosphere of the first half is finely captured with the album closer "Dead On", which is the fastest, and arguably the best song on the album.
The EP is a nice continuation of the full-length, and is even better: it features 4 songs of stylish sophisticated technical thrash metal which ranges from more complex choppy ("One For You", and especially the masterpiece "Lost at Sea") to faster more accessible ("Every Day on Earth", and the jolly thrash/crossover delight "Do What You Want", which is still quite technical) ones. A very good, although untimely, ending of the band's career, full with great genuine technical guitars and fine more intense passages.

Dead On Full-length, 1989
All Four You EP, 1991

DEAD ORCHESTRA (USA)

Another "diamond" from the underground; this band's debut takes the aggression unleashed by Slayer's "Reign in Blood", Sepultura's "Beneath the Remains" and Merciless' debut even further without leaving the confines of thrash metal. Of course, the obligatory proto-death parts are here, and there is a certain presence of crossover aesthetics. This is extreme aggression all the way through, with not a single pause for a break. What distinguishes these guys from the listed above bands is that here you will come across genuine technical breaks as well as a very high quality lead guitar work: "Looking for the Answer" is a typical example of the more technical side of the band where shades of early Coroner could also be heard.
"Sounds Like Time Tastes" is a more controlled assault, with the aggression toned down for the sake of the technical guitar work which this time takes the upper hand (the leads remain of the same high level, if not even higher), and the crossover elements. As a result we have another very good album crossing technical thrash/death metal with crossover. This time the guys have even found time for two nice joke songs: "Praise, Hell, Fun" and "Cosmic Dinosaur".

It's always been interesting to me when a band chooses to have a self-titled album at a later stage from their career: a sign for a new direction taken? Well, this is exactly the case with Dead Orchestra: the guys resisted to the modern trends quite well in the beginning, but 7 years later they have apparently grown "wiser", and what we have here this time is pure 90's post-thrash with all the groove and clean-rough vocal duels; the musicianship has degenerated considerably, and this is nothing more than an unimpressive blend of Machine Head (their mid, very weak, period) and Biohazard; spare yourselves the listen if you want to continue liking this band...

Global Lobotomy Full-length, 1992
Sounds Like Time Tastes Full-length, 1993
Dead Orchestra Full-length, 2000

DEAD REVELATOR (USA)

This act pull out rough crunchy post-thrash which jumps in a groovy mid-pace not far from mid-period Pantera, the shouty aggro-vocals another painfully familiar appendage. The album quickly loses its initial edge and moves down to stoner, blues and ballads all mixed together, and a general approach quite close to Monster Magnet.

Concrete Law Full-Length, 2013

DEAD SEASON (FRANCE)

This is well-constructed modern thrash of the technical kind. The guys shred with mechanics and sterility, but the more melodic licks hang in the air dissipating the futuristic atmosphere which comes quite close to the "hectic patterns" of the French death metallers Hectic Patterns from where the band have borrowed two musicians who pair here with members of the symphonic black metal brigade Ufych Sormeer. The leads are particularly great and rule over the clever, but hardly striking riffage which becomes more and more standard with each passing song losing the intriguing beginning which promised a delight not far from Altered Aeon and mid-period Darkane. Next time...

From Rust to Dust Full-Length, 2013

DEAD SHAPE FIGURE (FINLAND)

It's amazing how many quality thrash metal bands the Finnish metal scene hides from the eyes of the world. This band is one of the reasons why one has to dig deeper there to find more gems like this: good classic/modern thrash (based on the debut EP) with slight touches of power metal and quite a few genuine technical licks. Some improvements in the vocal department could be made, though: these hardcore-ish shouts don't fit the music very well.
"The Disease Of St. Vitus" doesn't sound as appealing; it can actually be considered quite a disappointment; apparently on a longer record the guys run out of ideas to keep things floating. The style is decidedly modern, and the fast numbers are not many at all now the approach being heavy not far from the 90's post-thrash patterns on the lesser moments which are quite a few; needless to say, technicality is out of the question. The singer leaves an even more negative impression shouting more harshly adding a more brutal death metal note to his already forced artificial delivery.
"The Grand Karoshi" fulfills the promises from the EP thrashing with force, but when the guys slow down ("Bend The Weak") they end up sounding even better, semi-technical and a tad more melodic. The dry clinical sound of the guitars may mislead the listener that the band are fonder of the modern trends, but this is classic thrash metal almost all the way, except for the more mechanical delivery on the aggressive proto-deathsters "Fight Against, Lie Behalf" and "6 x 9". Watch out for the short "bomb" "Blithering Icon": fast ripping thrash to the bone with a raging blasting exit. The closing "Perinde Ac Cadaver" is an entertainment of a different kind: a progressive epic thrasher with orchestral choruses, doomy shades (check out the brilliant doomy outro), and crushing riffs; a stylish deviation showing that the guys are ready to spread their wings wider at some point in the future without losing their ferocity (skip the disappointing follow-up).
"Opus Victoria" is another embarrassment a totally unnecessary piece of music with post-thrash and grunge leading the pack producing something which only distantly touches any thrashy patterns: "Epimenides" with is sterile up-tempo sections may make one move around for a bit, but the rest is too shameful to be written about. Don't "open Victoria"; trust me- you'll be quite disappointed... some things are better left unopened.

Tomorrow Changes Nothing EP, 2004
The Grand Karoshi Full-length, 2008
The Disease Of St. Vitus Full-length, 2010
DeVille Ride EP, 2011
Opus Victoria Full-length, 2013

DEAD TO RIGHTS (CANADA)

Based on the EP, this band plays modern groovy, very heavy, post-thrash with death metal vocals and heavy steam-rolling riffs; "Consumed by Hatred" nicely switches onto more dynamic headbanging thrash, but the groovy passages take over later on. The guys play more aggressive and more classic-sounding thrash/death metal with their other project Forever the Pain.

Blind Hate Full-length, 2006
Cursed EP, 2008

DEAD TO THIS WORLD (NORWAY)

This band was founded by the famous Iscariah: the man who has taken part in numerous Norwegian black metal acts, and his good work has come to the attention of another cult figure: Killjoy, who recruited him for Necrophagia. This is excellent classic thrash with black metal vocals, steel riffs and great fast-paced, but never too brutal songs (except "Goatpower" and "To Free Death Upon Them", which introduce intense black metal sections). The overall style comes as a mixture of speedy German thrash (Kreator, above all) and heavy, slower parts in the vein of the Finns Barathrum. The album closer, on the other hand, is a total tribute to the Bathory's "Blood, Fire, Death" album, with an epic atmosphere and thrashy guitars: the highlight of this strong debut.
The "Sacrifice" EP is 5 songs of aggressive deathy thrash/black metal which is rich on both atmosphere and energy. The intense thrash/black assault comes nicely interrupted by the diverse technical opus "Death Courageous" which comes with great shades of technical death. The deathy twists also spring up on the next "The Malefice", but the culmination here seems to be the closing "Altar Of Mahakali" which introduces subdued doomy moments with more melodic guitar decisions, resulting in an engaging opera lasting for 8.5-min. The musicianship is again top-notch all over with plenty of stylish sections scattered around. The vocals don't betray their vicious apocalyptic blacky vibe which in this case is the best possible "companion" to the very cool music.

First Strike for Spiritual Renewance Full-length, 2007
Sacrifice EP, 2011

DEAD TROOPER (NORWAY)

Based on the second demo, this band lives up to the expectations raised by the bombastic title: very good classic thrash with a nice balance between heavy, crushing thrashers ("Mold of the Unspeakable") and raging Slayer-esque headbangers ("Bloodred and Strong"), plus the somewhat unnecessary exercises into brutal death metal: sections from "Creed of God". Apparently at that stage the guys have not clearly decided which path to follow, but the thrash metal one seems to suit them better.

The full-length is finally a fact, and "Cynicist" doesn't disappoint offering dynamic brisk thrash/death metal now more modern-sounding in a way not far from early The Haunted, and more melodic, which is not a flaw since the hooks are catchy and memorable. There is a good balance between slower and faster songs, although the former are by all means the downside some of them dragging a bit with repetitive heavy-handed riffage. Some of the band members are also involved with the modern thrashers Grimfist.
The "Sickening" EP is just 2 new tracks of not very impressive modern thrash/death metal the first one ("Sickening Serenity") being a really brutal affair; the second one ("Inner Riot") a much slower groovy one with strong doomy overtones. There are two covers later on: Hatebreed's "Proven", and Black Debbath's "Problemer Innad", the latter especially faithfully done being nice hallucinogenic stoner/doom.

Axewielders Demo, 2002
100 % Norwegian Thrash Metal Demo, 2004
Spiritual Funeral EP, 2005
Cynicist Full-length, 2009
Sickening EP EP, 2010

DEADBANGER (GERMANY)

This is thrash/crossover with very abrasive guitars which make the approach sound proto-modern at a fairly early stage; otherwise, the music is suitably heavy, mostly mid-tempo, with gruff semi-declamatory vocals which could have used a more expressive shouty tone to go over the buzz.

Deadbanger Full-length, 1990

DEADBLOOD (MEXICO)

The not very serious album-title may mislead you, since the guys know well what they are doing, and the final result is cool retro thrash which music-wise is closer to the Bay-Area patterns, but the singer is an ungodly black metal rasper which will make any Norwegian act proud. The music is generally fast-paced without being too aggressive with the occasional mid-paced smasher ("Die") and the more intense proto-black metal deviation ("Seeds Of Hell").

Satanic Bloody Drunken Thrash Full-length, 2008

DEADFAINT (GERMANY)

This is abrasive post-thrash with gruff death metal vocals. It's playful stuff with rolling stoner-esque riffs involved at times ("Living In A Grave"), but some heads will inevitably bang on the energetic galloper "Carnal Cage", and the intense tribute to the old school "The Temples Of Hollowood", escaping from the settled mid-paced formula with a vengeance.

Take Up The Hatchet EP, 2010

DEADFALL (UK)

Based on the debut demo, these guys play quite decent retro thrash metal of the Bay-Area type, citing Metallica and Testament, above all; their compatriots from Xentrix are another very close call, although Deadfall's music is more diverse. The songs are long-ish, some of them carrying the technical edge of the works of the two aforementioned bands, one of which: "Second To None", is quite an interesting almost progressive piece, albeit with an overlong balladic middle section. There is an attempt at the quasi-thrash sound of the Black Album sound on "Nine Lies", but it doesn't hold water against the much better rest. Great more melodic thrashing can be heard on the excellent "Ordeal by Fire", as well as more aggressive shred on the final "Hold My Own", although this song is partially ruined by modern groovy implements. The singer constantly hesitates between Chris Astley (Xentrix) and James Hetfield, and ends up sounding like neither.

Ordeal By Fire Demo, 2005
Fatal Deterrent Demo, 2006
Vicious Vendetta Demo, 2006

DEADLANDS (USA)

Appealing modern thrash with a few classic throw-ins; the overall approach may remind you of Testament's "The Gathering", but without any aggressive death metal leanings. The guys mix it up well alternating crushing seismic riffs with spontaneous speedy sections and vice versa. The band take a break from their intense delivery: "She's On Fire" which is a pleasant Monster Magnet-like anthem. "Asphyxiate the Masses" is an effective short shredder with great leads which are pretty much the highlight here. "Legions of the Damned" is a brutal dramatic cut with pounding guitars putting the album on a new, more aggressive, scale at the end which comes in the form of the more laid-back "Shed My Skin", still thrashing with passion at times amid the heavy thunderous rhythms. The singer does a fine job behind the mike with his passionate deep clean tember.

Evilution Full-length, 2012

DEADLINE (FRANCE)

Classic-sounding power metal with a pinch of thrash with an American flavour, although the brutal growl at the beginning of the opening "Can’t Be A Dream" might scare you big time. The music is mid-paced with doomy overtones, and the singer's main tone sits somewhere between Tom Denlinger (Sardonyx) and Mike Munro (Meliah Rage). Music-wise this is close to the Metal Church works with Mike Howe and early Meliah Rage so there's not much in terms of full-on thrash to be heard.

Capital Punishment Full-length, 1994

DEADLINESS (BRAZIL)

The single: two songs of dark stomping old school thrash with dark death metal vocals. The band play on in a solid steam-rolling mid-pace with very sparce attempts at speed, but their consistent monolithic sound should find its fans easily.
The full-length is on the heavy stomping side the band steam-rolling forward with the odd sense of melody ("Laments in Darkness", "Reason to Live") the latter a really nice touch and should be elaborated on despite carrying a doomy spirit. The singer is a forceful dark death metal throater and serves the purpose especially on the more sincere doom metal tracks ("Apocalypse") in the 2nd half. The band wake up at some point and start thrashing with more power ("Unpunished"), but their enthusiams fades quite soon and they go back to their safer, but far less imaginative, sleepy approach. It can't be predicted where the guys would go from here: apparently they are not very fond of thrash so one can totally expect a full-blooded doom metal offring next time around...

No Future Full-Length, 2007
Mau Em Voce Single, 2009

DEADLOCK (GERMANY)

Based on the ”Deadly Intentions” demo, this is ultra-brutal thrash with a strong death metal, and even grindcore, flavour. The musicianship is below par, despite the presence of an almost surreal lead guitar work here and there. This is so brutal and vicious that you might want to give it another spin right after that to check whether this was real. This is by far one of the most aggressive pieces of metal of the mid-80’s, topped by super-vicious death metal snarls: Kelly Shaefer in the state of extreme pain would probably sound more pleasantly compared to the singer here.

Deadly Intentions Demo, 1986
Rehearsal Demo, 1986
Up to the Scum Demo, 1988

DEADLY AGGRESSOR (USA)

Based on the 1988 demo, this is first-rate thrash metal with a strong technical edge, not very fast-paced, with amazing lead guitar work (check out the instrumental "Instro") and bass performance (check out any of the four songs). The music often changes tempos, but never gets too complex; and these guitars will leave you breathless... seriously). The style brings to mind Forbidden's "Twisted Into Form", but the guitar sound here is sharper.

The 1987 demo is much more straight-forward: 2 tracks of aggressive Slayer-influenced thrash, whereas the 1989 one retains some of the technical tendencies of its predecessor, but is slower, with a heavier sound, which even smells groove ("Reign of the Undead"), and is far less striking.

Demo Demo, 1987
Demo Demo, 1988
Demo Demo, 1989

DEADLY BLESSING (USA)

A fine power/thrash metal band who were one of the few American bands to bring some of the German metal flavour on American soil back in the 80's. Their style is a mixture between Agent Steel and Angel Dust, with a considerable presence of American power metal. "Ascend from the Cauldron" is a splashing debut, coming right on time to replace the already split Agent Steel, and the opener "Search & Destroy" promises exactly that: blistering speed/thrash with genuine interesting guitar work. "Salem's Lot" is even better with its great technical riffs, later epitomized by Helstar for "Nosferatu". It's a pity that the guys can not keep this high tempo for the whole album, and some lighter power metal songs are also included: "Escape the Wrath", "Cry of Medusa", which are by no means bad, but are no match to the faster material. After them the album picks up speed again with the marvellous "Deliver Us From Evil"- arguably the band's finest song (later covered by the new US thrash metal act Temple Of Blood). The album ends with the excellent galloping smasher "Deadly Blessing", which brings together the best from the speed/thrash metal genre and the American power metal scene. Ski has always been one of the finest singers in metal, but he has never been in such a fine shape, as here; his vocals are simply amazing: high-pitched, emotional, sinister, dramatic, you name it.

"Psycho Drama" is another strong release, maybe with a heavier guitar sound, and stronger bass presence. The music is more thrashy and aggressive: "Solitary Confluement", and Ski screams more. The more lyrical side of the band is expressed in the very good semi-ballad "Burial Dream... Requiem"- a very well chosen title, considering that this was the last original composition written by the band.

Deadly Blessing EP, 1988
Ascend from the Cauldron Full-length, 1988
Psycho Drama EP, 1990

DEADLY CURSE (BRAZIL)

A young act from Brazil who pull out a mix of modern and classic thrash with slower and faster songs taking turns the latter coming with nice melodic tunes ("Illusion"). "Hate and Anger" is hardly an "illusion", though, with its raging sharp riffage, but its rapidfire approach is "extinguished" by the mild semi-balladic "My Worst Enemy", after which the guys have problems "recovering", and the remaining songs are just more aggressive variations of the aforementioned one, also losing its biting classic edge. The singer is a hoarse semi-shouter, but fits into the overall standard pedestrian picture.

Renegade Full-length, 2009

DEADLY DARK (MEXICO)

Based on "Eternal Darkness": this band plays classic Floridian death metal, mixed with a certain doze of thrash. The guys stick to longer compositions (5-7min), but the approach is pretty straight-forward, never too fast, which is sad, since when the guys switch onto full speed, the results are close to the higher standards of the style: "Decay With Me", the excellent early Death-influenced "Carnivore Tribe". There are couple of pure thrashers as well: "Planet Hunter", the Slayer-esque "Snake Dream". "Witch's Hate" embraces the technical death metal idea for a while, but the aggressive riffage takes over, leaving room for heavier, doomy guitars on the closing short instrumental "Searching For Blood".
"Chaotic Omen" is much less striking being slower and less adventurous with stretches towards doom and a Bolt Thrower-like heaviness which do not serve their purpose simply because there's very little speed involved. "Eternal Darkness" is the same song which was later included (and also gave the title) in their "swansong" (the only pure thrasher "Planet Hunter" on this album is also featured there), and is the best track here with its attractive mix of heavy doomy and fast intense riffs.
The debut is the most interesting achievement of the band the music performed being quite diverse even with clever technical moments present (the jumpy quirkiness on "Decay With Me") here and there. Doom metal springs up again on the pounding "Human Misery", but there is a fair amount of wild lashing ("Searching For Blood", "Black Wind") involved as well which dissipates the gloom this album has aplenty. The singer at this stage is a brutal low-tuned growler, but his rendings are quite intelligible.

Slaughter Times Full-length, 1995
Chaotic Omen Full-length, 1998
Eternal Darkness Full-length, 2005

DEADLY INTENTIONS (BELGIUM)

Aggressive thrash with a shade of death metal similar to No Return's "Contamination Rises", but with more melodic lead guitar work, and without the technical leanings of the latter; this is good fast-paced stuff with a few interesting decisions: the intro to "Wild Gigs" is taken from an early film of the Serbian film-maker Emir Kusturica ("When Father Was Away On Business", if I'm not mistaken).

Disarming The Antagonist Demo, 1991

DEADLY MANOVER (CANADA)

A mixture of early Destruction and Possessed's "Seven Churches"; although listed as a death metal act here and there, these guys play pure classic speedy thrash, with very slight shades of death metal, if any ("Cardiac Arrest" is the only more death metal-based track). The vocals have a certain death/black metal flavour, being sinister harsh snarls.

Deathology Demo, 1987

DEADLY MOSH (SERBIA)

This is 4 tracks (the "Fuck Holy War" EP) of up-tempo retro speed/thrash, reminding me quite a bit of Whiplash's "Thrashback" and Destructor's "Forever in Leather" on the first 2 songs. After that "Fuck Holly War" shows more courage, blasting out for a while, and "Suck My Balls" is a brutal 1-min thrash/hardcore bomb.
"Deadly Pollution" is more aggressive, now full-blooded thrash, lashing out in a furious manner: "Fuck Holy War" again, in a way not too far from Dark Angel's Darkness Descends", or adding hardcore to a not less impressive effect: "Straight To Hell".
"The Blind Leads The Blind" is another 4 songs of classic speed/thrash offering no surprises to those who have heard the previous two efforts; maybe a bit of Germanic thrash shows up on the speedster "Deadly Night". I believe the guys already have enough material for a full-length...
This full-length is finally a fact, and one would enjoy this "hellsound" which starts with all the songs from the last EP to set up the mood for this roller-coaster of the good old speed/thrash. The rest of the material is almost as convincing "Priestkiller" being a short blitzkrieger, but there are surprises later on: the good tender ballad “We'll Meet Again” with a very good soulful performance from the vocalist who, by the way, is quite efficient all over with his forceful clean antics. The speed/thrashing saga carries on after this moment of serenity producing a couple of cool seismic headbangers (“Fuck Holy War”, “Landlords”) the ending a bit underwhelming: the overlong dragger “Room of Glass” which is uneventful power metal with a repetitive main theme. Still, if one skips through it, the rest would be an entertainment of a relatively above average quality which should keep the band fans happy.

Fuck Holy War EP, 2008
Deadly Pollution EP, 2008
The Blind Leads The Blind EP, 2010
Hellsound Full-Length, 2012

DEADLY REMAINS (USA)

Cool classic thrash/death metal; the music is predominantly heavy and mid-paced with crushing steam-rolling riffs assisted by brutal low-tuned vocals. There are a few nice faster "surprises" ("Still Alive"), as well as a good atmospheric balladic instrumental (the 2-min "A Faceless God"). The closer "From Dust" is an excellent highly-charded doom/thrasher with smashing tank-like guitars ala Bolt Thrower and Beyond Belief.

Before the Nothing Full-length, 2010

DEADLY SIN (USA)

A 2-song demo; the first track is a pure heavy/power metal hymn, the second one secures the place of the band on these pages, being a cool heavy thrasher sounding like early Razor.

Evil Attack/Screams and thunder EP, 1986

DEADMARSH (BELARUS)

Based on "To The Sky", this band plays good power/speed/thrash metal of the old school (think the early German school- Angel Dust, early Scanner), with progressive tendencies. The songs are long, and some are more speed/thrash (the awesome opener "Black Trap"), others: more progressive metal-based. Those progressive-based ones ("My Angel") are slower, and kind of lose the thrash metal idea, although some of them are quite hard-hitting, and are actually cool exercises in smashing slower technical thrash. "Sherwood Forest" is a fine laid-back power metal instrumental, before "To The Sky" speeds up again, also recalling the 90's power/speed metal scene. Another smashing speed/thrasher awaits you later on: "The Soul Release", giving way to the balladic lead-driven outro "One-Day Sorrow".
"Harmony Prevails" is less striking sticking to the progressive power/thrash metal patterns spicing things up with the odd more atmospheric gothic break. The spontaneous speedy outbursts, which were the highlight on "To the Sky", are nowhere to be found, but one will have no problems recognizing the cover of Metallica's "Enter Sandman" at the end sung in Russian.

Harmony Prevails Full-length, 2001
Ăđŕíł Full-length, 2003
To The Sky Full-length, 2008

DEADNIGHT (USA)

Based on the full-length: excellent retro speed/thrash in the vein of the Portuguese Alastor and Cranium from Sweden; fast sharp riffs aplenty and vicious black-ish rasps will one find here. The guitar work is really good without offering anything technical or complex, but one would hardly need it, amid the raging precise intense riffage and the very cool short melodic leads. Most of the album flows in a straight speedy fashion, but watch out for the "spices": the slower atmospheric smasher "Messenger Of Death", the brilliant blend of furious riffs and beautiful gothic-tinged melodies "Unholy Revenge", which also boasts crushing mid-paced sections ala late-80's Slayer. Exemplary speed/thrashers like "In The Dead Of Night" could even grace masterpieces like Paradox's "Heresy" and Angel Dust's "Into the Dark Past"; but, please, ignore the slight keyboard background. "Dance Of Knives" inserts more stylish guitar work amidst the brilliant raging fast-paced riffs. "Die With Me" is a fine nod to the speed metal scene with soaring melodies, fast drumming, and very cool leads; well, the black metal vocals are not the very appropriate ones in this case, but who would notice that when the music is so good. Well, this is a really impressive debut which has all the chances to top the thrash metal charts in the States for 2008.

Live in Chicago EP, 2007
Messenger of Death Full-length, 2008

DEADRINGER (USA)

Expect brisk modern thrash with noisy abrasive guitars and semi-shouty/semi-clean vocals which at times acquire more brutal deathy shades. Fast and slower numbers take turns, but the approach is too pedestrian to impress many. The closer "Down Below" is a cool nod to the stoner/doom metal scene and is arguably the highlight on this standard effort.

Last One Standing Full-length, 2011

DEADSEA (USA)

Based on "Deadsea", this new formation pulls out an interesting fusion of progressive, thrash, death and even doom metal. The sound smells Opeth quite strongly at times, including the "duel" between the death metal growls and the clean vocals. The songs are long ("Frozen Rivers" alone is more than 16-min, and inevitably contains some dragging moments), and there are numerous time changes and sprawling melodies to enjoy, as well as quite several straight thrash passages for the headbangers. The music is not very fast (except for "Killing Faith", which in its turn features brilliant speedy guitar work, and the 1.5-min outburst "Assault"), and meanders all the time between slower doomy sections and more up-tempo ones.

Desiderata Full-length, 2005
Deadsea Full-length, 2007

DEADSPOT (USA)

Based on "Adios Dude", this is melodic thrash which, at its best and fastest, comes close to Exciter and Destructor ("Inside", "Powertool"), but at least half of the songs are boring, edgeless pieces ("Jesus is My Best Friend" is the best example for that) which would sound bad even on a more traditional heavy metal album.
"Built-In Pain" is more energetic now strictly in the thrash/crossover genre, with decent heavier pieces scattered around ("Forever"), although the latter are clearly proto-groovy tracks with blue-sy overtones, but suit better the hoarse hardcore-ish vocals.

Adios Dude Full-length, 1988
Built-In Pain Full-length, 1991

Vibrations of Doom

DEADWITCH (PORTUGAL)

Based on the 2nd demo, these guys offer playful speed/thrash on "X Rated", and high-octane traditional doom mixed with ballad on "Tears of Pain".

Demo Tape Demo, 1990
Demo Tape 2 Demo, 1992

DEAF BLIND DUMB (GERMANY)

Behind this silly band name hides an uneven mix of modern melodic thrash and death metal which emphasizes on melody too much, especially in the beginning of the songs which start as ballads developing later into something more intense. The guitars are too fuzzy, and the singer whispers most of the time, adding the odd synthesized brutal low death metal growl. With some refinement this act may pull out better music: there are a couple of good ideas, and the guitar work is not a total waste, neither are the faster moments (check out the closing min of "Traitor" and the blasting section on "Represst"), which could be increased in the future.

R.i.s.i.n.g. D.a.w.n. Demo, 2009

DEAF INDIANS (GERMANY)

Having in mind the year of release, it comes as no surprise that these guys play your average groovy power/post-thrash with no deviations from the pattern whatsoever, often descending towards clumsy bluesy, jazzy rhythms, but they are used at the most inappropriate moment. I'm not sure whether even the "deaf Indians" would find something to like here...

Deaf Indians Full-length, 1994

DEAF KIDS (BRAZIL)

This is hardcore-ish, crusty thrash with samey abrasive guitars, and synthesized blacky vocals. The 5th anthem (all songs are "heretic anthems", with no titles) is a doomy monotonous, instrumental-only cut, lasting for whole 5-min, with a cool hypnotic main riff.

Six Heretic Anthems For The Deaf Demo, 2011

DEAFAID (SWEDEN)

A groovy, heavy mixture of thrash, death metal and hardcore.

The Payment EP, 1999
Inhale Full-length, 2000

DEAFEN (HOLLAND)

A great, 4-track EP of classic 80's thrash reminiscent of Deus Vult and Mandator; just a few years earlier this band could have made quite a few heads turn with their energetic, but also quite technical music.

Deafen EP, 1991

DEAL WITH IT (USA)

Good thrash/crossover in the spirit of late period D.R.I. and Excel, with a good thrashy attitude, also recalling the more thrashy works of Suicidal Tendencies, and various tempos; to these ears the slower material is more appealing, being a cool deviation into a more thought-out song-writing with some clever heavy riffage ("Black Sun", "Generation", the slightly less than 1-min stomper "The Rapture", the nice blend of fast-paced and slower pounding guitars at the end "Shah-Mat"). The singer is a bit hoarser than Kurt Brecht (D.R.I.), but his delivery suits the carefree punk-ish atmosphere.

End Time Prophecies Full-Length, 2008

DEARLY BEHEADED (UK)

One of the better modern, Pantera-influenced thrash metal bands of the 90's; "Temptation" is a good debut with heavy riffs and cool, mid-paced tracks, albeit a bit one-dimensional, clinging towards stoner/doom at times, preceding the sound Phil Anselmo's Down acquired later: "Between Night and Day", "Leaving Them All Behind". This quiet tempo is suddenly "broken" by the good headbanger "We Are Your Family", but it's the only one here. "Chamber of One" is a lot more ordinary, with a typical 90's groovy sound.

In a Darkened Room EP, 1995
Temptation Full-length, 1996
Chamber of One Full-length, 1997

DEATH & TAXES (USA)

Based on the debut demo, this band plays cool speedy thrash/crossover with brisk sharp guitars and sparce more clever technical decisions: the heavier hectic "The Evil". The "final number" "Final Number" is an almost progressive song with a cool balladic 1st part, and one would have hardly complained if the whole piece had been sustained in the same vein, since the delivery is nice, but the guys' thrashy heart takes the upper hand later on, and the exiting section is another portion of more intense speed/thrash. The singer is pretty unrehearsed semi-singing in a throaty drunken way except, of course, on the balladic passage where he miraculously manages to pull himself together quite a bit for a more attached cleaner delivery. The band continued flourishing through the 90's releasing a string of 3 full-legths, but the style there is miles away from the raw music from their early years, being a modern avantgarde take on progressive metal with almost no ties to thrash.

Violence Begats Violence Demo, 1990
Bent Mental Demo, 1991

DEATH'S BOUNDARIES (AUSTRALIA)

This young Australian band provides us with excellent classic intense thrash in the Slayer and Devastation mould, enriched with technical deviations ala Infernal Majesty's "None Shall Defy". The tempo is fast, with the typical for Slayer mid-paced breaks; the leads make more sense, though, than the ones of Kerry King, and are of the short screaming type. "Eyes Into Fire" is a longer more complex number, more melodic, with a pinch of the Gothenburg style, stretching towards death metal contrasting to the remaining blitzkrieg thrashers.

Divide and Conquer EP, 2002

DEATH ABOVE (SPAIN)

Intense classic thrash wtih Slayer and Dark Angel main targets for worship; the intensity gets dissipated at times with the odd merrier crossover rhythm, but the assault seldom becomes mellower the guys bashing remorselessly easily crossing the border towards death metal on the more brutal cuts ("Drunkenness After Drunkenness"). The vocals are expressive and shouty containing the (un)necessary amount of melody which is also casually reflected in the music (check out the excellent melodic speedster "Chameleon").

The Attack of the Soul Eaters Full-length, 2012

DEATH ANGEL (USA)

Few albums deserve their titles as richly as Death Angel's debut. The band struck hard with this intense, furious piece of thrash, which remains one of the best achievements of the genre from the Bay-Area. Their subsequent releases took a more experimental approach, infusing the band's potent sound with numerous non-thrash (and even non-metal) elements, consequently ruining things a bit. The expectations for their comeback release "The Art of Dying" were for "The Ultra Violence 2", and while there were some moments from that album, the concentration is again on the more diverse nature of the other two.
"Killling Season", depending on which period of the band's career you prefer, would be either fairly satisfactory, or a total disappointment. Those who hoped again for "The Ultra Violence II", should better lay those hopes to rest for good: apparently the guys have closed this page from their history with no intentions to reopen it. The truth is that this album will have almost no appeal to thrash metal fans, as the concentration is on the "The Art of Dying"'s softer, more radio-friendly material, and consequently it sounds closer to "Act III" than any other previous works of the band, but whereas 18 years ago "Act III" sounded fresh and original, this one here is plain ordinary, and not really enjoyable; it might even remind you of the not very successful attempt at continuing Death Angel's career The Organization.
"Relentless Retribution" is by no means a full-on thrash attack, but in terms of consistency it beats the last two albums by miles without any big jumps from one style to another, and as such could be considered a pretty decent entry into the band's catalogue. The music has acquired certain modern tendencies with a boosted, and slightly mechanized, guitar sound bringing the overall approach close to recent Annihilator. Although the pace is mid for most of the time, one can not help but enjoy the edgy galloping rhythms on "Truce" or the nice headbanging sections on the diverse "This Hate"; or the good energetic closer "Where They Lay". Still, at least half of the songs cling towards the semi-ballad (there is also one full-fledged ballad: "Volcanic", a tender romantic all-acoustic piece recalling quite a bit "Room with a View" from "Act III") with Osegueda in fine form all over, although he acquires a gruffer semi-angry tone at times throughout the album betraying his more emotional delivery of old to probably suit better the more updated sound; and as a whole this effort is a fine blend of power and thrash metal also recalling a few other acts of more recent times: the Germans Runamok and the Poles Horrorscope.

The Ultra-Violence Full-length, 1987
Frolic Through the Park Full-length, 1988
Act III Full-length, 1990
The Art of Dying Full-length, 2004
Killing Season Full-length, 2008
Relentless Retribution Full-length, 2010

DEATH ATTACK (GERMANY)

This band was formed by two guys (Michael Hasse (R.I.P.) and Peter Schultz) who later went on to bigger glories with Protector. The music is vicious and aggressive thrash metal with horrifying black-ish vocals, sounding like a slightly better version of the first Sodom and Kreator efforts.

Reh. Demo Demo, 1986
Death Attack Pic-EP Single, 2007

DEATH BEAST (USA)

Old school black/thrash attack, quite intense and fast, with a slightly irritating, fuzzy guitar sound, coming as a mix between early Bathory and Sodom's "Persecution Mania". Two cool covers are placed for a dessert at the end: Nasty Savage's "Witches' Sabbath", and Twisted Sister's "Stay Hungry".

The Wakening Full-length, 2005

DEATH BEFORE WORK! (ITALY)

The full-length provides a brutal mix of thrash/crossover, hardcore and a bit of grind. There are only 3 songs going beyond the 1-min range, but they are very similar to the brutal aggressive outbursts offered on the shorter material. There is no single idea developed beyond the compulsive spasmodic whim, except maybe on the closing "Thunder in My Hands", which is a nice take on more intense thrash. The vocals are fitting to the not very serious picture with their screamy semi-high pitch occasionally acquiring more hysterical tones.

Messageboard Punx on a Rope Full-length, 2006
Death Before Work!/Comrades EP, 2007

DEATH BENEFIT (USA)

Thrash/death metal of the classic type with frequent doom/death "detours" to which the rough brutal death metal vocals are more suitable; the album is awkwardly "carved" by short acoustic instrumentals which bring nothing original to the table; neither do the faster tracks which are a direct nod to the hardcore/crossover scene.

Resurrected Full-length, 2010

DEATH BRINGER (FRANCE)

France seemed to have held the "fortress" of classic thrash metal the longest, as the acts from there managed to retain their initial classic sound at least until the mid-90's. This band plays enjoyable 80's thrash/crossover with a nice catchy rhythm and a more melodic approach that strangely reminds me of the Metallica's cover versions EP "Garage Days Re-Revisited". "Black Mass" is more aggressive, with sharp galloping guitar riffs.

Sex Killer Demo, 1993
Preacher Demo, 1994

DEATH BY DAWN (GERMANY)

Another band graced by Martin Van Drunen's presence; actually, this is his current band. Like his other formations, the style is fusion of thrash and death metal, but this is the most thrashy one. Comparisons to Asphyx (their more up-tempo material) are inevitable, but Death By Dawn are more technical with interesting, at times slightly chaotic riffs (which here is a good point).

One Hand One Foot and a Lot of Teeth Full-length, 2006

DEATH CALM (FINLAND)

Both demos show a band playing uneventful mid-paced thrash/death metal which is one-dimensional and repetitive with barely a single memorable riff. It's actually interesting to hear this strange music which also has a cold mechanical feel to it brought by heavy proto-doomy riffs and spacey somewhat abstract arrangements reminding of their compatriots Ajattara. It's just that the whole approach is too monotonous not changing much throughout except for a couple of more energetic decisions on the 2nd demo.

Creatures & Sanoista Tuhkaksi Demo, 2008
Refuse Demo, 2009

DEATH CHANT (USA)

Based on "Among the Shadows", this band plays an uneven mix of thrash, death and black metal which is probably the closest to the latter, with frequent hyper-blasts and unholy shrieks for vocals. The death metal moments seem to work the best (the cool technical cut "Night Terrors") where the singer acquires guttural low-tuned qualities to a really scary effect. Thrash sneaks in the form of less energetic steam-rollers ("Inner Crisis") also helping with the making of the 9-min epic opus "Revelation". The end is preserved for the pretty good cover of At the Gates' "Suicide Nation" from the legendary "Slaughter of the Soul". The guys run two other projects: the death metal outfits Fire Within and Mortifier.

Sloopy Seconds Full-length, 2008
Death Chant Full-length, 2009
Among the Shadows Full-length, 2010

DEATH CORPS (USA)

This band was formed by Joe Cangelosi- the drummer who later took part in other much more renowned acts: Kreator, Whiplash, Massacre. From the aforementioned bands early Whiplash and Kreator come close as a soundalike. The music here is a tad more aggressive, but the delivery is pretty much the same: fast-paced thrash of a good quality.

Subhuman Demo, 1985

DEATH COURIER (GREECE)

Based on "Demise", these guys play a thrash/death mix along the lines of Incubus and late-period Protector. Some mid-paced implements can be caught at times, with gothic overtones, but otherwise this is quite fast and frequently brutal stuff, blasting in a pure death metal fashion at least half of the time. "Copkiller" is a thrash/crossover joke, and this motif can also be heard on a couple of other tracks where the sound moves towards violent hardcore ("Assaulter").

Necrorgasm EP, 1990
Demise Full-length, 1992

DEATH FORCE (USA)

The only man known from the band's line-up is Jim Drabos- the singer who had a short spell with Dark Angel during that band's early days. This 3-song demo definitely had its merits to have impressed the Dark Angel guys; this is quite good aggressive, fast-paced thrash similar to Possessed's "Beyond the Gates" and early Whiplash.

Demo Demo, 1986

DEATH FUCK (NORWAY)

This band includes Messiah- the man who later took part in the formation of Mayhem, and was one of the activists around whom the black metal movement in Norway flourished. The music here is amateurish mid-paced thrash sounding like a mix between Tank and Venom.

Abnormal Rape Demo, 1987

DEATH IN ACTION (GERMANY)

One of finest, but very little known, German thrash metal bands; "Toxic Waste" is a furious thrash/crossover debut, which remained fairly unnoticed despite its highly inspired music. On the next two albums the band moved towards a more technical play, and the songs have become longer and more complex, but the fierce attitude of the debut is all over them. From a musical point of view those two albums can actually be ranked higher than the debut. "Just for Our Sake" starts with the raging "Paralysed", and the listener gets ready for a direct follow-up to "Toxic Waste", but with a better, and sharper guitar sound. "Daily Cruel Death" already tells a different story, with slower, pounding guitars, but the second part is another slab of fast-paced thrash, seeing the guys not feeling comfortable playing slower. "Sale Scenery" is heads-down uncompromising speed/thrash, followed by the excellent technical up-tempo instrumental "Disgraced", which will be a pleasant surprise to those who never expected to hear something so expertly composed. "Just For Our Sake" begins as a ballad, but again later on the thrashing starts all of a sudden, accompanied by jolly crossover moments. "Creditors To Violence" is a longer, energetic piece, thrashing less intensely, with a bigger sense of melody. Another balladic beginning on the fine "Handle With Care", which is a more moderate speed/thrashing number, and has little to do with Nuclear Assault music-wise (the song title). The album ends the way it started: with a short bursting track called "Deathly Blessing": thrash till death... in action!

"Stuck in Time" is a worthy follow-up, opening with the furious speed/thrash delight with a technical edge "Total Redemption" which comes with a great lead guitar work, showing the guys having made a big step forward in the musical department. "Perfect And Beautiful" follows a different path, being a shorter and a more melodic crossover track, but the sharp and more technical aspect returns on "World Of Dreams" and "Another Life". More intense and direct thrash is served with "The Last Gulag", followed by the other softer crossover song "I'm Here Not There". After the flirtations with the ballad which the guys displayed on the previous album, finally we have a full-fledged one: "Inferiors" (the vocal performance is quite good), which still leaves room at the end for a more energetic thrashing. The closer "Only Yourself" is a magnificent short up-tempo track with great technical riffs, nice bass implements, and a fine memorable chorus, one of the best, and most technical achievements of the band, if not the best.
"Scheiterhaufen" is a very unnecessary comeback release after a 5-year break seeing the band in a much inferior light with a completely changed style, a lot more melodic and modern, groovy, even funky; a pale shadow of the excellent thrash metal sound displayed earlier.

Toxic Waste Full-length, 1989
Just for Our Sake Full-length, 1990
Stuck in Time Full-length, 1991
Scheiterhaufen Brennt Full-length, 1996

DEATH INQUISITION (USA)

A new act specializing in intense varied death/thrash, more classic-sounding despite the strictly modern production. The music is embalmed in atmosphere which doesn't get lost even on the more aggressive cuts ("Killed in Action") which in their turn are superseded by long engaging compositions ("Magical Scepter Batallion Command") which give the effort a somewhat black-ish flavour the latter fuurther strengthened by the raspy sinister vocals.

918 EP, 2012

DEATH INVOKER (PERU)

Based on the 2010 demo, this act pulls out raw retro thrash/black/death metal ala early Destroyer 666, but less polished, and more focused on brutality in an almost constant super-fast pace, with guttural underground vocals and simplistic bashing riffs.

Reh-Desecrations 2005-2007 Demo, 2007
Sepulchral Noise Split, 2009
Demo Demo, 2010

DEATH LINE (FRANCE)

Mid-paced power/thrash with a certain hardcore shade; the music lacks variety, never speeds up or slows down, and creates a monotonous atmosphere, aggravated by the clean, passionless vocals which never change the pitch. The lead guitar is the only positive thing here, but it sounds almost surreal on the otherwise pretty unimpressive background.

Demo Demo, 1985

DEATH LIVING (CHILE)

Based on the EP, these guys pull out furious hyper-bast black metal with frequent thrash "inclusions". Impaled Nazarene are an immediate soundalike as well as more recent extreme acts like Vexed and Suicidal Winds. The thrash riffs come blended with melodic Gothenburg-styled melodies which in this case serve their purpose taking away a bit from the extreme aggression witnessed for most of the time.

Forever Underground Occult and Magics EP, 2000
Blasphemer Full-length, 2006

DEATH MACHINE (USA)

This band is a side-project for the progressive metal geniuses Zero Hour. The music here is not as complex, and is infused with a certain amount of industrial elements; as a result we have quite good industrial thrash with a twist. Certainly musicians of such a calibre would not be content to come up with ordinary, uneventful stuff, and often does the music take a more technical direction which, combined with more aggressive riffage ("Separate", "Genocide"), bears very positive results. Some numbers are slower, dreamy and atmospheric with a stronger industrial edge ("Tangled Root", "Last Breath"), but do not forget to be hard and intense, the exception being the nice peaceful orchestral outro. This is dark atmospheric music, quite reminiscent of The Nefilim's "Zoom". The vocals are death metal-ish, similar to Burton Bell (Fear Factory).

Death Machine Full-length, 2003

DEATH MASK (USA)

This act started early in the 80's with a cool speed/power metal album based around catchy, memorable riffs and sing-along choruses, quite close to the works of the German acts Atlain, Running Wild and early Living Death. 25 years later they are back in business moshing harder with a more overt thrashy edge, although the music still remains largely speed metal with a few heavier, more power metal-based, tracks the latter recalling the Nasty Savage debut. This is cool, unpretentious, party stuff which near the end serves a nice faithful cover of Black Sabbath's "Symptom of the Universe". The closer "Season of Hatred" is a more aggressive headbanger which closes the album in a less expected aggressive manner. The bassist Michael Poplees is an authority having also taken part in other thrash metal outfits, like Castrofate, Morbid Sin, the classic heavy metallers Seventh Calling as well, among others.

Split the Atom Full-length, 1986
Sitting in the Dark Full-length, 2011

DEATH MECHANISM (ITALY)

A striking debut of aggressive classic thrash metal ala Devastation's "Idolatry" and Hypnosia's "Extreme Hatred"; this is smashing fast-paced music with touches of Slayer in the slower heavier sections. This trio performs very tight, blasting out short 3-min bombs which will keep you headbanging till the end. Some clever riffs with a slight technical edge could also be heard- "Genuin-cide" (as well as clever song-titles), "Contaminated Soil". The vocals have this cynical black-ish edge similar to Flegias (Necrodeath), very effective in this case. The guys never cross the border towards death metal or other extreme genres; this is intense, direct thrash at its classic best.
"Mass Slavery" contains only 4 new songs; the rest is the debut played without any changes whatsoever. This "effort" would be quite a disappointment to the fans who have waited for 4 whole years to hear less than half a dozen new sounds, albeit them being good forceful speedy thrashers sounding like leftovers, now finally added to, from the debut.

Human Error - Global Terror Full-length, 2006
Mass Slavery Full-length, 2010

DEATH MILITIA (CANADA)

Power/thrash metal with shades of early Iron Maiden (coming also from the fact that the singer has a voice similar to Paul Di'Anno); the overall sound will remind you of Nasty Savage's debut as well. The "Noise Agony Mayhem" single is only two tracks, but shows an increased level of speed and aggression. Now the band sounds like a tight intense thrash metal outfit with no shades of power metal whatsoever, with a blitzkrieg approach close to Rigor Mortis and Toxic Shock. The singer (if it's the same one) is now a gruff low-tuned semi-whisperer coming close to Schmier on the higher notes.

To Serve and Protect Demo, 1987
One Day Closer to Hell Demo, 1988
You Can't Kill What's Already Dead: Anthology 1985-1988 Best of/Compilation, 2006
Noise Agony Mayhem Single, 2007

DEATH MISSION (NORWAY)

This band's line-up boasts the presence of Geir Horn: the man who later became the singer of the black metal monsters Khold, and is still considered one of the most sinister vocalists on the metal field. The other person you might know, is Jorgen Nordlie: the drummer who is at present a full-time member of Blood Tsunami. The music is cool up-tempo thrash with a technical edge, bringing to mind 80's Testament and Evildead's "The Underworld". The guitar work is really good, with also some heavy, pounding riffs involved where necessary ("All As One", which slows down and is a bit monotonous, as it lasts for whole 7.5-min).

The Ultimate... Demo, 1990

DEATH MORTOR (VENEZUELA)

This act plays heavy thunderous thrash/death of the modern variety, clinging more towards the death metal side where belong the brutal growling vocals. The music is mid to up, a slight annoyance being the buzzy guitar sound which leaves no room for any melodic hooks.

Sueńo de Morir EP, 2010

DEATH NEVER PAIN (CZECH)

Cool energetic modern thrash/death, sharing some of the semi-classic aesthetics of acts like Dew-Scented and Blood Red Angel, and like these two bands, the focus is more on thrash of the intense up-tempo type mixed with heavier, slower passages. The last number is a good faithful cover of At the Gates' "Blinded by Fear".

Demo Demo, 2010

DEATH OF KINGS (USA)

Retro power/thrash nodding towards the country's heritage from the 80's, Metal Church and Aftermath in particular; this is cool dynamic stuff with brisk galloping riffs ("Mountain Lord") and good guitar work which is reflected in sharp cutting riffage which are aptly supported by the dramatic, maybe a bit overscreamy at times, semi-clean vocals. "Destructicator" is a short speed/thrashing energizer, but the following "Trials of the Pantheon" would throw you into the other extreme with its epic-tinged nature. This is a nice diverse offering which would appeal to a wider fanbase.

Crushed Beneath the Steel EP, 2012

DEATH OVER THREAT (SPAIN)

Good Bay-Area thrash metal "courting" Forbidden and Exodus above all music-wise. In the vocal department the guy tries to come close to the harsh semi-clean delivery of James Hetfield, but soon gives up, and later on finds his own cool pitch, also semi-clean and harsh, maybe more melodic and emotional than the one of Hetfield, if we exclude the sparce hellish death metal screams. The music delivers the goods on all counts, being overtly aggressive ("Infamy Legacy", with a touch of proto-death) on occasion. The songs are within the 5-6min range, and some of them are pleasantly heavy and not as fast as the rest ("Einmal Ist Keinmal", the semi-balladic "New Idols Leading Rats"). This rest is heads-down headbanging classic thrash, intense and sharp, mostly up-tempo, with lashing riffs and short stylish leads.

Sangre Full-length, 2009

DEATH PACT (USA)

Raw primitive bash with very noisy guitars and more intelligible growling semi-death metal vocals which have the tendency to suddenly shriek like a demented banshee. The music is fairly amateurish and a little can be distinguished among the fuzzy barrage offered the 8-min mess "Unholy Ritual" at the end kind of serving the most comprehensive (well, that's very relative) material.

Demo Demo, 1987

DEATH PENALTY (USA)

Based on the full-length: your average groovy post-thrash comes served with a doze of hardcore, the latter providing the better, faster moments, which recall Madball. The heavy thunderous rhythm-section is ably supported by very good bass work, and the singer does his best to sound suitably angry and forceful, without overdoing it. Not completely bad, actually, despite the more than obvious emulation of Pantera ("Unbroken") which the guys don't really need. Expect "surreal" doominess on "Surreal" which is a stylish take on the mechanical style of Godflesh.

Bitter EP, 1997
Conviction Full-length, 1998

DEATH POWER (FRANCE)

One of the quite a few thrash/death metal bands who appeared at about the same time on the French metal scene. This album is one of the better releases from that time, with a sound akin to Sacrifice's "Forward To Termination" and Kreator. The music is fast with simplisitc, but memorable, effective riffs, and longer songs similar to the ones composed by the aforementioned Canadian act ("Wendigo", "War", which is a slow pounding track with more melodic lines, but quite cool), where something more complex goes on. Touches of more aggressive proto-death play can sparcely be heard (parts of "Wendigo" again, the short brutal bomb "March of the Dead", "Satan's Litanies", which is a direct nod to the early German thrash scene). "The Bogeyman" is a more laid-back track, surprisingly sliding down to power metal even on some parts. "Stop the Time" is almost pure death metal, but only one of its kind. "Hardcore Copulation" closes the album in a smashing hardcore fashion, exactly what the title promises: fast, aggressive hardcore, packed in a little more than 2-min. Unlike most of the French bands from that period, the band never recorded again.

The Bogeyman Full-length, 1990

DEATH RIDERS (ITALY)

These Italians provide cool edgy power/thrash metal with both modern and classic leanings. The album begins in a calm power metal fashion with the epic opus "The Hedgehog's Dilema", but comes "Legion", and things become more aggressive with speed metal vibes which turn into lashing thrash on the next "Death Riders". "Shelter" is the obligatory for such albums ballad with the singer doing a great job with his warm emotional tember, and "The Eclipse" is only a tad more intense of the heavy semi-balladic type. The balladic heaviness carries on with "Season Of Loss", but "War Inheritance" is a good waker with its energetic vigorous riffage. "Sinfonia" is a "sinfony" of raging speed/thrash metal with lyrical inclusions on a keyboard background in the middle and a few great choruses. "Reason And Fate" slows down, but the sharp riffs cut like a knife accompanied by good melodic leads. "Crimson Liberty" is a carefree speed metal hymn in the spirit of the new 90's school, a "storm before the calm" which comes in the form of the tender acoustic ballad "When Everything Lies" with the singer again shining all over. There are quite a few influences to be caught here (Manticora, Blind Guardian, Not Fragile, etc.) all of them mixed well to produce an album with a consistently wide appeal.

Through Centuries Of Dust Full-length, 2010

DEATH RITUAL (USA)

Based on the self-titled demo, this act offer very messy chaotic thrash/death which in terms of brutality should be mentioned right along the early efforts of Massacra, Messiah and Death, but in terms of execution this is just plain noise at times the guys bashing with passion showing little skill especially the singer who just talks in an aggravated low-tuned death metal manner. The lead guitarist tries to "steal the show" with a few better played sections which sound too surreal on the amateurish barrage serving as the background.

Death Ritual Demo, 1988
What Pain Really Is Demo, 1990

DEATH SENTENCE (USA)

This is the early incarnation of the death metal pioneers Nunslaughter. What we have here is raw, badly sounding intense thrash, which comes close to the proto-death sound of Possessed's "Seven Churches" at times, but the bad sound quality leaves little to be enjoyed. "Fall of the Church" is a surprisingly sentimenal slow track, even smelling power metal at some point. This could have been a good example of aggressive early thrash, but this sound...

Death is the Only Way Demo, 1985

DEATH SOLDIER (BRAZIL)

A power trio from Brazil specializing in rough edgy retro thrash characterized by abrasive guitars and throaty very shouty death metal vocals. The guys lash with passion the screamy proficient leads another worthy addition. Shades of crossover sneak in ("InĂşteis Guerras do Metal") here and there, including uncontrolled blast-beats on the aggressive closer "Lost Horizon".

Devastaçăo, Caos e Ódio EP, 2012

DEATH SQUAD (ITALY)

This Italian act indulges in intense, vicious black/thrash/death "courting" Possessed, Morbid Saint and the French school (Massacra, Loudblast) along the way. Despite the respectable amount of energy present, the music wears thin at some point due to its constantly speedy nature spiced with the odd blast-beat. The sound quality is a bit dirty, intentionally or not, but the band's primal delivery hardly requires a more polished production. The singer is an unholy death metal growler of the higher-pitched type, but his rendings are slightly marred by the muffled echo which accompanies them.

Bestial Domination EP, 2011

DEATH SQUAD (USA)

Based on the debut: energetic, occasionally quite interesting thrash with touches of hardcore; all the songs are of the same up-tempo and merge together so that it's hard to distinguish one song from another at first listen. This is not very fast or aggressive music, but some of the leads are intriguing, and the riffs are quite heavy and crushing. Surely songs, like the speedy steam-rollers "Die Again" and "Mad as Hell" are more than welcome with their more energetic delivery, even recalling Demolition Hammer; "Body Damage" is a tribute to Slayer with the traditional chaotic Kerry King-like leads. The sound only occasionally reminds of the 90's trends, and the instrumental "Mind Fuck" manages to come up with choppy technical riffs, as well as "Infections Of Reality", which comes as a small version of the songs from "...And Justice For All" with its heavy pounding rhythm. There are actually no pure hardcore numbers, just moments from this style are present on the shorter compositions.

Split You At The Seams Full-length, 1991
Driving Blind Full-length, 1993

DEATH STRIKE (USA)

Death Strike is one of the numerous Paul Speckman's projects (Abomination, Master, to name a few). Sound-wise this band fits between the two aforementioned ones, mixing the heavy stomping style of Abomination with the death metal tendencies of Master. Some of the songs are of the short simplistic, hardcore-ish type, whereas others ("The Final Countdown": no relations to Europe music-wise, take it easy!) are slower, almost doomy pieces which will remind you of early Celtic Frost or even Hellhammer. Speckman is in fine form again, with his Tom G.Warrior-like vocals being the highlight of the album.

Fuckin' Death Full-length, 1991

DEATH THRASHERS KUOPIO (FINLAND)

With so many demos, compilations and splits these guys have proved themselves as an underground phenomenon, so what should come next would have to be an album deal with a label. Based on the "Madness... Underground...The Return" demo, this band plays very good aggressive thrash metal typical for the late 80's. The style is reminiscent of the German heroes Destruction and Kreator; a really good effort.

Zombies...apocalypse...and other nice things Demo, 2002
Promotape Demo, 2002
Necromancy...Blood...Vengeance Demo, 2003
Death Thrashers Kuopio Best of/Compilation, 2005
Thrash Metal Blitzkrieg Vol II Split, 2006
Madness... Underground...The Return Demo, 2007

DEATH TIDE (UK)

This UK outfit provide modern thrash of the groovy heavy kind. The album is a contrasting concoction of seismic riffs and blazing screamy leads which are accompanied by doomy and industrial borrowings, more or less appropriate, including the long heavy ballad "Something Wrong". The really exciting momenta are not many at all if we exclude the varied headbanger "Metal is My Spirit" which indeed tries to show that "metal" is a part of the guys' repertoire with its more aggressive approach. The singer is a semi-clean shouter who shows more attachment than what is necessary for this type of music.

Raze The Halls Of Celmeresfort Full-Length, 2012

DEATH TOLL (MEXICO)

Very raw thrash/death metal with some of the most brutal low-tuned death metal vocals ever encountered on the scene. The music is moderately fast with epic touches here and there, but the awful sound quality is a major detraction for one to cite any soundalikes. The guitars form an almost impenetrable buzzy wall with the bass thudding heavily in the background. This is so much underground that one may find it hard to believe that this recording was made nowadays with all the technological advancements available everywhere. "At the Moment of War" at the end is more audible and sees the band coming with cool heavy riffs with a nice melodic blend which is a sign that with a better sound the guys could actually make a few heads turn.

Wall Ripping Flesh EP, 2010

DEATH TRAP (AUSTRALIA)

Classic thrash/crossover with short explosive tracks and a brutal uncompromising delivery easily bordering on early Cryptic Slaughter. Despite the big simplicity of the guitar work and the rending shouty vocals, this is an energetic and an invigorating short listen.

Death Trap EP, 2009

DEATH TRIPPER (USA)

This band boasts the presence of Kris Gabeheardt: the man who later became the first Solitude Aeturnus singer. Based on the "Canis Major" demo, this band play raw, slightly amateurish speed/thrash metal, recalling early Razor. Listening to Gabeheardt's performance here, it's no wonder that he didn't last long with the doomsters. His attempts at the higher, screamy tones spoli even further the overall not very good impression left by the music. There are some more stylish solos and all, but it is all too one-dimensional and uninspired.

Burnt Offerings Demo, 1985
Canis Major Demo, 1986

DEATH WARRANT (HUNGARY)

Based on the demo, this talented act indulges in very well executed hectic, complex thrash/death with mazey, Atheist-like inclinations and interesting more abstract digressions. The songs are quite diverse, but never fast, except for short isolated sections ("Eternal Ape"). More relaxed progressive metal structures ("Reversed Structure") have also been introduced, but fit the elaborate picture. "Echoes of Degraded Colours" is a superb surreal progressive piece with oblivious guitar tones and precise technical riffs, with echoes of Voivod and Mekong Delta. Another mind-challenging track is the last "Mind Recovery" which twists and turns in a creepy manner puzzling the listener with its time-changes. The singer is not a very big asset, falling behind the very good music, with his brutal low-tuned growls.
The "Split" EP, which is not exactly a split with any other act, is another complex amalgam of thrash, death and progressive which is more immediate this time, and more aggressive, clinging more towards the death metal side. The guys bash with style ("The Inside") with cold mechanical, technical passion, but a bigger complexity arrives with "Labeled Ground" which is a proto-jazzy puzzler with the obligatory fast passages decorating the twisted moments in an abstract dispassionate manner. This 4-piece is kind of less impressive than the demo, the guitar sound coming a bit distorted with the transitions between the separate sections from the songs not so flawless and somewhat chaotic.

Echoes of Degraded Colours Demo, 2010
Split EP, 2012

DEATH WARRANT (MEXICO)

The "Time Of Dying" demo is a cool slab of energetic classic speed/thrash, mixing the speed antics of Agent Steel with the more aggressive approach of the Germans Angel Dust and Iron Angel. "Extermination" defies this definition, switching onto aggressive thrash for a while. On the other pole is "Moon Child" (Iron Maiden make a cover version of this song 2 years later- kidding, ha ha!), which is an up-tempo power/thrasher reminiscent of the prolific 80's American scene. The last track is a live recording of the speed/thrash smasher "Death Squad".

Satan's Fall Demo, 1985
Metallic Slaughter Demo, 1986
Time Of Dying Demo, 1986
Time of Dying Best of/Compilation, 2008

DEATH WARRANT (SLOVAKIA)

Slovak Nazis who offer energetic, edgy thrashcore showing a more serious atitude than the majority of RAC/core acts around the globe, with a more thought-out musicianship and longer compositions. The band nicely add more officiant epic touches (check out the balladic opus "Hail Serbia"; or the 8.5-min epic galloper "Berserkr") here and there, and generally there is not a very frequent adherence to all-out speed ("Ahasver" is a nice retro headbanger), the songs containing quite a few catchy, melodic hooks. The singer is a gruff semi-death metaller, but his throaty antics are pretty comprehensive. The band changed their name a year later, to Retribution, releasing one album in 2002 ("The Night of the Wolves") in the same epic thrascore-y vein before splitting-up.

In the Name of the Race Full-length, 2001

DEATHALIZER (USA)

Capable classic power/thrash metal with a few modern leanings and cool James Hetfield-like vocals; the guys come close to the Annihilator mixtures of more recent times (check out "Crumbs from the Sky" with its vintage Jeff Waters-esque guitars), also touching the Bay-Area on the faster moments ("It Dwells Within", although this one may pull you back in the middle with its proto-modern groove). The band mix tempos all the time, and "More Than One" is a nice heavy semi-ballad.
The full-length is expectedly built around the tracks from the EP, but the new stuff is strictly modern with touches of The Black Album, Lyzanxia, Perzonal War, etc. Still, one can't possibly ignore the headbanging audacity of the opening "The Angel's Fall" or the dramatic steam-rolliness of "Awaken". "Nameless Grave" is a surprisingly stylish speed/thrasher recalling Metallica during their heydays, matched partially by the final "Rise" which is another mosher with suggestive technical undercurrents. Still, the majority of the songs belongs to the not very interesting jumpy mid-tempo parametres which don't try to hide too well their fascination with the 90's trends.

Deathalizer EP, 2009
It Dwells Within Full-length, 2009

DEATHAMIN (CANADA)

Excellent thrash metal in the Bay Area vein; without sounding too technical, Deathamin manage to come up with stupendous riffs and nice guitar melodies, which make every song memorable, different from the others. The tempo is energetic, but without all-out speed bursts except on the excellent "Mad Rush": a smashing speedy thrasher. On the other hand we have "Appointment": a brilliant technical thrash piece, which would make even bands like Deathrow and Target listen carefully. Early Testament would be a close call, or the Swedes Fallen Angel or Mezzrow. At the time when Testament were dropping the ball ("The Ritual"), these Canadians were making the fans feel as though the 80's had never ended, and thrash metal was still the order of the day.

Mass of What Full-length, 1992

DEATHAMPHETAMINE (USA)

Based on the "Post Apocalyptic Revisionist History" EP, these guys provide noisy, raw thrash/death with a certain industrial flavour and more aggressive grindy tendencies. This is fast one-dimensional stuff with screechy death metal vocals and short bombastic tracks. Some of the musicians play much slower with their other formation Blessed Offal where the style is death/doom.
"The Lost Album" has finally been found, and it follows the same path carved by the EP's; in other words, this is right as rain thrash/death of the fast type with again several attempts at grind sneaking through. The more direct thrashy moments are straight nods to early Metallica ("Losing It All"), but remain kind of undeveloped since the songs are quite short seldom going over the 3-min range leaving a certain hardcore aftertaste, intentional or not. This is chaotic stuff with all the influences randomly blended including the slight undustrial vibe coming mostly from the abrasive guitar sound.

From hand axe to laser EP, 2005
Post Apocalyptic Revisionist History EP, 2009
The Lost Album Full-length, 2012

DEATHBLOW (JAPAN)

"Pathetic" is a great acoustic intro (there is nothing "pathetic" about it), similar to the "Crystal Ann" instrumental from "Alice in Hell", to this no-brainer of unadulterated classic thrash. There's no single dull moment with this one; the guys thrash with energy and a genuine technical edge, mixing both in a fairly interesting way, like on the opening "The Distorted Symbol". "Beyond Salvage" is a longer speed/thrash number, which concentrates on melody, serving as a model for the coming power/speed metal wave. "Seventh Angel Blows A Bugle" brings back the more aggressive thrash riffage, leaving the technicality a bit aside. "Arms" is heads-down thrash again, introducing some more interesting riffage, along with the cool short lead guitar work. "Lebanon" is a very good speed/power/thrash instrumental, bringing the best from the guitarists, mostly in the lead department. "Sword Dance" is awesome speed/thrash metal in the best tradition of the Angel Dust debut, with slower "detours". "Negotiator" is intense fast-paced thrash metal which doesn't forget about the softer mid-section, which the band applies quite successfully on quite a few times. "Graven Image" is another heads-down smasher, more than a worthy exit from this one-album-wonder, with its brisk speedy guitars, great bass-support and fine short leads.

Meanless Propaganda Full-length, 1991

DEATHCHAIN (FINLAND)

A death/thrash metal hybrid; on the band's inspired debut the emphasis is probably more on death metal, but the energy and enthusiasm behind the music will win anyone in the end. Still, there is a certain amount of thrash to be heard as well, and the non-stop fast attack will cause a few neck sprains along the way. The guitar work is actually quite good with smashing riffs lashing from all sides slowing down, but just a bit, on the mid-tempo steam-roller "Carrier Of Pestilence", but prepare to run for cover on the next death/thrash metal fury "Deadmeat Disciples".
"Deathrash Assault" delivers exactly what the title promises: thrash/death assault of a fairly good quality. The guitar licks are more catchy this time, but the speed remains producing standout headbangers: "Venom Preacher", the technical killer "Lepra Lord", the brutal Slayer-esque "Deathrash Legions" and "Napalm Satan". "Panzer Holocaust" is a very welcome deviation from the formula, adding cool technical moments and a backward play ala Morbid Angel- a very stylish number, but only one of its kind. Another very good attempt at a more complex song-writing comes at the end, with "Valley of the Corpses": a fine blend of furious death/thrashing in the 1st half, and more atmospheric, technical passages in the 2nd one.
"Cult Of Death" delves deeper into death metal waters, going up the speed level as well, which inevitably means an increased number of ultra-fast blasting sections. "Serpent of the Deep" is a very welcome change of pace into slower almost doomy, and even technical music after the extreme trio opening the album, after which another three furious tracks follow, before the closing "Cult of Death" slows down again providing heavy pounding riffs. There is not much offered here to appeal to the thrash metal fan, but the high energy and intensity put behind the music should be respected.
"Death Eternal" is a really good effort with lashing riffs and super-fast tempos staying closer to death metal, but the approach this time is more technical, and some compositions could be easily included into the Morbid Angel catalogue: "Awaken... Horrors Of This Earth", "Song Of Chaos And The Void": exemplary exercises in a technical play, the culmination being the closer "Incantations Of Shub-Niggurath" which is a multi-faced progressive death/thrash opus, quite an achievement in the genre, constantly mixing tempos and moods. The album is not completely deprived of pure thrashing pieces, and here come "Plaguethrone", "Sworn Beneath" (this one is death-tinged; the guys can't help it...). "The Ancient And The Vile" is the interlude: a slow mid-paced track which doesn't miss out on stylish technical implements.
"Death Gods" continues the trend the guys established from the beginning to include the word "death", or "dead" in the album-title, and music-wise it's not radically different from its predecessor this time bringing thrash metal back more often, although the approach is pretty much deathy all over, again of the brutal more technical variety the latter stepping aside a bit for the sake of the fast sections, still scoring high on the multi-faced "The Crawling Chaos", and partially on the ambitious Bal Sagoth-esque "The Lion-Head". The steam-rolling technicality which graced a couple of songs from the previous album is admirably introduced on the atmospheric "We Are Unearthed", and later on the proto-doomy steam roller "Howling Of The Blind" which comes with a strong Bolt Thrower vibe. Still, the big surprise and the obvious highlight will be the closer "Cthulhu Rising": a larger-than-life progressive opus with a lot of furious death/thrashing, numerous technical hooks and progressive arrangements some of which are again of the moody doomy type, but everything here is done with taste to keep you entertained throughout the whole 12-min. The technical lovers will find reasons to criticize this effort, but as a work of modern thrash/death metal it delivers almost as well any of the band's old releases.
"Ritual Death Metal" is indeed an almost full-fledged death metal affair the guys blasting with passion with an increased brutality added in the form of several less bridled black metal hyper-blasts. Consequently there's not much to write about this album which is the band's least capable effort if we exclude the nice Oriental motifs on the closing death/doomster "Abzu Doom" and elsewhere.

DeadMeat Disciples Full-length, 2003
Deathrash Assault Full-length, 2005
Cult Of Death Full-length, 2007
Death Eternal Full-length, 2008
Death Gods Full-length, 2010
Ritual Death Metal Full-Length, 2013

DEATHCORP (USA)

This is an excellent demo which mixes speedy aggressive riffs with nice technical stylish guitar work. At times the speed recalls even Wehrmacht, and there is certain crossover aesthetics involved here, but combined with the more technical riffs, leaves quite a positive impression. The music never goes into death metal, although the intensity is quite big, and will also remind you of Necrodeath and Psychic Possessor, among other acts.
The demo is a more violent affair, and a much noisier one, thanks to the raw production qualities which create a buzzying wall of the guitar sound. Nothing technical here, just fast blitzkrieg thrash with again Wehrmacht a close soundalike. "Cold Blooded War" is an unexpected heavy metal hymn, but the rest is way more intense with capable semi-shouty vocals ala Mille involved.

Cold Blooded War Demo 1987
Rest in Pieces EP, 1989

DEATHCULT (USA)

This is dark black/thrash, served by just one person (Tim Pearson), with sinister gloomy/depressive undercurrents also brought up by the clearly heard subdued death metal vocals. The music even acquires epic overtones at times ("Mutant Generation"), and although it packs a punch it may get tiresome later on due to its slightly repetitive mid-paced nature and samey song-structures. "Doctrine Of Hate" is probably the highlight with its death metal insertions (blast-beats, etc.) and more diverse mood shifts making the end a bit more interesting also with the help of the funereal quasi-doomines of the closer "Deathcult".

Test of Time Full-Length, 2013

DEATHDEMONA (UKRAINE)

Modern power/thrash metal with both gothic and epic touches; this is cool dramatic stuff which starts in a pensive "soulful" manner with the dark "Deep in My Soul", but "Cruelty" is a more optimistic, also "crueler", speed/thrasher with genuinely heavy slower sections. Then comes "Infinity", and things become wonderfully technical mixed with haunting gothic passages. The diversity gets larger proportions on the aggressive proto-death laced "One Reason of Existence", which again offers something for the technical fans with a few stylish hooks ala later-period Death. "Out of Love" is a cool tribute to the 90's power/speed metal fraternity which remains for a string of songs, until the coming of the furious death-tinged closer "Helpless". The singer is too emotional for the more aggressive parts, singing in an attached melodic clean manner, but lacks power and range during the higher tones. This is a bit uneven blend of quite a few styles, neither of which gets developed fully, but as a work of a more modern brand of thrash metal this album would not be a disappointment.

Keep the Flame Burning Full-length, 2004

DEATHDRIVE

Modern thrash metal of the more laid-back variety with gothic overtones; this is mostly mid-paced stuff with references to doom as well, with gruff death metal vocals, plenty of melodic hooks (which are not bad at all, by the way), and a few metalcore breaks.

War Within Full-Length, 2009

DEATHEAD (USA)

A young trio from the US specializing in aggressive chaotic thrash/death metal (based on the full-length) of the modern type. The guys bash with passion, but with little professionalism producing quite a bit of noise in the long run the screamy deathy vocals just another annoyance. Near the end comes the more proficient stuff culminating on the cool epic doomster "The Call" which is way more controlled structure-wise and this style kind of better suits the band's penchant for not very sensible mish-mashy barrage.

Controlled by Chaos EP, 2007
An Offering to the Gods Full-length, 2009

DEATHFALL (HOLLAND)

Modern/thrash death metal with a considerable doze of hardcore.

Reborn Full-length, 2007

DEATHFIST (GERMANY)

A 3-track demo (the self-titled one) made by members of Mortal Remains, including the female singer Corinna Becker; this is jolly speed/thrash metal, played in high spirit, looking for inspiration towards the Bay-Area and early Slayer. The music is fast with sharp simple riffs and vicious black-ish vocals.
The 2010 demo is in a similar vein boasting nice energetic speedsters, like "Deathfist" and "Prey". The sound quality is a bit better, and the vocals are a tad more comprehensive and not as black metal-fixated.
"Too Hot to Burn" features all the songs from the demos, adding another 8 thrashers, which here come with a pinch of melo-death (check out the raging opener "Apotheosis"). The expected fast-tempo is engaged on full-throttle, and Corinna is in fine form spitting out venomous, but pretty intelligible, Sabine Classen-like tones. Overall the approach is pretty intense, and rippers like "Hell Is Here" and the closing "fury" "World Of Darkness" may cause you a headache; whereas short speedsters like "Too Hot To Burn" and the Angel Dust-worship "Ruins" are on the more melodic side. "Prey" is a digression into heavy, pounding thrash, but is the only one of its kind.

Deathfist Demo, 2009
Demo Demo, 2010
Too Hot to Burn Full-length 2010

DEATHHAMMER (NORWAY)

Based on the "Savage Poser Hunt" demo, this band, comprising just two people, plays simplistic, but catchy old school thrash along the lines of early Destruction and Kreator. The music is energetic and fast with "Demonz in Leather" offering a nice deviation into more restrained slower power/thrash metal ala more recent Venom.
"Forever Ripping Fast" will not exactly rip you apart, but the tempo is quite energetic following the early German examples pretty closely, and especially Destruction's "Sentence of Death". This is very good stuff, actually, reminding you of the glorious 80's, with vocals which are not miles away from Cronos, occasionally adding the higher-pitched rasp ala Schmier. "Demonz in Leather", already heard on the 2006 demo, is the only more moderate number out of the 13 tracks offered, and is a cool power/heavy metal anthem; "Graveyard Necromancy" is more crossover-laced, but the energy and the anti-christian lyrics remain. The guys also take part in the thrash/black metal formation Black Magic.
"Phantom Knights" is a much more intense affair now bringing forward black and death metal elements, although the dominating approach still remains in the speed/thrash metal fields with the Whiplash debut a major influence including in the hysterical screamy vocal department, where similarities with Schmier can also be noticed. The music is fast and a bit chaotic at times, with a few pleasant surprises of energetic Helloween-esue speed metal ("Ready to Destroy") thrown in unexpectedly in the 2nd half, where intense exercises in pure headbanging thrash ("Cold Winds of Death") also belong, the latter recalling Rigor Mortis. A nice early Bathory worship ("Tornado Blitzkrieg") can also be encountered near the end.
"Onward to the Pits" is a total tribute to the early German movement (Kreator, Destruction, Necronomicon) with the shorter numbers ("Voodoo Rites") carrying the black/thrash flag recalling early Bathory quite a bit. The guys know no rest thrashing wildy till the end the unholy rending vocals providing a more scary atmosphere. "Final Black Mass" starts blasting out at some point in a less restrained blacky fashion, and "Seduced by the Flames" finally introduces a couple of slower moments accompanied by better leads and more clever riff patterns. This is an uncompromising thrash attack which will leave the old school totally exhausted.

Barbaric Onslaught Demo, 2006
Savage Poser Hunt Demo, 2006
Wrath Of The Antichrist Demo, 2007
Forever Ripping Fast Full-length, 2008
Phantom Knights Full-length, 2010
Onward to the Pits Full-length, 2012

DEATHKRUSH (USA)

Based on the demo, this is evil minimalistic black/thrash metal of the old school with clear nods to early Bathory, and even Burzum, in the more monotonous repetitive parts ("Vengeance of Evil"). The vocals are the highlight, being very tortured semi-whispered rasps, which would not find it hard to scare even the devils in hell (what the hell is that!?).

Vengeance of Evil Demo, 2001
Whorde/Deathkrush/Dry Spell Split, 2008

DEATHLAND (PORTUGAL)

A 4-song demo of cool, mostly Bay-Area influenced thrash, energetic and dynamic, with slightly gruff, semi-hardcore vocals; "Incoming Attack" starts as a stomping, heavy track, reminiscent of Slayer's late-80's period (remember "Skeletons of Society"), but later accumulates more speed, graced by a cool melodic main line. The last song "Souls of Black" is... yes, you're right, a Testament cover.
"Incoming Attack" is vintage Bay-Area thrash, crossing Testament with Exodus with style. The starter "Divergent Way" is a nice combination of intense headbanging riffs and cool technical licks. "Travel In Misery" is ripping mid-paced thrash with nice lyrical deviations, and "Incoming Attack" is a similar heavy steam-roller (see the demo review) offering brilliant lead guitars as well. "Shadow Of Chaos" is not the fastest song in the world, either, but is a good complex number with a cool speedy exit. The speed doesn't get too much coverage in the middle, but the heavier side is very well reflected on the very good semi-ballad "Passenger Of A Tragedy". But prepare to run for cover on the next "Silence In War" which is an al-out speedster with brutal deathy overtones. Then the complexity returns with "Death Religions", which "courts" mid-80's Metallica quite well, also giving it cool speedy "colourings". The closer is a no-brainer, thrashing hard with a genuine technical edge, with echoes of Artillery as well, and great leads again, exiting this strong debut in the best way. The vocalist here is more expressive, acquiring a deeper, more subdued deathy tone, but remains intelligible and forceful. Some of the band members are also involved with the black/death metal outfit In tha Umbra.

Devastation Begins Demo, 2006
Incoming Attack Full-length 2011

DEATHLESS (PUERTO RICO)

Based on the "Enslaved" demo, these guys have done a very good effort to put Puerto Rico on the metal map. No shades of modern 90's thrash here; this is pure classic pleasure, the way it used to be played by bands like Wargasm, Forbidden and Viking. The tracks are long-ish (5-6min long), and although the music is not overtly technical, there are many interesting riffs and the tempo changes without going into very fast or aggressive territories. "The Walls of Jericho" is a great stomping, almost doomy number (no relations to Helloween music-wise), and "Wasted Time" is a nice semi-ballad (but is not a Skid Row cover), which again shows the band's penchant for a doom-laden sound.

Enslaved Demo, 1991
Judgement Ignorance Demo, 1993

DEATHLESS (USA)

Bay Area-tinged thrash akin to Exodus' first two albums; mid and up-tempo sections alternate all the time, and one could hear nice lead guitars as well as a cool semi-ballad ("Life").

Demo Demo, 1989

DEATHLOCH (USA)

This is heavy sludgy/doomy thrash/death metal sounding like more dynamic Acid Bath to which the band nods more than now and then; the other reference would be the first two Six Feet Under albums. The guitar work is not bad, albeit missing in the speed sector most of the time, adhering to cool melodic hooks here and there, attempts ruined by the rough death metal vocals and the clumsy groovy passages.

Black Moon Rising Full-length, 2010

DEATHLUST (POLAND)

A wild brutal mix of black, death and thrash which is constantly bashing without messing it up the frequent blasting insertions a bit annoying perhaps. This hyper-speedy downpour knows no mercy finished with the faithful cover of Bestial Mockery's "Slaining the Life" which is ruined to an extent by the slightly fuzzy guitars. The guys take it easy with their other project, the black thrash formation Persecutor.

Deathlust EP, 2011

DEATHLY SCYTHE (CHILE)

A noisy Chilean trio which most of the time sounds like an amateurish school band with the intent on creating as much intolerable noise as possible. After several reluctant listens one may discover traces of old school thrash/death metal ala Merciless and Massacra, played with ultimately distorted instruments, piercing leads, chaotic drums, and shouty agonizing vocals which overtake the whole space when in action. Only for extreme aficionados, but those also have to be in the right/wrong mood...

...Will Of Death Demo 2010

DEATHMASS (USA)

Based on the "Prolonging the Inevitable" demo, this act provides intriguing seismic doomy creepy thrash metal which resembles Dream Death quite a bit (actually, a member of the aforementioned band: the bassist Rich Freund, plays here), as well as early Celtic Frost. This is slow-ish sinister stuff with very suitable semi-death metal vocals and volcanic 10-ton riffs.

Prolonging the Inevitable Demo, 1990
Chanted Illusion Demo, 1992

DEATHPROOF (SPAIN)

Mild post-thrash with both sludge/doom and alternative touches; the riffs weigh despite the more melodic throw-ins, and try to move around changing the tempos here and there, including a few dramatic death metal-esque leanings ("When do You Break?"). Otherwise this is laid-back uplifting music with a vocal "duel": gruff death metal-ish vs. cleaner alternative ones, spiced by the odd higher-pitched semi-scream.

Abuse Full-Length, 2011

DEATHRAGE (ITALY)

The band's debut is a fine, but unpolished piece of aggressive, heavy thrash. The overall style is not too far from Sacred Reich's "Ignorance", beating even this work on the best moments: the intense thrashing "Call of Death" and "Killing for Fame", and the speed/thrash madness "Deathrage"- a riffy tour de force, worthy even of the Agent Steel debut. "Master of Nothing" is a nice blend of fast-paced and heavy, slower guitars, recalling early Celtic Frost- a dark, brooding number; another similar combination one will encounter on the cool, diverse instrumental "United States of Redskins". "Self Limited" is a bit unconvincing, trying to sound both melodic and aggressive at the same time being longer, but the power metal riffs don't seem to work very well. The vocals are forceful, semi-death ones, and are quite close to the ones Chuck Schuldiner (R.I.P.) used on the first couple of Death albums.
The expectations were that on the next album what little was missing on the debut, would be made-up. On the contrary, the follow-up is a much weaker effort, with dull and repetitive riffs and boring, plodding songs bordering on hardcore; there was almost nothing there to connect it to the impressive debut.

Self Conditioned, Self Limited Full-length, 1988
Down In The Depth Of Sickness Full-length, 1990

Vibrations of Doom

DEATHRAID

This is fast intense thrashcore with very raspy drunken vocals; the riffs are simplistic, but the attitude is very uncompromising with still a couple of more moderate mid-tempo moments present. The guitar sound is very abrasive and distorted trying to imitate the early examples from this sub-genre (think early Prong, The Exploited, etc.).

All Life Ends Full-Length, 2010

DEATHRAISER (BRAZIL)

Intense old school thrash ala mid-period Kreator, Merciless and Hypnosia with appropriately vicious semi-screamy vocals ala Mille; expect no mercy here the guys grabbing you by the throat from the very first cords on the ripping opener "Violent Aggression" which sets the tone for the ensuing "massacre". This is really fast relentless stuff boldly entering the death metal arena on "Enslaved by Cross", although ventures of the kind are not that many the sound staying true to the aggressive, insanely fast at times, thrashy patterns till the end. Variety is out of the question, but this sincere prime downpour of speed will make your day without giving you too much of a choice: "thrash or be thrashed", like the title of the closer sums it up all so well.

Violent Aggression Full-length 2011

DEATHRAISER (FINLAND)

Cool classic thrash, performed by a bunch of Finnish teenagers; the boys play with inspiration, taken mostly from early Whiplash and their neighbours from Cranium, but more aggressive, proto-death sections are also scattered around ("Necrosadistic Specialforces"). The vocal delivery is mostly in the black metal camp accompanied by gruff, death metal choruses.

Deathraiser Demo, 2006

DEATHRASH (USA)

The interesting thing about this band is that the line-up includes two musicians who have taken part in both Whiplash and the progressive metallers Zero Hour at the same time a few years later, one of whom is one of the three Whiplash Tony's: Scaglione (drums). Based on the demo, which is with quite a bad sound quality and a fuzzy guitar sound, and drums which sound a bit hollow, stifling the other instruments at times, the guys here stay closer to the early Whiplash sound: this is speed/thrash metal not too far from "Power and Pain", maybe a bit more restrained and less frantic.

Faces of Death Demo, 1986
Thrash Beyond Death Live album, 2006

DEATHRIDER (USA)

This is cool classic fast-paced thrash in the vein of Forbidden's debut, and a clear Slayer-influence on the more aggressive, shorter numbers. "Eyes Of Misery" is an unnecessarily long orchestral outro (5-min).

Requiem Full-length, 1991

DEATHRONER (CANADA)

4 songs of evil black/thrash in an energetic up-tempo nicely "courting" speed metal at times as well ("Blizkrieg"); good stuff with sharp classic riffs, a few more complex deviations (the excellent diverse opus "March to War"), and brutal low death metal growls. Some of the band members are also involved in the black metal outfits Supremacy and The Black Goat Order.

The full-length is a further elaboration on the concoction heard on the demo by focusing more on Germanic speed/thrash metal which comes pleasantly semi-technical on the energetic lasher "Fire Holocaust" which main motif will also remind you of Destruction's immortal "Bestial Invasion", who seem to be the main influence on the band. The speed/thrashing mayhem carries on on full-throttle, including on the longer, more "serious" "March To War" which provides fast, no-bars-held, thrash for about 7-min. What may annoy is the noisy, buzzy guitars and the not very suitable rough death metal vocals.

Deathroner Demo, 2007
Death to All Full-length 2010

DEATHROW (GERMANY)

One of the five best German thrash metal bands; the band's debut is typical for the time energetic speed/thrash metal close to Exumer and Destruction. "Raging Steel" is not a very distant departure, but there are some claims at a more ambitious song-writing ("Beyond The Light", "The Thing Within"). However, even the most complex tracks on this album could not even slightly suggest at what was coming: "Deception Ignored" is triumphant progressive/technical thrash metal, arguably the best work of the whole genre; there's no need going into discussions about this mandatory album which is pretty much the peak of progressive/technical metal making many subsequent works just not very apt variations of it. Unfortunately, the lack of immediate follow-up put the band behind their more prolific, but much less striking contemporaries, and when their last album was released, thrash metal has already begun to fall into oblivion. "Life Beyond" is another great technical thrash offering, but less adventurous with shorter, catchier songs. Uwe Osterlehner, the band's mastermind, has made use of his time during the break between the last two efforts, to join forces with members of Psychotic Waltz for the release of another stellar progressive thrash metal album under the name End Amen.

Satan's Gift Full-length, 1986
Raging Steel Full-length, 1987
Deception Ignored Full-length, 1988
Towers In Darkness Single, 1992
Life Beyond Full-length, 1992

DEATHRUNE (USA)

Based on the "Beneath the Cypress Groves" demo, this is thrash/death metal, with no modern influences from the 90's. The style is potent, mostly heavy and mid-paced, bringing to mind the Dutch Bluuurgh, and Asphyx's faster material. "Possession Nocturne", on the other hand, is a very brutal number, with clear nods to the 80's grindcore scene. Reportedly on the next two demos the guys have moved towards brutal death metal with no ties to thrash.

Beneath the Cypress Groves Demo, 1992
Memories of the Exhumed Demo, 1994
Remain Forever Entangled Demo, 1995

DEATHS HEAD (AUSTRALIA)

A nazi thrash band from Australia, run by just two guys; the style is simplistic, but effective crossover/thrash similar to the Germans Rumble Militia and D.R.I. Their debut may pass for their best effort, comprising energetic thrashcore hymns of the more laid-back semi-punk type, the main complaint being the not very desirable modern edge of the guitars which doesn't quite go well with this style, including a few exersises in heavy groove. The singer is forceful with a thick hardcore tember, but never shouts or quarrels getting the message through in an authoritative determined manner.
"Baldr" is a more varied, and a better for that matter, effort even including nice female vocals on the excellent doomy hymn "The Light, The Innocent". Mentioning doom, the latter is pretty well covered: check out the traditional doom metal masterpiece "The Dark Deed Done", the short "flirtation" with stoner/doom "Allfather Rides", etc. The faster tracks are still around, of course, not straying too much from the well established thrash/crossover formula, maybe smelling hardcore more this time.

Onslaught Full-length, 2001
Feast of the Jackals Full-length, 2003
Hatreds Disciples Full-length, 2005
Kriegslied Full-length, 2008
Baldr Full-length, 2010

DEATHSTORM (AUSTRIA)

The guys playing here released two demos under the name Damage a few years earlier. Based on the full-length, the band lash mercilessly in a not so bridled modern/classic thrash hybrid fashion sticking to the fast parametres more and one would easily recognize the influences here: Gammacide, Merciless, Massacre, early Sadus, etc. A good sense of melody sneaks in on the longer numbers ("Await The Edged Blades", the excellent speedy closer "Rest") and generally the shred doesn't lack the obligatory melodic "decorations" the screamy chaotic leads playing a secondary role here. The singer is the staple deathy shouter who provides the necessary doze of dramatism.

Storming with Menace EP, 2011
As Death Awakes Full-length, 2013

DEATHSTRIKER (MEXICO)

This is more than just "thrashing drunk n' roll"; this is actually not terribly bad thrash/death metal with strong shades of hardcore ("S.G.B.D. (Skate, Green Beer, Destroy!; "F.O.A.D.", which is not a Broken Bones cover)", which thrashes with force and a lot of speed (check out "Prepare For The Strike"), despite the distorted, noisy guitar background. The singer is a match, though, spitting vitriolic angry lines in a way no worse than early Tommy Vistor (Prong).

Thrashing Drunk N' Roll EP, 2011

DEATHSTRUCTION (GERMANY)

The guys from the modern thrashers Cuatro X have another project, and judging by this 10-song demo, coming with a very good sound quality, they have been converted to the old faith pulling out an atmospheric retro blend of thrash and death metal. The approach is dominantly mid-paced with desirable faster touches ("Fire Walk With Me") and a few stylish technical "decorations" ("Absent Of Sound"). "Dead Eyes Open" is a major diverse thrasher in various tempos, followed by the equally as varied "Infected Voice" (which is not a Sepultura cover), but the guys close with two less intense "sleepers" with doomy overtones, still delivering way better than the pedestrian modern efforts of their other band.

Threshold of Aggression Demo, 2010

DEATHTALE (AUSTRIA)

These are the same guys who under the name Demolition released 3 full-lengths and one EP of competent, if hardly original, modern thrash. The style here has moved towards more aggressive fields with death metal added to the fore. The music still remains within the modern trends, but the band lash with more passion producing some viciously aggressive cuts: the technical deathster "Blood Trail", the melodic virtuoso piece "O5", the interesting progressive closer "This Bullet...". The rest is more on the derivative side the guys sticking to what is familiar to them although some elaboration on the more technical side may intercept the predictability on future efforts.

Apocalyptic Deadline Full-length, 2012

DEATHTRACK (NORWAY)

Melodic heavy/power/post-thrash with both alternative and doom/gothic vibes; soft mellow stuff with pleasant carefree riffs at their best recalling Paradise Lost's "Draconian Times" with a more aggressive edge.

Deathtrack Full-length, 2010

DEATHTRIP (UK)

Based on the full-length, this act play pure modern sterile thrash which also includes a couple of more classic-sounding shreds in a manner not too distant from Davidian and Dew-Scented. The guys prefer the mid-pace to tell their story and one will more than welcome the faster cuts ("Serpentine") when they come. Lyrical moments (the quiet balladic instrumental "Descend Into Madness") are not excluded, either, before the 2nd half embraces the slow side descending to doom quite often "killing" the inertia to the point of an industrial abstractism on the final "Abnegation". The singer shouts in a brutal semi-shouty manner containing the appropriate dry dispassionate tone to fit the music.

Deathtrip EP, 2012
Ruinous Full-length, 2012

DEATHWISH (UK)

Deathwish were one of the more original UK thrash metal bands. Their style has the necessary fast, raging thrashers, but it's in the heavier, doomier parts where the band's sound really delivers the goods. The music has this unique dark, brooding quality, which could only be compared to their mighty compatriots Black Sabbath, whom they honour with a nice cover version of "Symptom of the Universe" on "Demon Preacher". The debut is the more immediate, more light-hearted, but less impressive effort, with only a few tracks carrying this dark, brooding spirit ("Dance of The Dead") mentioned above.
"Demon Preacher" is a great album, with a nice balance between intense thrashers, some of which are quite aggressive outbursts ("Carrion") and moody, heavier ones (the masterpiece "Prey To The Lord"). In the middle there is the aforementioned cover version of Black Sabbath's "Symptom Of The Universe", which at the end is turned into a mighty thrashfest, abandoning the heavy, doomy sound of the Sabbaths. "Past Life" is a marvellous acoustic instrumental at the end. Jon Van Doorn is one of the most unique voices in thrash metal and his dark, passionate, semi-clean tone makes every song memorable, sticking out from the others.

At the Edge Of Damnation Full-length, 1987
Demon Preacher Full-length, 1988

Vibrations of Doom

DEATHWISH (USA)

This US outfit don't stray too much from the heavy modern thrash metal path except on the moments when they try something more flashy: the jumpy riff-patterns on "Hysteria" which will recall both Meshuggah and Gojira among some practitioners from the djent movement; the elusive technical pyrotechnics on "Children Of The Pit". The final "Juggernaut" is also worth mentioning being exemplary creepy modern technical thrashism with swirling sections and menadering guitars topped by impressive lead guitar work. The singer is a subdued death metal semi-growler who is put too low in the mix and at times may remain unheard. There is certainly a potential here, now only timidly displayed here and there, and it should find a fuller realisation on future efforts.

Dreams of Fortune EP, 2012

DEATHWITCH (SWEDEN)

Old school death meets old school thrash meets old school black metal. The band play at a respectable speed, with numerous blast-beats as well as slower atmospheric black-ish parts, resulting in a diverse and frequently interesting sound. The debut is an intense affair with a cool raw underground approach, staying close to early Bathory and the Canadians Megiddo, also recalling the Swedes Bewitched in the more playful parts ("Infernal Gates Of Evil"). The music is mostly up-tempo, the blasting moments are not many at all, and there is even one jolly heavy metal anthem at the end: "Sadistic Sodomizer", to which the horrifying black-ish rasps don't suit too well.
"Deathfuck Rituals" is a slightly uneven mix of furious black/thrashers and much slower doomy Khold-like numbers. The former are really extreme, blasting the whole time going well over the Impaled Nazarene delivery, leaving the latter the more preferrable listen, although there's no much variety there, either, just gloomy depressive riffs reaching for the mid-pace at best.
"Violence Blasphemy Sodomy" is a much better offering, and will entertain the thrash metal lovers on all counts with its brisk energetic sound. The album develops in a classic thrash manner, and the super-fast elements now are not annoying at all, giving the predominant thrashy riffage the necessary boost. "Witch of Death" is a nice atmospheric technical thrasher with a few death metal hooks added, one of the finest tracks produced by the band, closely followed by another atmospheric composition: the stylish "marriage" of doom and thrash "Coffin Fornicator". Death metal comes up again on the raging "Worthless Scum", before "Fuck Off And Die" (which is not a Broken Bones cover) switches onto great headbanging retro thrash, paving the way for the closing "Death Maniac" which thrashes intensely in the first half, leaving a heavy doomy ending to do the final damage.

Triumphant Devastation Full-length, 1996
Dawn Of Armageddon Full-length, 1997
The Ultimate Death Full-length, 1998
Monumental Mutilations Full-length, 1999
Deathfuck Rituals Full-length, 2002
Violence Blasphemy Sodomy Full-length, 2004

DEATHWORK (ITALY)

Based on the "Evolve to Extinguish" EP, this young Italian band has obviously a fascination with the American metal scene. Deathwork mix thrash and death metal with a definite old school nature; the thrashy riffage recalls the Bay Area scene (Exodus, Testament), whereas the death metal parts cling towards the Floridian scene. As a result we have 6 tracks of good retro thrash/death metal with a certain original touch, since these two styles have seldom been mixed.

Dissolution of Eternity Demo, 2003
My own war Single, 2005
Evolve to Extinguish EP, 2005

DEBAUCHERY (UK)

Thrash/crossover sounding close to Hellbastard's "Natural Order"; these guys are probably more melodic, adding slower numbers which are longer providing more serious music, but lose the point exiting the thrash metal field. On the other hand, the very short 1-min or so songs are sheer hardcore of the less aggressive type.

The Ice Full-length, 1988

DEBONING METHOD (USA)

Pretty cool old school thrash metal with occasional brutal blast-beats and more clever guitar work which at times resembles mid/late period Death. The album starts in a dramatic steam-roller fashion with "Breath Of Hatred", but "Cold" is already a different story with fast sharp riffs and the aforementioned blasts. "Let Them Die Slowly" is a fine blend of crushing heaviness and speedy thrash resembling mid-period Death and Sepultura's "Beneath the Remains". Then comes time for more puzzling technical riffage with "What Remains", which is more controlled speed-wise in the 1st half. "Covered With Bugs" is a not very appropriate joke: grinding hardcore lasting for about 2-min, followed by the slightly more stylish piece of brutality "Invisible", which adds death and thrash metal to the core mix. The more technical song-writing returns with the diverse speed/thrashing opus "Lo And Behold", but all the praises will be left for the fabulous shredding instrumental "Stillborn", which would make even Yngwie Malmsteen proud; the track is mostly balladic and lead-driven, but is a wonderful piece of music which predates the similar Death's "Voice of the Soul" with 5 whole years. The phenomenal lead performance stays for the beginning of the closer "Fallen Evil" clearly overshadowing what follows later on this otherwise entertaining opus which moshes out in a brisk up-tempo manner ala Paradox. The vocalist does a good job behind the mike singing in an attached, forceful semi-clean manner with certain shouty tendencies.
Two of the musicians used to play in the retro thrashers Archaic Mass with whom they released 3 EP's, and the drummer Derek Roddy later turned into one of the most prominent figures on the field with participation in famous acts like Malevolent Creation, Nile, Hate Eternal, Council of the Fallen, etc.

Democracy Full-length, 1993

DEBUSTROL (CZECH)

One of the longest-running metal bands from the Czech republic, Debustrol play aggressive Slayer-esque thrash on their early works, very well done. There are also some slower numbers, where the band tries something more technical. Their debut is probably their best effort, thrashing quite intensely, with nods to Slayer and Sepultura: their sound a few years earlier; the guitar work is direct, but is solid throughout, providing a great headbanging tempo most of the time. There is a slight death metal aggression present ("Protest", and a couple of songs towards the end, which are shorter than the rest (1.5-2min), and are truly explosive bursts of aggression), and this is when this album sounds even more appealing.
"Svět Co Zatočí S Tebou" is a very good follow-up, mixing the aggressive thrashers in the vein of the debut, with slower, heavier numbers, some of which are perhaps too melodic and sweet for a thrash metal album ("Egypt", "Sarkofg Smrti"), but the rest is pretty hard and intense.
"Chytrá Past" is a radical turn to modern groovy post-thrash starting with the awful funky number "Chytra Past", later featuring even worse cuts, exiting the thrash metal field quite a bit, even metal. Just a few faster songs briefly recall the previous efforts ("To Neni Zadnej Raj", "Vstavej"); listenig to this, one would probably not be very enthusiastic to check out the band's future offerings.

Neuropatolog Full-length, 1991
Svět Co Zatočí S Tebou Full-length, 1992
Chytrá past Full-length, 1994
Vyhlazení Full-length, 1995
Pád do hrobu mrtvol Full-length, 1998
Apokalismus Full-length, 1999
Steak Full-length, 2001
Přerushit Full-length, 2005

DECADENCE (BELGIUM)

Like another band from Belgium- Asphyxia, Decadence play good, but unimaginative, Bay Area-influenced thrash metal. There are the obligatory good riffs and aggressive attitude, but we have that on many other albums.

Gangs And Victims Full-length, 1989

DECADENCE (SWEDEN)

Based on "3rd Stage of Decay": a good modern thrash/death metal band with an old school attitude; nice, sharp riffs and great solos "decorate" the band's music, recalling Carcass' "Heartwork" and late period Death on the best moments. "The Creature" shows a band who are yet to perfect their music; this is more simplistic, but also faster stuff than the follow-up; the sound stays close to the Gothenburg standards, and the technical riffs which were all over "3rd Stage of Decay" are only slightly hinted at ("Killing Perseverance").
The self-titled debut is the band's most thrashy effort, and is arguably their best achievement so far. The music is modern-sounding, boasting really cool intense thrashers ("Heavy Dose", "Dagger of the Mind"), but it offers other interesting moments as well, like the more classic mid-paced thrasher "Black Eternity", and the slower, gothic-laced "Decadence". The last track "War Within" carries the death metal shade, which would later take a more definite form.
"Chargepoint" is a return to the all-thrash sound from the debut, and sounds quite classic at times. "Discharge" opens the album in a flying speed/thrashing manner with swirling solos and mean death-ish vocals. The attack continues with full force on "Silent Weapon (For A Quiet War)" with the odd technical hook springing up, but "Out Of Ashes" is slower mid-paced epic thrash. "Point Of No Return" preserves some of those elements although it's the intense galloping riffs which deliver better. "Strength Of Mind" is a nice speedster with technical tendencies again recalling late-period Death, but "Fast Forward" is much more ordinary modern thrash despite the speedy "fast forward" tempo. The remaining songs are more interesting bringing back some of the technicality with "Be Home When I'm Gone" being a particularly good speed/thrash shredder. The guys have concentrated on melody quite a bit this time, and this effort could pass for their most melodic one although in terms of speed and technicality just a little has been lost.

Decadence Full-length, 2005
The Creature Full-length, 2005
3rd Stage of Decay Full-length, 2006
Chargepoint Full-Length, 2009

DECADENCE (USA)

Cool demo of energetic thrash, full of sharp riffs and headbanging rhythms, reminiscent of early Testament, with the deviations from the formula: "Killing Disorder" which is an aggressive, Dark Angel-influenced track, and the closer "Self Inflicted Pain", which is a cool attempt at a more technical play.

Demo Demo, 1989

DECADENCE WITHIN (UK)

Based on "This Lunacy", this is thrash/crossover of the more melodic variety. There are occasional more aggressive numbers ("Backbiter"), as well as one very good 10-min track ("This Lunacy"), which contains both faster and stomping parts, and even more original guitar work.
"Soulwound" sounds quite close to the full-length debut, mixing fast thrash-fixated sections with slower ones on almost every song. There is a stylish abstract technicality of the minimalistic Voivod-ish type present at times, but this tendency remains undeveloped, since customarily the guys leave the faster performance for the 2nd half on almost every song.
"Reality Wake-up Call" is more unfocused hesitating between the guys' trade mark sound and the modern trends, plus a certain doze of alternative (the quirky "A Stitch In Time"), also achieved through a few funky insertions. There is an attempt at a more technical delivery which bears the nice "fruit" "Reality Wake-Up Call" treading "Nothingface" waters, but there is also quite a bit of clumsy groove. No wonder the band were not willing to develop this tendency any further...

Speed Hippy EP, 1986
This Lunacy Full-length, 1989
Soulwound Full-length, 1990
Pay-Off Time EP, 1991
Reality Wake-Up Call Full-length, 1993

DECAP ATTAK (USA)

This is not exactly a "decap attak", but is cool energetic speed/thrash which doesn't hide its fascination with acts like Torture and Viking the guys thrashing with precision seldom losing their good manner moving straight onto death metal ("One For The Ladies...") to a generally positive effect. Other shofts from the established patterns include the heavy doomster "Atomic Grave" and the modern proto-groover "Carnal Motherfucker" which kind of dissipate the energy accumulated in the 1st half. The singer is gruff with a drunken semi-shouty blend, but fits the no-bars-held musical approach which main saving grace are the cool stylish leads.

Wreck N' Roll Full-Length, 2012

DECAPITADO (USA)

This is the new band of two of the members of the great progressive thrashers Realm, who have woken up for some more technical stuff. Well, this is by all means technical music, but it is much more modern sounding, and is much closer to the works of Baghead and Meshuggah, for example, than the Realm efforts of the 80's. It has a certain industrial edge, and is mostly slow-ish; it looks as though the guys wanted to "court" several styles here, apart from thrash: industrial, doom, and something else, which is hard to define. On top of that we have Ozzy Osbourne-styled vocals, which actually fit well, having in mind the sleepy tempo. If you manage to overcome your surprise, expecting fast-paced bombastic progressive thrash, you might actually find something to like on this one.

Blacked Full-length, 2003

DECAPITATION (USA)

For 1985 (even for later years) this is quite brutal; the vocals (when they can be clearly heard) are vicious death metal roars. The music tones down the vocals' brutality a bit, recalling Hallows' Eve and Whiplash's debut, but with a much worse sound quality, and faster.

Let The Killing Begin Demo, 1985

DECAY (POLAND)

A classic mix of thrash and death metal close to Brutality, spiced with touches of the doomy heaviness of Asphyx, where the atmosphere quickly goes a few levels up, and very good lead guitar work courtesy of Czesław Semla, who later achieved bigger success joining the technical death metal gods Sceptic. Some of the musicians released one more demo of dark gothic metal 3 years later under the name Liquid Fever.

World Decay Demo, 1995

DECAY LUST (NORWAY)

Based on "Hobson's Choice", the band plays a kind of mechanized thrash, not too far from Kreator's works of the 90's, "Cause For Conflict", for example. Another soundalike would be early Meshuggah. Despite its dry sound, this is good stuff, professionally done.

Hobson's Choice Demo, 1993
Rehearsal Demo, 1998

DECAYED (PORTUGAL)

A "notorious" figure on the Portuguese underground, going under the abreviation J.A., has left a voluminous legacy of 9 full-lengths and twice as many EP's. Based on this compilation, the name of the game here is hardly sophistication the music all over having a genuine pristine quality "courting" the early Celtic Frost and Bathory recordings, although the music is mostly thrash/death sustained in up-tempo with the oobligatory mid-paced breaks generally recalling the Floridian scene (early Death, Brutality, Massacre). The music by all means makes sense, but the sound is plain bad, giving quite a boost to the scary growling vocals ala Martin Van Drunen. "The Ouroboros/Mesmerized" is a curious cut, a slow pensive doomster with an industrial vibe, finishing this primal cross over the band's catalogue which sees the man true to the old school sound all through his quite a long career.

A Stygian Heritage Compilation, 2011

DECAYED REMAINS (CANADA)

This act shares members with the black/thrashers Thesyre. Based on "Moonlight": the music here is cool thrash/death metal of the retro type with crisp sharp guitar work and quite a few atmospheric keyboard implements (including a few full-fledged instrumentals, one of which ("In The Chapel") is whole 6-min long, and kills the inertia in the middle). The tempo varies from one song to another, also offering something in the technical department (the excellent Atheist-influenced 2-min technical shredder "The Instinct Of The Wolf"). "Return Home / Reflection" elaborates on those technical leanings, mixing them with heavy pounding riffs in the best tradition of early Celtic Frost. "Meeting At The Crossroads" is a more brutal death metal-oriented number, again sounding technical and busy ala Morbid Angel and Decapitated. "Killing The Beast" is a nice minimalistic mid-paced creeper, but "Personnification" compensates with more intense faster riffage, before the fine acoustic/flute "Epilogue" puts you to sleep, if you, of course, manage to go past the deep declamatory voice which accompanies the guitar. Although hailing from Quebec, the motherland of technical metal, the band are not intent on proving themselves as the most complex musicians in the world, keeping it relatively simple to a positive effect, just slightly reminding of their more technical potential.
"One Man's Fate": the music remains an old school thrash/death hybrid, but is a lot more restrained, sticking to not as exciting mid-paced patterns, which produce the long "A Divine Funeral", which is a not very eventful composition consisting of heavy repetitive riffs amidst several melodic "revelations", some of which of the lead-driven type. The mid-tempo saga never ends here, and may bore the listener way before the end, acquiring doomy proportions later (the lyrical heavy steam-roller "Graven Song"), consequently leaving the thrash sector on the mild gothic/power metal hymn "L'ennemi". If this was intended as a transtional work for the band before moving into the doom/gothic field, than it would have served its purpose great: the problem is that the guys were never heard of again, some of them later seen in other acts: the black metal purveyors Aufkrema, the black/thrash formation Thesyre, etc.

Moonlight Full-length, 1997
One Man's Fate Full-length, 2000

DECEASE (ROMANIA)

This outfit play fairly decent old school thrash of the intense proto-deathy type. The band shred with the utmost intensity with some of the numbers ("Boiling Hatred") being full-fledged deathsters. There'll not bemany who would stand still to compulsive moshers like "Atrocious Deeds" and the "sadistic enjoyment" "Sadistic Enjoyment" which will cause numerous neck sprains along the way. With all the tracks packed within just under half an hour, one gets the idea that this will be a major assault on the senses the brutal music ably supported by forceful shouty death metal vocals.

Exhort to Obliterate Full-Length, 2013

DECEASED (USA)

This band is one of the oldest metal bands in the USA, and one of the first ones to try a more brutal sound in the vein of Possessed's "Seven Churches" with their early demos from the mid-80's. By the time of "Luck of the Corpse", the guys had managed to come up with a potent thrash/death metal hybrid which 4 years later on "The Blueprints for Madness" was fully displayed once again, with not a single hint at any modern metamorphosis, lashing steel riffs over the stagnating 90's scene without mercy. The change eventually came with "Fearless Undead Machines", but the music on offer was no worse, moving onto retro thrash with elements of power and speed metal: a good atmospheric effort with not many ties to their deathy past. The guys preserved the style for the follow-up "Supernatural Addiction", which softened down a bit with more classic heavy metal and epic elements added, and Kingsley "King" Fowley giving a more melodic, but equaly as appealing, tone of his voice. "As the Weird Travel On" is another capable offering of thrash, power, classic heavy metal and a pinch of death crossing over several genres consequently satisfying quite a wide gamut of metal fans who at that point must have already adapted to the guys' interesting "cocktail". Hopefully instead of indulging in releasing Best of Compilations and Splits, which number has risen to quite big proportions recently, the band will sum up their powers soon for a new full-length.
"Surreal Overdose" would be a surprise, at least in the beginning, where the guys indulge in fast blitzkrieg thrash/death metal which reaches its culmination on the raging piece of brutality "The Traumatic" which could indeed "traumatize" the unprepared. The problem is that after it the band don't really slow down, but carry on with a lot of speed by slightly increasing the more moderate passages. As a whole this new offering is their most aggressive one to date, and those who liked the larger-than-life "cocktails" the band specialized in so well, may feel betrayed listening to this uncompromising slab of old school brutality which still comes nicely spiced with brilliant melodic leads which are very close to stealing the show, especially on the encompassing progressive closer "Dying In Analog", one of the guys' finest achievements, thrashing , speeding and deathing in a top-notch manner greatly boosted by marvellous epic lead-driven intro and outro.

Gut Wrench EP, 1991
Luck of the Corpse Full-length, 1991
13 Frightened Souls EP, 1993
The Blueprints for Madness Full-length, 1995
Fearless Undead Machines Full-length, 1997
Supernatural Addiction Full-length, 2000
Behind the Mourner's Veil EP, 2001
As the Weird Travel On Full-length, 2005
Inject the Ugliness EP, 2007
Surreal Overdose Full-length 2011

DECEIT (HUNGARY)

Cool classic-sounding thrash with an alternative edge, coming mostly from the new wave-ish singer; this mixture bears at least one fruit: the melodic alternative "Leave Me Alone", and the rest sounds quite cool with stylish, Voivod-ish moments; another band this one reminds of, is the Swiss Calhoun Conquer. There is no aggression or speed involved here; this is peaceful mid-paced music, which will hypnotize you with its non-changing, but very catchy rhythms. "Suspicion" is the odd closer, being mostly noise, without any real music, and that's sad, since one more of the same would have been just fine.

The Chaotic EP, 1993

DECEIVER (GREECE)

3 songs of fast ripping retro thrash ala Kreator and Necronomicon; the guys lash fast and tight, never slowing down, the music asssisted by vicious low-tuned death-ish vocals.

Deceiver Demo, 2011

DECEIVER (SWEDEN)

The debut: a simplistic, but interesting mixture of heavy metal (think Motorhead,Tank) and thrash metal spiced at times with Black Sabbath-ish doomy riffs; it stays more on the heavy metal side although fast headbangers like "Destroy'em All" (from "Riding With The Ripper") lift the spirit up.
"Holov Posen Tro May Trot" is the band's best effort, and the most thrashy and aggressive one; it's a great album all the way, with cool speedy headbangers, some of which pick up quite a lot of aggression, bordering on proto-death ("Cold winter & Empty Bottles"). There's no single stop on this one: pure thrash assault until the end.

Deceiver EP, 2004
Riding With The Reaper Full-length, 2005
Holov Posen Tro May Trot Full-length, 2006

DECEPTION (USA)

Cool power/thrash, hesitating between the modern and the classic sound (staying closer to the modern one); the music is mid to up-tempo, graced by stylish leads and nice melodic high vocals, sounding like a mixture of Jim Mullis (Temple of Blood) and Messiah Marcolin.

Deception Demo, 2004

DECEPTOR (UK)

4 tracks of complex modern thrash which moves from more elaborate moments (the jumpy unpredictable "Pilgrims Of The Void") to straight all-out thrashers ("Soothsayer) both sides played with proficiency including the nice tribute to the 80's American power/thrash metal scene "Oracle Of Despair". "Kursk" is exemplary technical speed/thrash, a standout number which alone shows a lot of potential to be further explored in this outfit who should have no problems taking a prime rank soon among the thrash metal hordes from the British Isles. The singer is on par with the good music with his attached semi-clean tember without being very adventurous reminiscent of Blaze Bayley (Wolsfsbane, Iron Maiden).
The guys continue testing the soil, and here comes another EP which comprirses the same cleverly-constructed semi-technical stuff, this time quite retro-sounding, which is at times on the mellower speed/power metal side (the opening "To Know Infinity"), at others is the good old speed/thrash ("Heatseeker"). Progressive metal takes over on the closing "Oblivion's Call" which is again more on the power metal side, and this is probably the only complaint one may have when all is said and done: the band have softened down the approach retouching the sharpness of the guitars increasing the melodic tunes to the point that one may recall epic works from the past, like the Warlord debut, or the Swedes Heavy Load.

Soothsayer EP, 2011
Chains of Delusion EP, 2013

DECIBEL HAMMER (FINLAND)

This hellish trio unleash raw primal thrash/proto-death of the old school which has the necessary ripping riffs to shake your head which could by all emans happen without the introduction of several modern blasting sectiuons ("Butcher Bob"). The sound quality is pretty pristine so don't expect any sophistication: this is violent bash to the death assisted by awful shouty death metal vocals which tear the “silence” annoying the listener especially on the higher notes which are, fortunately, not applied too often.

Release the Havoc Demo, 2012

DECIDE (SZECH)

The full-length is your prototypical modern groovy post-thrash with a couple of more lively moments with a classic shade ("Looking For Myself"). The guitar work is not bad, actually, and offers the casual melodic lick here and there although in the 2nd half the music slows down considerably logically finishing with the quite good exercise in doom "The Loss Of Immunity".

The Loss of Immunity Full-length, 1999
Resolution EP, 2003

DECIMATE (UK)

Based on the full-length, this band pulls out your average modern thrash metal ala Corporation 187 and Carnal Forge, spiced with sparce hardcore-ish parts ala Biohazard and Pro-Pain. The guitar work of the Brits is a level higher, though, with clear technical pretensions at times ("Forever Alone"), and good, proficient leads. The vocals are mid-ranged semi-clean, quite cool, interrupted by clean, and harsh, death-ish ones; in other words, the vocal variety is quite big. Half of the songs will please the fans with their intense dynamic riffage ("A Lesson Learnt", "My Own Way"), while others are for the more romantically-inclined with their semi-balladic parts ("Life Fades Away", which boasts the finest melodic riffs and leads on the album).

Betrayed to the Point of Reprisal EP, 2000
In The Name Of A God EP, 2001
11 Rounds Full-length, 2006

DECIMATION (USA, Kansas)

Based on the full-length, these folks specialize in prototypical Swedish thrash/death which is perhaps a tad more brutal with the more frequent participation of the blast-beats which intercept crisp thrashy passages, but check the title-track for a good example of how those two sides can co-exist quite well with an added doze of twisted technicality the latter also finding "shelter" on a couple of shorter numbers later. Otherwise this is generic, albeit professionally executed, stuff with aggressive low-tuned death metal vocals.

...and the Meek Lay Dead EP, 2007
The Undead Shall Inherit Full-length, 2010

DECIMATION (USA, Ohio)

Another good, but unsigned band: classic technical thrash (based on the Best of Compilation), quite well done recalling Artillery at times; more straight-forward thrash metal could be heard on the first demo. There is groove involved ("Party's Over" from "Rat Race"), but in a good way, and at least one masterpiece of technical thrash: "Silenced In Time", which is present twice, the second time as an extended version, which, however, sounds rougher and not as appealing.

Armed to the Teeth Demo, 1989
The Dark Embrace Demo, 1990
Rat Race Demo, 1991
Forgotten Race Best of/Compilation, 2005

DECIMATOR (BRAZIL)

Based on the "Thrash Rehearsals" demo: the sound is vintage Slayer, although "Nuclear Sacrifice" might remind you of Kreator and Darkness. In other words, this is well done classic 80's thrash. At the end there is a very faithful cover of Slayer's "Piece By Piece". Some of the memebrs also practice playing death metal with the outfit Hateworks.
"Killing Tendency" is an auspicious debut, featuring the same good headbanging thrash from the demos, again staying closer to Slayer, abandoning their influence on the longer tracks ("The Southern Wind"), which introduce genuine technical licks along with the aggressive thrashing. "Nuclear Sacrifice" is here again, and carries the German spirit, offered with a better sound quality, but without any obvious musical changes. "Thrash Assault" (these guys love this word!) is an awesome piece of straight headbanging thrash, after which come 3 tracks from the "Decimating Thrashterror" demo, where surprisingly shades of Slayer are almost nowhere to be found (except on a few slower, heavy breaks); this is great fast-paced thrash with nods to death metal, very close to the Swedes Hypnosia and, again, early Kreator.
"Bloodstained" treads the same waters, now straight Germanic speed/thrash metal in the vein of Kreator again, with the obligatory stomping "stops" from the roller-coaster along the way: the proto-modern "Streams of Blood", which sounds like the lost track from Six Feet Under's "Haunted". "Genocide" after it will leave noone unshaken being aggressive lashing thrash, with "Day of Wrath" a very faithful companion; and till the end there is no mercy shown the guys thrashing their souls out to exhaustion with the blitzkrieg hyper-speedy closer "Age of Sacrifice".

Thrash Rehearsals October Demo, 2003
Promo CD Demo, 2003
Decimating Thrashterror Demo, 2004
Killing Tendency Full-Length, 2007
Bloodstained Full-length 2011

DECIMATOR (UK)

A thrashy version of Motorhead is what is on offer on "Dirty, Hot And Hungry"; sleezy tracks like "Carnage City Rocks" place the band in the pop-metal camp which is, of course, a bad sign.

Carnage City State Mosh Patrol Full-length, 1989
Dirty, Hot And Hungry Full-length, 1993

Vibrations of Doom

DECISION D (HOLLAND)

Holland seems to have an endless list of quality technical metal bands. Here comes Decision D: first-rate technical thrash/death reminding of Death, Pestilence and Chemical Breath. The music is closer to thrash metal than the one of the aforementioned bands, and these guys provide more straight headbanging moments, although the first two songs on the the debut come up with a vortex of tempo changes and twisting riffs. Then the music becomes less complex and more immediate in the middle, before returning to the more technical patterns for the last 3 tracks. The delivery is never too aggressive, and the songs have their quiet, lighter, atmospheric sections.
"The Last Prostitute" has no traces of death metal whatsoever, and is another very good exercise in technical metal, this time slower and more laid-back with a pinch of 90's Coroner clinging more towards "Grin" in the beginning, but later transforming into something not miles away from the brilliance of "Mental Vortex". The opening "Last Prostitute" promises a lot of modern 90's thrash with a twist, but "Graffiti" contains fast headbanging sections to satisfy even the more pretentious fans; even the experimental funky passages work quite well there. Later the sound becomes more complex, and one can find numerous moments to enjoy: the pounding technical thrash on "Women of Injustice"; the jumpy weird "Independent Remorse" graced by the only more brutal death metal sections on the album; and especially the brilliant "Forsaken"- the highlight of the album, sounding like a leftover from the debut, twisted hectic thrash at its best. "You Ain't Nothing" is not too far behind it, being quirky semi-funky tech-thrash where the gruff singer even tries something cleaner. The closing "Racist Behavior" is dry mechanical technical thrash which will tease you with its steel precision and ever-changing tempos to a hallucinogenic effect; the singer doesn't participate too much leaving the guitarists to create a surreal abstract picture also recalling late 80's Voivod; the Polish Myopia might have listened with care to this effort since their abstract clinical soundscapes owe quite a bit to this act as well.
"Moratoria" has already managed to embrace the modern trends to an extent, and this combination of modern and classic rhythms is quite appealing and to these ears this effort could be classified as the band's finest achievement. The faster moments from the debut have been diminished as well as the death metal shades ("Statues of Deliberation" is a brutal death-laced shredder, but is the only one of the kind), and the pace is mid with loads of technical twists along the way which mixed with the excellent melodic leads, deliver on all counts. The complexity is just on the edge of going beyond comprehension ("Devoted" and elsewhere) at times, but it takes a bit of time for one to adjust to this attractive elaborate picture: the fine blend of creepy doomy and complex technical riffs "Slaughterslice Atmosphere"; the exquisite surreal twisted thrasher "Derastation of a Nation", which features sparce operatic vocals in the middle as well as a few higher shouts from the singer whose dominant brutal death metal delivery is not bad, but falls behind the much better music. "Birth of Cadaver" brings forward the doomy riffage again, again mixed with a steel sharp technical guitar wall. "Bow Down in Suffocation" is more dynamic jumping on the up-tempo to a very positive effect giving the needed boost to the technical performance which hits the top on the peaceful slower mid-break in its turn followed by the speed/thrashy outro. "Bastard" is a less (this is relative, by the band's standards) ordinary take on modern thrash which later moves to a nice balladic, still guitar-driven, passage, but the surprises don't end there since very soon after the guitars start thrashing with full force creating cool headbanging moments ala Helstar's "Nosferatu". The closing "Spiritu Santo" is nothing more than drum beats and a hysterical voice rending in Spanish: quite weird, and probably a slightly underwhelming exit from this great effort.
It's extremely difficult to find an act with their whole discography belonging to the 90's, with all their albums of a consistently high quality without making many compromises with their initial classic style (just a few modern throw-ins) until the end: Decision D are one such a band, and whether "The Last Prostitute" was their creative peak is debatable, but kudos should be paid to the guys for ending their career without succumbing to the fashion of the time, like quite a few of their compatriots (Donor, Sacrosanct, Genetic Wisdom, even Pestilence, if you like).

Razon De La Muerte Full-length, 1992
Moratoria Full-length, 1993
The Last Prostitute Full-length, 1995

DECLINATION (USA)

Playful modern thrash with a few more energetic speedy moments ("Abyss" is a cool headbanger); the stomping side of this little effort is not too bad, either ("Cursed For Worship"), boasting heavy steam-rolling riffs with a doomy vibe. The singer is all right, but his hoarse semi-clean tember gets synthesized not very pleasantly at times, which makes him sound a bit mechanical.

Abyss EP, 2012

DECREPIT MIND (USA)

Based on the "Kill Yourself" demo, this is first-rate classic 80's thrash, sounding like a mix between a more aggressive approach akin to Evildead, and more complex riffage ala Forbidden's "Twisted into Form".

Chemical Interrogation Demo, 1988
Kill Yourself Demo, 1990

DECREPIT UTH (USA)

Brutal intense thrash metal, bordering on death with hardcore-ish touches; the songs are short, 2-min long at the most, and some of them are "decorated" with stylish technical guitars: think Hellwitch, but less technical and with a less serious, "crossover" spirit.

Action Speaks Demo, 1988

DEDICTED (BELGIUM)

Modern industrialized thrash, reminiscent of the Americans Baghead and late period Obliveon, but with a more melodic, alternative edge; the music is rich in atmosphere, a big share for which falls on the good clean vocals, which are just one side of the show; the other one is the harsh, semi-death ones. The tempo is predictably mid-paced, with heavy riffs, which quite a few times acquire a wonderful abstract technical shade, and "Virgin Soil Epidemic" finds room for more energetic guitars, and ends up being an excellent mechanical technical headbanger. "Crystalline" is another song worth mentioning, with crushing twisted riffs, a progressive masterpiece, which suddenly stops near the end, to give way to a short ambient section, which in its turn is suddenly interrupted by another portion of swirling dry riffage. This is a very promising beginning, which could serve as a good basis for an impressive full-length.

Argonauts EP, 2008

DEEP COMA (PORTUGAL)

Two guys pull out sterile modern thrash/death metal with a slight avantgarde feel which is marred by a couple of pure noise tracks ("Dementia") with a strong industrial edge. The approach is heavy in mid-tempo supported by dreamy, balladic sequences. Mechanical headbangers, like "Under The Ground" or the very jumpy "The Fall", are more than welcome, to dissipate the depressive atmosphere which cold Khold-esque blacky cuts, like "Filthy Little Cunt", make even more suicidal. The singer(s) is a not very pleasant death metal shouter, changing pitch on demand, even pulling out clearer performance at times. An intense, faithful cover of Sepultura's "Refuse/Resist" wraps it up at the end.
"Recording Abnormal Psychotic Episodes" may put you in an even "deeper coma" due to its further descent into non-melodic sterile shred which comes heavily industrialized "fighting" with the few efforts from the guys to play faster those moments coming closer to black metal with Khold again a close soundalike. The closing "Beyond The Walls of Sleep" is not a Rage cover, but is a really admirable achievement producing over 7-min of dreamy abstract industrial with harsher riffage implemented at times, an all-instrumental affair which would intrigue even fans of Godflesh and Gojira with its hypnotic riff-patterns and robotic structure.

Despair As You Stare Full-length, 2011
Recording Abnormal Psychotic Episodes Full-Length, 2012

DEF CON ONE (UK)

Meet one more band graced by Antton: the man who took part in both Venoim and M-Pire of Evil. Based on "Warface", this act pull out jumpy groovy thrashcore with cutting riffs and dramatic passages which aptly avoid any speedy "traps" sticking to heavy seismic mid-paced formulas which may wear thin after a while since the approach is exactly the ame except on the merry crossover cut "Hold On" and the atmospheric semi-ballad "Blood". The singer semi-shouts in a predictable hardcore fashion and may be annoying at times overtaking the whole space.

Blood Soaks the Floor Full-length, 2008
Warface Full-length, 2012

DEFALLA (BRAZIL)

This obscure band pulls out thrash/crossover of the more aggressive, thrashy type. The music recalls at times their compatriots Ratos de Porao. The album is whole 15 songs long, so among the hard-boiled thrashers ("Trash Man", the Slayer-esque ball of fury "Death Corps Massacre"), there are a couple of joke songs ("A Couple O Words", "Brain Wisher", which is a quiet country piece), but the thrashing tracks largely exceed them in number.

We Give A Shit (Kickin' Ass For Fun) Full-Length, 1990

DEFAME (JAPAN)

5 guys from Tokyo are responsible for this slab of modern/classic thrash/death intensity which is played at high-speed for most of the time assisted by hoarse semi-shouty death metal vocals. A couple of tracks in the middle are quite short ("Violence Affirmation", "You Are the Witness of the Tragedy"), and come with a less serious hardcore flavour. Actually, the sound is closer to thrash except for the more aggressive "Murder", and on the more classic moments it easily reaches a Slayer-like brutality (the closing "Death Calls You").

The Concerto of Slaughter Full-length, 2002

DEFAMATION (USA)

4 pieces of minimalistic all-instrumental post-thrash of the abstract dreamy type; there is a strong industrial vibe going through the motions, as well as serious doomy overtones; too much for just a 4-track, isn't it? Well, there is some dynamics involved on "Unresponsive", which tries to elevate this effort to the full-flooded thrash metal realm, and almost succeeds with cool melodic mid-paced riffs and a few more clever arrangements.

Defamation Demo, 2011

DEFCON (GERMANY)

One of the more original albums from the German metal scene; although there are only six tracks here (one is an intro, and another one is an outro, both very short), you get 37-min of technically minded thrash, which could be viewed as a kind of a forerunner for the wave of technical/progressive thrash acts from Germany who appeared a few years later. The band are not very technical players per se, and they prefer to keep the tempo fast on the shorter tracks, but they frequently change the pace on the longer ones, and their guitar performance is stylish without being very complex. This album is really well done, with the title song alone closing at 18-min: an ambitious undertaking, which has its moments, but slows down, and has a slightly long 5-min acoustic introduction; an obscure, but worthy release.

"Made in GDR" is more than just a good rehearsal for the official release. It has a powerful sound of its own, still more complex than your average German thrash act of the time, in the form of great long numbers like "Future Cries" and the instrumental "Escape", the latter being an awesome technical thrasher, arguably the band's finest achievement: a feast of swirling leads and a mighty bass-bottom. On the other hand we have short intense thrashing pieces, like "Get Out of the Scrape" and "Voice of Greed". "Charon" is a heavy, atmospheric track, which leaves the thrashing aside a bit, but the closer "Newsterror" comes with all the guns blazing, providing a smashing riff-fest for about 7-min, minus the slower, more melodic interlude in the middle.

Made in GDR Demo, 1989
Suicide Full-length, 1990

DEFCON (USA)

This band boasts the presence of one of the very first members of Metallica- Lloyd Grant, as well as future members of Evildead and Dreams of Damnation. Based on the 1985 demo, the style is not an exact take on early Metallica: it's more of a mixture between thrash and power metal, recalling at times Anthrax's debut (which is also based on the really good melodic, high-pitched vocals ala Neil Turbin), or Zoetrope's and Exodus' debuts, sometimes quite fast, sometimes calmer, but always enjoyable.

Demo Demo, 1985
Demo Demo, 1989

DEFECT (HOLLAND)

A cool 3-song demo of energetic thrash ala Anthrax and late 80's Overkill; the guys insert cool semi-technical guitars ("Deadly Conflict") at times, which makes their music quite interesting at times.

God May Rot Demo, 1990

DEFECT DESIGNER (RUSSIA)

Death, thrash and crossover mixed together, with death metal leading the pack; the band plays both fast and technically, releasing also a couple of nice melodic hooks, but generally the concentration is more on heavy mid-paced groovy passages, intercepted by brutal chaotic Suffocation-like outbursts.

Wax Full-length, 2009

DEFECT NOISES (GERMANY)

This is the brainchild of just one man, Marian Gradinarski (who is actually a Bulgarian living in Gerrmany), who (based on "Pure Sickness") creates noisy industrialized modern post-thrashy landscapes which are on the border of falling into pure djent or even semi-deathcore, but the guy's stylish leads save the situation breaking the monolithic, but ultimately repetitive, mechanized riff-patterns both sides "duelling" for domination the whole time the latter presumably done on a computer. This could have been pioneering some 10 years ago; now it will sink into sea of similar sterile post-apocalyptic djentisms/coreisms.

Error Full-length, 2007
Audio Depressions Full-length, 2010br> Pure Sickness Full-length, 2011

Official Site

DEFECTION (FINLAND)

This obscure Finnish trio pulls out rough intense thrash with a Nasty Savage (think "Indulgence") and Sacred Reich flavour (think "Ignorance"), but the songs are kind of longer, although the mosh seldom stops the guys shredding incessantly adding the odd more technical hook (the diverse technical opus "One Day", which boasts outstanding lead guitar performance, too) where the shadow of the Bay-Area can also be felt. The singer is a forceful semi-shouter who could have tried a few higher-pitches for a change.

War Of Losers Demo, 1987

DEFEDESTRACION (SPAIN)

Expect submissive black/thrash with a curious synthesized sting which doesn't really sound like anything else, but tries to achieve the raw pristine production qualities of the early days, and succeeds on all counts. It certainly bears some resemblance to early Burzum with its sprawling epic sections, but at the same time we have some cold misanthropic atmosphere ala Khold, and a few haunting keyboard insertions. It's obviously done by just one person who also provides the very low-tuned semi-whispered vocals, and is clearly fascinated by all spectres of the black metal movement with thrash appearing on a few passages to provide the odd headbanging relief.

Laborem Suscipere Demo, 2011

DEFENDER (GERMANY)

Classic German speed/thrash along the lines of early Angel Dust, Helloween and Iron Angel; this EP starts with a short intro which is a parody of the opening keyboard tunes from Europe's greatest hit "The Final Countdown". But the rest is a fast and sharp attack with good clean, sometimes screaming vocals. There are moments when the sound stays closer to the speed metal formula, and one can not help but notice how much the 90's power/speed metal scene owes to bands like this.

A Symbol of Devotion EP, 1989

Vibrations of Doom

DEFIANCE (USA)

A typical representative of the Bay Area thrash metal movement; "Product Of Society" is a fine example of it: nice, energetic, up-tempo thrashers, a bit one-dimensional, but packing a punch. "Void Terra Firma" offers a heavier and more aggressive sound, with cruhcnier, more technical guitars and more variety in the tempos; the songs all have their individual face, some slower and angrier, almost Exhorder-like, others faster and even stylish and technical (the excellent "Deception of Faith" and "Steamroller"). There is a good, heavy cover of Iron Maiden's "Killers" as well.
"Beyond Recognition" is the band's finest hour, a really good thrash affair, which starts in a cool headbanging fashion ala the debut, but later the songs become heavier, much more technical, rubbing shoulders with Metallica's "...And Justice for All", without losing the energetic riffage. Slight groovy moments sneak through on some songs, a sign that the guys could have also done a good job later through the 90's, if they hadn't parted after this one.

2009 beats every other year of the new millennium for a number of veterans who released comeback albums. Their number is simply staggering, the fashion having taken away these Bay-Area heroes as well. The problem is that their effort is too far from the high standards of their previous works before the split-up. The album starts with the shaky energetic semi-modern "Prion", which doesn't promise a lot, but is way better than the following three boring groovers which sink the album to the bottom, which in its turn makes it impossible for the more lively, more classic-sounding "Fuel the Fire" to do anything to correct the impression (you can't add "fuel to the fire", if there's no fire, right?). "Sloth" nicely reminds of the band's past, but it's only "Dissolving Around You" before the end which tries something more intense and classic. Steev Esquivel's vocals are exactly the same as the ones he used on Skinlab, shouty and angry, but he has brought quite a bit of the music of that other band with him as well, and this new Defiance has much more to do with the 90's groovy trends, in a way also similar to the guys' other formation from the 90's: Inner Threshold. Released in a very fruitful for metal year, with hordes of old-timers having chosen to "come back to life" at the same time, this effort has very little to offer to the very strong competition.

Product Of Society Full-length, 1989
Void Terra Firma Full-length, 1990
Beyond Recognition Full-length, 1992
The Prophecy Full-Length, 2009

DEFICIENCY (FRANCE)

This band were previoulsy known as Black Age, but the name change didn't cause any style changes: this is crunchy modern thrash, pretty derivative, with melodic decorations which don't take away from the music intensity, and the fans can not help, but enjoy intense shredders like "The Guide" and "Blurred Inception" since there is quite a certain number of slower groovy pieces which sadly occupy more than half of the album. The 2nd half is totally skippable with the complete loss of speed and the introduction of unemotional clean vocals which oppose to the forceful deathy ones.

State of Desillusion Full-length, 2011

DEFIER (FINLAND)

A 4-track demo of Bay Area-influenced thrash; this is good, well constructed music which will remind you of Testament, Metallica and Xentrix. The guitars crush admirably, and the tempo is quite energetic for most of the time, without any technical pretensions. The singer sounds like a bit rougher, but well able blend of Chuck Billy and Chris Astley (Xentrix).

Overture of Annihilation EP, 1990

DEFILE (USA)

Based on the split, this band pulls out fast-paced speed/thrash with black metal vocals; the music lashes out in an uncompromising manner, with the speed decreasing only on the final "Vermin" which suddenly turns to epic thrash with slower heavy riffs.

Olympiac Demo Demo, 1989
Soil, Befoul & Desecrate Demo, 2005
We Are From Hell EP, 2006
Defiling the Masses Split, 2008

DEFLESHED (SWEDEN)

Defleshed are one of the representatives of the classic speed/thrash metal wave of the late 90's (Cranium, Alastor, Delirious, Cockroach, among others), which brought back the glorious sound of the 80's. Defleshed are probably the most aggressive of the lot with an intense/fast approach, and frequent nods to death metal, but done with conviction and enthusiasm.

Ma Belle Scalpelle EP, 1994
Abrah Kadavrah Full-length, 1996
Under The Blade Full-length, 1997
Fast Forward Full-length, 1999
Royal Straight Flesh Full-length, 2002
Reclaim the Beat Full-length, 2005

DEFORGE (ITALY)

Based on the "Freedom Release" EP: these guys come up with a heavy, aggressive mix of thrash and death metal, which is often quite technical, smelling Morbid Angel and Suffocation on the most inspired moments. "Germinate", albeit less intense and slower, is a masterpiece of technical thrash/death metal with a great melodic mid-break and amazing technical riffage, seldom heard even on the works of the aforementioned acts. "Immortality" is a more standard, but quite a cool blend of more ordinary Swedish death metal and a stylish technical play. "Mindless State" is another smashing technical piece, this time faster with stupendous twisted lead guitar, followed by the nice peaceful closing instrumental "The Sense of Change". This short work will leave you begging for more as the musicianship is on a very high level, and the 5 actual songs here could serve as a solid base for an outstanding full-length.

Silent Terror inside EP, 2001
Freedom Release EP, 2003

DEFORMACHINE (ITALY)

Heavy, groovy modern thrash/death metal with industrial elements, recalling the Canadians Soulstorm and Rupture from Denmark.

Over G Full-length, 2006

DEFORME (CHILE)

Based on the live album, these Chileans play fast energetic old school thrash metal with shades of death not far from Devastation and Atomica's "Disturbing the Noise", maybe going a bit over the top with more brutal pieces like "Violacion Carnal". Despite the live qualities of the recording accompanied by a slight unobtrusive buzz, all instruments can be heard clearly, although the bad shouty singer does his best to stifle them for most of the time.

Tierra de Guerras EP, 2000
La Verdadera Historia De La Humanidad Live album, 2009

DEFORMICARIO (VENEZUELA)

Two guys stay behind this retro thrash/death metal blend, which follows the Floridian patterns closely, if we exclude the shrieky black-ish vocals. The music is fast in the 1st half, but not really brutal, and cool melodic licks can be heard on at least half of the songs. The 2nd half is much weaker, srarting with "Ritos Malignos" which is a modern deviation, less interesting and much less intense than the preceding songs, and carries with it another not really aggressive material: "Almas", which is very soft heavy gothic, and the mid-paced epic-touched "Cielos Oscuros"; the closing "Angeles Del Mal" which is pointless very melodic power/thrash.

Cadenas del Tormento Full-length, 2006

DEFORMITY (RUSSIA)

This band provide a blend of modern and retro thrash trying to balance, not very successfully, between the heavy pounding style of late-80's Metallica and The Black Album the references to the later much better displayed also helped by the several appropriate balladic insertions and the expressive vocals which desperately try to sound like James Hetfield, but seldom succeed. The rhythm section is suitably heavy, may be too heavy at times (chekc out the dark proto-doomster "Get A Life"), and the faster digressions, like the energetic closer "The Lost Man", should have been more.

When Tomorrow Comes Full-Length, 2012

DEFUELD (BRAZIL)

This is modern post-thrash mixed with power and gothic metal. The resultant mixture is along the lines of the Germans Perzonal War and the more recent works of the French Lyzanxia. The songs are pretty catchy with good memorable choruses, and the guitars have the necessary bite, despite the frequent balladic/semi-balladic leanings encountered. The approach gets clumsy in the 2nd half, though, the guys sticking to repetitive doomy riffs still managing to pull out one outstanding number: the excellent ballad "Rather Die Standing" (the closing ballad "Blind" is much less expressive, being just piano tunes and soulful, romantic vocals). Some of the musicians also take part in the symphonic metal outfit Darkmoon Ritual.

Defueld Full-length, 2009

DEFY (BRAZIL)

Based on the demo, this band provides abrasive crusty thrashcore with sparce more intense death metal riffage. The guys bash in a monotonous, samey up-tempo manner, with the brutal shouty death metal singer hardly the most precious asset. Some cuts could be viewed as more coherent speed/thrash ("Como Esses Merdas Sobrevivem?"), but they may pass unnoticed among the punk/hardcore boogie which surrounds them.

Desprazer Demo 2010
Tool Edit Parem a Vivissecçăo EP split 7" with Risposta Split 2010

DEGENERATE YOUTH (CANADA)

These obscures offer playful fairly cool thrash/crossover along the lines of Lawnmower Death and Leeway. The Canadians are perhaps more thrashy then both and they insert more frequent speedy passages which are full of memorable hooks the latter also helped by the cool clean semi-declamatory vocals. The speedy pace seldom gets lost, actually, in this optimistic roller-coaster which could have placed the band more strongly on the metal map if released a few years earlier. The only pullback would be the not very clear sound quality which make sthe guitars sound too thin at times.

World Gone Mad Demo, 1989

DEGRADATION (USA, Florida)

One of the last outcries of the stagnant thrash metal scene from the 90's; although this album starts in a modern, ala Exhorder and Pantera fashion with "Into the Red", it quickly turns into a lot more than that with the very next track "Normilizer", which features fast technical riffs from the classic school. Later things only become more interestng, with more technicality involved, as the riffs become more choppy and hectic. The songs are short, no longer than 3-min, and this makes the sound quite intense, because the guys do not sit still, settling for only one riff and pace. Headbanging, fast sections all of a sudden turn into a vortex of complex riffage, followed by short, but effective leads; this formula is being repeated on almost every track, making each of them a really compelling and satisfying listen. As a result we have a commendable work, which combines the best from the works of Pestilence, Death and Coroner.

Revelation in Blood Full-length, 1994

DEGRADATION (USA, Illinois)

The full-length provides tight capably-executed old school thrash metal which is nicely up-tempo introduced on full-throttle with the opening headbanger "A Necessary Evil", and later scoring really high on the intense technical shredder "The Reckoning", which unleashes some addictive melodic tunes as well. "Rise to Fall" is a jumpy piece with meaty hard-hitting riffs, but "Trail of Sin" is raging speed all the way. The aggressive thrash assault continues on "Executioner... Slayer of the Light" with a pinch of death metal. Run for cover on the ultra-speed/thrashfest "Degradation", which easily reaches the hyper-speed antics of acts like Fastkill and Expulsion. The final "Thrill of the Kill" is a welcome more relaxed number still thrashing far'n wide in an early Metallica fashion. The singer is not bad singing in a comprehensible semi-clean manner without changing the pitch, but suits the energetic music just fine.
The "Unleashed" EP has already established the band's confident style thrashing in a cool energetic retro manner with merciless intense pieces like "Greed" and "Feed The Flames", which will do more than just "feed the flames" with its aggressive death metal-laced hooks. "Denied" is a super-speedster with great lashing guitars, a very cool track with cool semi-technical decisions.

Unleashed EP, 2007
Juggernaut Full-length, 2011

DEGRADEAD (SWEDEN)

Based on "Out Of Body Experience", these guys offer your prototypical modern Swedish thrash metal which sometimes comes unpleasantly groovy, also assisted by a wide gamut of vocals, one of which are actually not so bad clean ones. The faster tracks are by far better ("Depths Of Darkness", "Future Is Now") although they are, again, nothing new, and sound very close to Dark Tranquillity.

Til Death Do Us Apart Full-length, 2008
Out Of Body Experience Full-length, 2009

DEHULI (JAPAN)

Decent modern thrash with orchestral overtones, very well expressed on the imposing operatic intro. The guys thrash with gusto mixing intense headbanging with heavy groovy passages, producing another mix in the process in the vocal department as well, between gruff semi-shouty and not very convincing clean ones. In the second half more variety is offered with industrial, funky and power/speed metal deviations, the latter nicely bringing this effort to other Japanese acts like Sex Machineguns and Volcano, although the end is clearly underwhelming with one pure noisy instrumental, and one tender toothless ballad.

Yggdalive Full-Length, 2009

DEHUMANIZER (USA)

This young US act pulls out a retro mix of thrash and death metal of the fast intense semi-technical variety with the Floridian school an obvious influence. The music is not stale, and both fast and slow numbers can be heard topped by forceful brutal death metal vocals. The technical leanings go towards mid-period Death (check the diverse speedster "The Arrival", or the meandering vortex-like "Unending Warfare", which also touches Coroner).

Prelude to Destruction Full-length, 2010

DEITIES (USA)

Based on the debut demo, this band plays retro thrash/death metal spicing things up with heavy doomy passages in a way quite similar to Asphyx. The general tempo is mid at best, and the leads make sense being melodic providing a nice contrast to the hammering riffage.

Symptoms of Insanity Demo, 1993
Icon Demo, 1996

DEJA-VU (BRAZIL)

Based on the "A New Beginning" demo, these Brazilians offer fairly good retro power/thrash metal which shows the guys possessing skills in all sectors, especially the omnipresent bass which gives the music a dark pounding aura. Speedy and slower numbers take turns the hard-hitting riffage always present crushing really bad on short "bullets" like "The Plague". "Merchants of Disgrace" is a prime dramatic shredder with virtuous leads and a few admirable faster-paced sections. The singer also delivers with his attached clean tember which acquires some more aggressive blends on occasion. The only drawback would be the very noisy sound production which drills the guitars disfavouring the good leads, above all. This is areall cool effort which unfortunately came at a time when the tastes were moving away from the classic school making this talented band disappear without a trace with no news about the band members' futute engagements.

Deja-Vu Demo, 1989
A New Beginning Demo, 1991

DEJECT (NORWAY)

Based on the demo, this is cool classic thrash/death which nicely switches from fast to slow parts; those slow parts kind of predominate bringing the sound close to the Dutch Asphyx at times, but the speedy sections are just around the corner to bang the head, although the speed never acquires any extreme parameters. Some of the guys also entertain themselves playing heavy sludge/doom under the name Snakes in Southern Flames.

As Our Days Come To Pass Demo, 2003
Hulen, Bergen EP, 2004
About To Rot EP, 2007

DEJECTA (USA)

A 3-songer seeing a band holding on to the hardcore spectre with the groovy trends not fully incorporated yet at this stage. As a result the style is vivid with a fair bit of dynamics and some quirky lead guitar work and expressive effective shouty vocals. The sound quality is fairly good and the guys sounded like a good alternative to the angrier tunes emitted by Pantera and Machine Head at the time.

The Sound of Dejecta Demo, 1994

DEKAPITATOR (USA)

Surprisingly good 80's thrash; the first three songs on their debut recall the best moments of the German school- Destruction, Exumer's debut. Then the album settles down for a sound similar to Exodus' "Bonded By Blood". If we add the Possessed-like vocals, overall we get a really cool picture. "The Storm Before the Calm" is also a strong offering, with a more aggressive, faster sound, this time along the lines of Sepultura and Slayer.

We Will Destroy...You Will Obey!!! Full-length, 1999
The Storm Before the Calm Full-length, 2007

DEKAPITED (CHILE)

Based on the 1st demo, this act pulls out aggressive Sepultura-sque thrash sounding quite close to "Beneath the Remains". Fast uncompromising riffs attack you from all sides supported by gruff forceful vocals ala Max Cavalera, maybe a bit higher-pitched.
The "Zombie Thrash" demo is not far from the debut one, maybe lashing a bit more nonchalantly with shades of hardcore at times ("Zombie Thrash"), but on the other extreme we have the heavy stomping instrumental "Bajando Al Infierno", sustained in the best tradition of late-80's Slayer; followed by another, this time more aggressive, Slayer-esque number: "Reaccion Violenta".
The EP is a better offering than the last demo thrashing confidently with brisk lashing guitars now staying closer to the Bay-Area perhaps. The music is fast'n tight the more carefree hardcore edge inevitably showing on "Hipocresia". The final "Pesadilla Fatal" boasts some fine leads and good headbanging sections which were still aplenty on the previous material.

Demo I Demo, 2008
Zombie Thrash Demo, 2009
Contra Iglesia Y Estado EP, 2011

DELIAN LEAGUE (USA)

A cool melodic progressive power/thrash metal band; this is technical music, but not of the very complex variety; it comes as a more aggressive, thrashy version of The Swedes Evergrey. The tempo changes, but is mostly mid-paced; when the guys speed up, they come up with really captivating hooks: the closing moments from "Epoch of Hate", and if their presence would be increased on future works, things could be better. The guitars flow nicely and effortlessly, introducing Swedish-influences, but of the melodic, not death metal variety (think more recent In Flames). Some tracks have a slight gothic shade: "Lost in Sin", "Star the Cross", partially because of the very good Chris Holmes-styled vocals, which are arguably the weaker side of this album, as opposed to the more aggressive material: the hard-hitting, more intense "The Embrace" and "Trapped Inside".

Truth in Chaos Full-length, 2005

DELICATE NEWS (GERMANY)

Based on "The Mirth In A Dead Man´s Yell", these guys offer melodic thrash/crossover which is closer to the 80's scene; the music has this playful, jolly atmosphere typical for the music of Motorhead and Uncle Slam. The bass work is particularly good and is by all means the highlight on this otherwise not realy impressive offering.
The "4-Track E.P." is another laid-back offering which explodes for a moment on the energetic speedster "Wounded!". Shades of groove are inevitable and they pull this short effort further down which would hardly make anyone put the effort in tracking down the rest of the band's catalogue.

4-Track E.P. EP, 1993
The Mirth In A Dead Man´s Yell Full-length, 1993
Scoff Full-length, 1996
Flashback Full-length, 2002

DELIRIOUS (GERMANY)

One of the main "culprits" for the thrash metal revival witnessed in Germany, and around the world, in the past ten years; like another "associate"- Cockroach, Delirious play Bay Area thrash by-the-book, with Testament being the prime influence. All their works are of high quality, and although their last album moves things up a bit into other non-thrash directions (remember Death Angel's "Act III"), their sound remains firm and true to the old masters.

Thoughtlessness Full-length, 1997
Time is Progress Full-length, 1999
Designed by Violence Full-length, 2001
Made for the Violent Age Full-length, 2006

DELIRIUM (HONDURAS)

On the debut the band mixes heavy, power and thrash metal to come up with a pretty decent album which loses its edge here and there, but deserves to be classified as thrash. On later releases thrash metal steps down as the dominating genre, and by the time of "Abismo" it is completely replaced by modernized heavy metal; an effort a lot inferior to the debut.
"Errante" is merry laid-back post-thrash with a few more dynamic melo-death allusions focusing on melody almost exclusively the approach even bordering on hard rock here and there ("Principe"). Expect jolly feel good stuff with radio-friendly rhythms all the way the vocalist also going with the flow providing warm clean attached tember.

Delirium Full-length, 1995
Xibalba Full-length, 1999
Abismo Full-length, 2001
Los Signos del Fauno Full-length, 2008
Errante Full-length, 2011

DELIRIUM TREMENS (GERMANY)

Aggressive thrash with death metal tendencies; the guys reach the intensity and flavour of Necrodeath and Devastation on their impressive debut. On "Thrashing Warthogs" the guitars are more melodic and more technical, but the speed and aggression are intact this time with fewer death metal leanings. The intermission is in the form of a jolly cover version of Guns'n Roses' "Paradise City". "Twisted Mind" is the other opportunity for a break from the intense headbanging being a cool thrash/crossover track.
The "Drink, Kill, Fuck, Die - The Rock'n'Roll" EP should not be taken seriously as this is jolly thrashy rock'n roll similar to the joke songs the thrash metal bands of the 80's (mostly representatives of the German metal scene) used to make (Tankard, Sodom, Necronomicon, etc.), enjoyable and feelgood.

Violent Mosh Ground Full-length, 1999
Thrashing Warthogs Full-length, 2004
Drink, Kill, Fuck, Die - The Rock'n'Roll EP, 2006

DELIVER (BRAZIL)

Good intense retro thrash metal, mid to up-tempo, with more stylish technical decisions springing from time to time; the music recalls both Slayer's late 80's period and Evildead's "The Underworld". Almost every song crosses heavy gloomy riffs with faster headbanging sections. The bassist is outstanding, and is well deservedly given one short cool instrumental: "Salmo 103", to perform without any interference. Seldom does the music become more aggressive with a slight proto-death edge: "Apocalipse Precoce". The final "Novo Lar" thrashes intensely in the beginning, but the 2nd part is taken over by the great bass again, for a couple of bass pyrotechnics.

The Second Death Full-length, 2002

DELIVERANCE (ITALY)

A striking debut, which unfortunately remains the band's only effort so far: great thrash in the tradition of the British Arbitrater (their second album) and Cyclone's "Inferior To None"; these guys more often go for the faster numbers than those bands, where the approach comes quite close to Paradox's "Heresy" ("Needle of Pain"), and are a bit more technical, but their music has the same unique dark quality. "Silence After the Storm" is a great closer to this album, being an acoustic/orchestral instrumental.

The Executioner Full-length, 2002

DELIVERANCE (UK)

One of the lesser bands from the UK, Deliverance are a black/thrash/heavy metal band heavily influenced by Venom, early Bulldozer, and on their later albums they include some Mercyful Fate-like riffs. The music is pretty generic without any distinguishing features.

Devils Meat Full-length, 1987
Evil Friendship Full-length, 1989
The Book Of Lies Full-length, 1989

Vibrations of Doom

DELIVERANCE (USA)

This band were the leaders of the Christian thrash metal scene in the beginning, with two exemplary classic thrash albums which really set the standards high. Their self-titled debut was a splash on the scene, with its clever semi-technical guitar work, energetic delivery, and very cool soaring clean vocals. "Victory" is a nice up-tempo sharp thrasher, followed by the slower, more melodic power/thrash metal number "No Time". "Deliverance" is in the same vein, but before the thrash fan frowns in doubt, here comes the raging "If You Will", accompanied by the heavy stomper "The Call". "No Love" provides more fine headbanging moments, but with a more melodic deviation. No such deviations on the uncompromising speed/thrashing killer "Blood Of The Covenant", and on the fine speed metal track "Jehovah Jireh", which boasts a great catchy chorus. The last two songs provide a compelling mix of fast-paced riffs and more complex passages, showing the band's more thought-out side. A smashing debut, which quickly put the band on the front row of Christian thrash all over the world.
"Weapons of Our Warfare" is an even better effort, serving another portion of energetic, blitzkrieg speed/thrash. "This Present Darkness" is the best way to open such an album, with great sharp aggressive riffs, "courting" Vio-Lence's "Eternal Nightmare". "Weapons of Our Warfare" continues the damage, but in a slower, heavier way, with a massive wall of pounding guitars, and fine high-pitched vocals. "Solitude" is a nice, more elaborate combination of thrash, speed and power metal, giving way to another similar amalgam: "Flesh and Blood", a marvellous "marriage" between an all-out thrash assault and more controlled technical sections. Then comes a time for a "break" with the short raging killer "Bought By Blood", followed by the excellent heavy ballad "23", which is by far one of the finest achievements of the genre from the metal scene. "Slay the Wicked" is the not very impressive mid-tempo power/thrash number, totally cancelled by the unbridled fury of the short Slayer-esque "Greetings of Death". Those of you who manage to recover from this small piece of aggression, will listen to the closing "If We Faint Not", which is again in the mid-paced power/thrash metal mould, but is hardly the best way to finish this impressive work.
Unfortunately, the band never bothered to reach those high standards again, moving instead on some less serious, hardcore-ish sound on "What A Joke"(yes, indeed, a joke: and not a very good one at that). "Stay Of Execution" was a partial return to form with some nice headbangers, but with also more melodic parts which were a sure sign that the band would look for new fields to explore very soon. The next few releases had nothing to do with thrash, right until 2007 when the new album "As Above-So Below" shows that their interest in thrash metal is coming back, but not strongly enough to put it among the best works of the band.

Deliverance Full-length, 1989
Weapons of Our Warfare Full-length, 1990
What a Joke Full-length, 1991
Stay of Execution Full-length, 1992
As Above - So Below Full-length, 2007

DELIZZA (USA)

This is a noisy modern thrash affair with abrasive guitars and not very pleasant shouty death metal vocals. The approach borders on hardcore with the simplistic song-structures, and some sludge/doom can be heard on the slower sections as well as the good old boogie of Motorhead ("Cop Song") on the merrier material.

The Awakening Full-Length, 2012

DELPHOZ (ARGENTINA)

Edgy energetic post-thrash with corey overtones; the band crush in a hammering mid-pace, but the more speedy insertions are not far (the invigorating headbanger "Pais Devorador"; the short outburst "Salmo"), and are a nice desirable deviation. At times one may catch a slightly surreal guitar work (the closing dreamy extravaganza "Aurora"; the diverse "Grito de Redencion") with echoes of Tool and mid-period Voivod, but those moments are never fully developed. The singer is a forceful shouter with a gruffer death metal shade.

Manifesto Full-Length, 2012

DELTA FORCE II (FINLAND)

The full-length shows an act playing merry-go-round retro thrash/crossover with not very suitable shouty hardcore vocals. This is speedy one-dimensional music reflected in short 1-2min tracks which sound more like spontaneous outbursts rather than carefully planned compositions, but deliver nonetheless with their sincere stripped-down approach.
"Megamosh" is another intense thrash/crossover affair, this time the delivery more coherent recalling the contemporary stars on the scene Municipal Waste. The guys pull no punches trashing with gusto adding the odd Motorhead-ish vibe ("Metalpunk-Balladi Tarkeista Asioista"), but fast blitzkrieg hardcore outbursts ("Ala Niele Paskaa") are just around the corner. Things get wonderfully speed/thrashy at the end ("Pahan Ulospurkaus"), and one wishes there could be more pieces of the kind later on, to develop this trend more...

Delta Force 2 / Escape To Death Split album, 2009
Personal Vietnam Full-length, 2009
Megamosh Full-Length, 2011

DELUSIVE (SWEDEN)

This band plays modern thrash with shades of death metal and a slight classic edge. So this is not completely derivative, and some pieces are really cool energetic thrashers ("Possessed Reflection"), with a more technical shade. "My Final Fear" shows the other, more brutal side of the band- a furious melodic death metal number with sparce grinding sections.

Regret EP, 2005

DEMAHUM (USA)

2 songs of classic black/death/thrash metal combining morose funereal sections with ultimately blasting ones to an apocalyptic effect not far from the Aussies The Berserker on the latter, and the Finns Barathrum on the former.

Promo Demo 2011

DEMEAN (USA)

Heavy crushing modern thrash, which combines groove with brutal death metal passages ("June 5th, 1989") and clean vocals ala more raspy Ozzy.

Today We Rise Full-length, 2004

DEMEMXIA (BOLIVIA)

Based on the demo, this act pulls out raw, aggressive thrash/death topped by more brutal low-tuned growls. The guys aim at the faster sector, but there is a slower break on almost every track. The sound is pretty noisy, and the riffs create a solid wall of a constant, chainsaw-like buzz which may tire the listener well before the end. Otherwise the band try hard under the severe conditions, playing with gusto recalling Benediction and Unleashed with a very goof bass support, the only ingredient which doesn't lose from the raw production qualities.

Demencia Extrema Demo, 2007
Human Terror EP, 2009

DEMENCIA (COSTA RICA)

The debut demo: fast intense thrash/crossover well expressed on the aptly-titled splashing opener "Costa Rica Crossover". Later on things take a slightly milder, but no less speedy, direction reflected in the bigger song-length and the more elaborate thrashy riffage. The singer is an angry shouter not miles away from early Tommy Victor (Prong).
"Comando De Sumision" is a really intense affair the guys thrashing their souls out playing ultimately fast with a thick hardcore edge which is also accentuated by the shouty, but melodic vocals which are far from Tommy Victor this time. The speedy delivery grows into a cover of Agnostic Front's "Friend or Foe" at the end sustained in a mind-blowing speedy pace and followed by a purer attempt at thrash with the longer, but equally as brutal "La Romantica Historia de RAMBO!!!" and the short death-laced bomb "Nadie Va A Extrańarte" at the end.

El Vendedor Papero Demo, 2009
Demente Alkoholiko Demo, 2010
Comando De Sumision Demo, 2011

DEMENCIA (CHILE)

The full-length debut offers nice headbanging retro thrash: a non-stop thrash action with cool sharp fast-paced riffs and vicious vocals sounding like a mix between Mille Petrozza and Schmier. Among the raging guitars cool melodic leads and other hooks can be caught: "Agresion En Escenarios", but when the guys thrash without mercy, they can easily rank along with the best: "Metal Distortion", the excellent mix of intensity and melody "Carnada Infernal". Galloping rhythms replace the speedy riffage for "Sacro Bestial", but "Fobia" catches up with the fastest and most aggressive moments on the album: furious speed/thrash at its best. "Guerreros Del Metal" is another mighty nail in the coffin before the closing "Nuclear War" moves back a bit in terms of speed adding more melodic hooks ala early Helloween, finishing this promising debut in a classic speed metal manner.
"Religion of Sin": the guys take it easy, apparently burdened by the annoying trifles of the daily routine, but fortunately 5 years later they're ready with a follow-up. The band haven't lost their penchant for brisk invigorating rhythms and those who enjoyed the debut will be happy all over. The album opens with the more speed metal-inclined "Metal Religion", but the hard thrashing is just behind the corner "Murderous Of Weapon" serving the requisite doze of brutal old school riffs. Later on speed and thrash metal alternate both nicely supported by fine lead guitar work the saga finished with the maddening speed/thrasher "Mortal Sin" which seamlessly blends the two approaches as a finishing touch. This effort may be a considered a slight drawback compared to the debut sounding somewhat milder except, of course, for the harsh raven-like black metal vocals which give a distinctive touch to the band's style despite tha fact that their suitability is debatable.

Engendros EP, 2004
Nuclear War Single, 2007
Metal Distortion Full-length, 2008
Religion of Sin Full-Length, 2013

DEMENCIA (PERU)

Based on "Todos Vamos A Morir", this act plays a brutal chaotic blend of thrash, hard and grindcore which is mostly fast and simplistic the guys lashing in a stripped-down manner expressing their anger and resentment in the form of direct speedy riffs and hoarse shouty vocals.

Esto es lo que somos Full-length 1999
Caminamos Entre Ruinas Full-length 2003
Todos Vamos A Morir Full-Length, 2010

DEMENCIA EXTREMA (CHILE)

Energetic classic thrash metal with a bad sound quality and undeveloped shouty vocals; apart from the direct headbangers ("Frustracion Mental") the guys expand into a more thought-out song-writing, with progressive overtones ("Muerte En Un Sueno"). "Necesidad De Luchar" is cool more intense speed/thrash with a nice operatic chorus background and good sharp riffage.

Demo I Demo, 2008

DEMENTARIA (ARGENTINA)

Fast intense thrash crossing both tendencies sticking more to the classic patterns moshing out with sharp headbanging riffs the sound coming close to Dew-Scented, at times timidly moving towards the death metal field. The guys lash without mercy in a predictable, but competent, manner offering a dual vocal attack (hysterical-vs.-low growl) as well.

Violencia Extrema Full-length, 2009

DEMENTED (SWEDEN)

A rising star in the 80's thrash metal tradition: good music along the lines of early Testament. Some songs have a jolly, crossover spirit: "Dog Tag", similar to "Nightmare (Coming Back to You") from Testament's "Practice What You Preach"; others thrash in a fairly aggressive manner: the opener "One Offer"; "Taste Like Human" is another speedy thrasher, boasting great melodic leads. The predominant pace is quite up-tempo actually; although the sound is more old school-based, modern implements can still be heard: "Bloody Monday", again recalling Testament, their 90's works.

Demented Full-length, 2005

DEMENTED (USA)

Aggressive thrash metal with hardcore elements ("We Call It Quits") reminiscent of the Evildead debut.

We Call It Quits Demo, 1988

DEMENTIA (FINLAND)

The tireless Roope Latvala (also Stone, Waltari, Children of Bodom, Warmen, Sinergy, Latvala Bros, etc.)'s well concealed secret, this one-album-wonder is a commendable slab of classic thrash/death metal in the best tradition of the early Swedish school (Edge of Sanity, Merciless, Dismember). This is straight-ahead stuff with cool sharp riffs, staying closer to death metal in the beginning, taking sudden technical turns ("Never", and especially the twisted guitars in the second half of "Born in Cold") which could have been more since Latvala can really pull out technicality from his sleeve more than now and then. After the pounding death metal on the first couple of numbers, comes another sudden turn to fast-paced retro thrash on "Peacemaker" which influences the rest finishing the album in a brisk thrashy fashion taking various forms: the mid-paced stomper "I Deny", the clever semi-technical galloper "United by the Fear of the Loss of Time", the explosive heads-down thrash on the closer "Roadkill". Coming less than a year after the release of a nice technically-minded all-instrumental album under his own name (Latvala Bros), more could have been expected by this effort in the technical department, but having in mind that the majority of the death metal brotherhood has seriously mutated into various other styles at that point, this album is a nice attempt at keeping the classic flame alive during those "gruesome" for metal times.

Dementia Full-length, 1995

DEMENTIA (HOLLAND)

Minimalistic dark modern thrash in the mid-tempo, of course coming with the obligatory for the time groovy moments, and the very unexpected stylish entries into a more technical thrash/death metal territory: the aggressive, but also technical "Inside Your World", sustained in the best tradition of mid-period Death. No more pleasant surprises of the kind, although the closing intense faster, progressively-laced (think mid-period Voivod) "Regression" is very close to being another one.

Watching The Dawn Full-length, 1995

DEMENTIA (JAPAN)

The debut EP: two tracks of first-class speed/thrash, with great guitars, soaring vocals, and infectious choruses, which will also remind you of the contemporary power/speed metal scene, but in a very good way.

Struggle for Rebel EP, 1985
Bang Hard EP, 1987

Vibrations of Doom

DEMENTIA (PAKISTAN)

Two tracks of groovy melodic thrash: edgeless mid-paced riffs and brutal low death metal vocals fight for domination with varied success...

The Plague Demo, 2008

DEMENTIA (USA)

Another good work from the metal underground: this is an interesting take on classic thrash with heavy, mid-paced to slow, doomy tracks with hypnotic riffs which don't change too often, but create a consistent compelling sound. The vocals are melodic, high-pitched, but fit the music perfectly. The style is not too far from the Canadians Zions Abyss, but Dementia are more thrashy and never really step fully on a doom metal ground. If you like thrash metal with a more original twist, this band is well worth tracking down.
The demo is whole 13 tracks long, neither of which is included on the full-length. The style, however, is pretty much the same: heavy pounding thrash with doomy overtones nicely speeding up on the sharp galloping "Battery Death Battery" and "Ripped And Torn", and the energetic semi-speedster "Steel Hammer". There are moments of power metal ala Omen & Griffin ("F.O.A.D.) as well, but more aggressive touches ala the Bay-Area ("Mercenary") are not missing, either. The bass-bottom is very good coming with a thundering echo ala Leif Edling (Candlemass), and the singer sings in a less attached lower-pitched tember, still sounding convincing all the way.

Cursed From The First Demo, 1989
Recuperate From Reality Full-length, 1991

DEMENTIA SENEX (ITALY)

A modern mix of straight-forward thrash/death metal and groove; the music constantly shifts from very fast sections to slow pounding ones. The latter kill the tempo quite a bit, although they fit better the sinister low-tuned vocals.

Sun Goes Down Behind EP, 2009

DEMENTOR (COLOMBIA)

Good intense old school thrash with ripping qualitites and sparce death metal elements (scattered blast-beats, etc.) the latter compensated by the several softer speed metal sections (the merry-go-round "El Comienzo De La Destruccion"). This is straight "putrid thrash metal" (like the title of one of the songs says) all the way ably assisted by the screamy evil deathy vocals and the not very proficient lead guitar work.

Asalto Infernal Demo, 2007

DEMENTRA (INDIA)

This band have a longer discograpphy than the one provided here, but this album should suffice at this stage. What is on offer on it is some noisy modern post-thrash of the direct simplistic variety with angry death metal vocals and a few attemps at a more quirky play which remain just variations because of the songs' short length. This is the reason why this effort has a rehearsal feel to it with some ideas just hinted at as though the guys were just practicing for the eventual more "serious" recording.

Burn the Moon Full-Length, 2012

DEMIRICOUS (USA)

Retro thrash in the Slayer vein with a modern production; not bad although too one-dimensional. "Two (Poverty)" tones down the speed and intensity introducing groovy sections in the Pantera vein, bringing the sound closer to the modern tastes; however, tracks like the 1.5-min explosion "Expression of Immunity" are major headbangers and keep the tension throughout.

One (Hellbound) Full-length, 2006
Two (Poverty) Full-length, 2007

DEMISE (SWEDEN)

3 songs of dark rough thrash (the debut demo) made by the guys who later wnet on to form Agretator, Darkane, Non-Human Level, and numerous other acts. The band was actually formed by Jesper Granath, the man behind Agretator, God, God BC, etc., but he left soon after the release of this recording. The style doesn't bear any overt technical marks, but the tracks are cleverly concocted with a rich brooding sound reminiscent of the Infernal Majesty debut with sudden fast developments whcih border on proto-death. The singer, Pierre Richter, a faithful companion of Granath having taken part in all of the aforementioned bands, delivers with his forceful scary shouty tember emitting a lot of authority and dramatism.

Prophesy Demo, 1991
Visions Demo, 1992

DEMISE (USA, Massachusetts)

Based on the "The Petting Zoo" demo, these guys come up with fast aggresive thrash obviously following the path carved by Slayer and Dark Angel. The 4 tracks offer a lot of headbanging, since there is seldom a slower moment. Later the band changed their name to Experiments in Fear, and the music acquired a more melodic, but equally as fast, edge.

The Petting Zoo Demo, 1989
Experiments in Fear Demo, 1990

DEMISE (USA, Oregon)

A 3-track demo of intense thrash/death metal ala Incubus' debut; the difference here are the stylish melodic leads which can also be quite fast and screaming when needed. The guys usually shred at lightning speed with the obligatory slower breaks included as well, and these are the moments when cool technical hooks can be heard. But these leads overshadow everything...

Devious Deception EP, 1992

DEMISE OF GIDEON (USA)

Modern thrash metal with progressive/atmospheric tendencies; the music is not very eventful, though, developing in a predictable mid-pace with rare adherences to a faster proto-death metal play. The guys have a good taste for melody reflected in a few nice passages including a great balladic section on "Twingence": the highlight here accompanied by fine emotional female vocals which are way better than the unimpressive main death metal growls.

The Demise Of Gideon Full-Length, 2010

DEMIURG (RUSSIA)

Good, but hardly exceptional progressive thrash with gruff death metal vocals and touches of industrial; the riffs are razor-sharp, and the pace is never fast, staying in the mid-paced parametres for most of the time. There is a nice keyboard background on almost every song, as well as occasional clean vocals, which are quite bad, synthesized. The sharp wall of riffs is almost impenetrable, which makes the tracks sound quite close to each other, and with the non-changing tempo one may not feel when one composition ends, and the other one starts. "Prince of Light" breaks the monotony, mixing faster sections with ambient orchestral ones. "Bastinado" is cyber-industrial ala The Kovenant's "Animatronic" with awful industrialized vocals. "Omut" is a great varied number, adding black and death metal to the proceedings, blasting out at quite a few times in the best tradition of Dimmu Borgir. The other highlight is the more energetic complex "The Applied Eschatology"; the closing atmospheric instrumental "E.S.P." is also worth checking out: there's nothing metal about it, but at least it sounds different.

Bastinado Full-length, 2005

DEMIURGE (PHILIPPINES)

Heavy abrasive thrash with both modern and classic elements and angry shouty vocals; the Bay Area is an obvious influence- think late 80's Metallica and Defiance, and an aggressive hardcore attitude springs up from time to time: "Slaves of Christ". "Victims" is a stylish touch, abandoning the pounding guitars, showing the gutarist capable of pulling out something more melodic and even technical. The closer "Demiurge" is brutal thrash/proto-death in the beginning, and it's a pity that later on the guys settle for a much less impressive doomy approach, completely forgetting about thrash metal.

Demiurge Full-length, 2004

DEMODEUS (SPAIN)

Modern thrash/death metal mixing fast blitzkriegers with slower groovers on a slightly noisy background, with brutal growling vocals.

Lugubre Existencia Demo, 2011

DEMOLATOR (COLOMBIA)

This Colombian trio provides modern melodic thrash/death metal of the Gothenburg school, only more thrash-fixated, and a bit more varied, boasting wild shredders like "Ninos De Guerra" and "Oscura Realidad". The guitar sound is a bit thin, especially in the lead department, but the riffs are clearly heard, and create an invigorating headbanging atmosphere.

Demencial EP 2009
Nińos de Guerra EP 2011

DEMOLICION (EQUADOR)

Aggressive early Brazilian thrash with a very thin guitar sound which creates the impression that the guys rehearse in the largest beehive in Equador. Apparently the demo contains material recorded during different periods of the band's existence since this bee-like buzz disappears on a couple of songs replaced by more controlled, but almost equally as fast speed/thrash with nods to the German school, plus one pure power metal anthem ("Noviembre Negro") included near the end.

Demo I Demo, 1989

DEMOLISH (BRAZIL)

Good classic thrash, fast and intense, recalling a lot of veterans from the 80's; their compatriots from Sepultura are given most nods, with the German scene a close second. Seldom does the music acquire proto-death tendencies ("War That Kills Innocents"), but it's all-out vintage speed/thrashers, like "Awake" and "Anger Within My Veins", which will make your day. "Last Days" decreases the speed a bit, relying more on galloping rhythms, but is not bad at all, as well as the last song "Realm Of Death": straight in-your-face thrash assault ala early Slayer.

Signs of the End EP, 2005

DEMOLISHER (FINLAND)

Based on the EP, Demolisher are typical representatives of the modern thrash/death metal genre. These guys are perhaps more diverse, offering heavy groovy sections ala Fear Factory and Puncture, as well as parts which recall the Swedes Hypocrisy's slower doomy material, but the peace is often broken by furious, brutal blast-beating passages.

Deformation Demo, 2005
Enter the Suffering EP, 2007

DEMOLITION (AUSTRALIA)

The full-length sees a band offering pretty decent classic speed/thrash metal with a boosted modern production quite similar to the last couple of Paradox albums ("Collision Course", in particular). "Maniac" is a confident speedy opener, and "Strike You Down" is a lashing mid-pacer with Bay-Area overtones. "Sweet Revenge" mixes the two sides on a proto-modern base, but "Means Of Control" is a staple retro speedster of the more light-hearted variety. Then comes "Deadly Trail" which is a furious thrasher, and "The Fool Parade" which is just a bit more laid-back but also more technical. "Rip It Up" slows down also adding clever melodic hooks and excellent leads which are on a pretty high level on the whole album and again, strongly recall Paradox. "The Torture" will "torture" you with another portion of stomping mid-tempo riffs, but "Digital God" will rip you apart with its raging guitars plus another great lead performance. The closing "Kill Zone" is bound to mosh, and it doesn't disappoint with its fast fearsome rhythms. The singer may be the only drawback to some singing in a gruff semi-death metal manner lacking the more attached semi-clean tone of Charly Steinhauer (Paradox).

Strike Force EP 2007
Kill Zone Full-length 2011

DEMOLITION (AUSTRIA)

Old school thrash metal; the style on the debut is heavy, mostly mid-tempo; "Existence" is faster and more technical, and kind of reminds me of present-day Kreator. "Relict IV" moves closer to the modern death/thrash metal sound, and the Gothenburg influence is more than clear on most of the tracks (Dark Tranquillity, Amon Amarth), resulting in much more standard music; some speed has been sacrificed in the process, and with a few exceptions ("Over Nails", "Coroner's Inquest"), the songs are heavy, mid-tempo affairs, and slightly one-dimensional.

...In The Beginning EP, 1998
Out of No land Full-length, 2001
Existence Full-length, 2004
Relict IV Full-length, 2008

DEMOLITION HAMMER (USA)

This band came out of nowhere at the last stage of the classic thrash period, when many of its older practitioners were rushing to adapt to the modern tastes, more or less successfully. Their splashing debut is actually the last pure aggressive thrash offering, before the thrash/death metal hybrids (Massacra, Merciless, Devastation, Revenant, Invocator, Demolition Hammer's own "Epidemic Of Violence", etc.) offered a compromise between the old and new styles. "Tortured Existence" throws a fine bridge between the aforementioned acts and the more extreme side of thrash represented by Slayer, Dark Angel, Possessed, Torture, etc. The guys thrash with force without necessarily sticking to the speed-only aesthetics, varying things with heavy, steam-roller riffs and the casual semi-technical hook (check out the excellent "Gelid Remains" for both deviations). The singer sounds pretty convincing for the thrash metal standards, with a vicious, mean-ish blend ala Mille, but lower-pitched and more throaty. A crystal clear production qualities and a surprisingly mature level of musicianship make this album a perennial delight for both old and young fans.
"Epidemic Of Violence" is another brutal thrashterpiece, this time death metal-oriented as well, the opening "Skull Fracturing Nightmare" being a sweeping "Reign in Blood"-worship. The next "Human Dissection" shows that this album will not be "obsesssed by speed", but adds a nice doze of heavy technical riffage with echoes of Death's "Spiritual Healing". Both sides come immaculately blended on "Pyroclastic Annihilation", a prime thrasher with a more furious death metal edge near the edge. More, this time clearer, thrash metal fury comes with "Envenomed", before the sheer death metal madness "Carnivorous Obsession" rocks your world down to the very base, another commendable nod to the father(s) of death metal. Some of your fillings will definitely fall out on the explosive "Epidemic of Violence": extreme, in-your-face thrash at its fiercest. This exhausting piece is followed by the ultimate thrash metal cut "Omnivore", a total headbanging paradise, which after all these years will throw any sane human being into spontaneous mosh all over town. No inertia lost on the devastating closer "Aborticide", thrash/death metal at its uncompromising best, which puts an end to this no-brainer of an album in most relentless fashon.
"And now what?", is the very logical question after such a creative peak, but in this band's case the answer had better not been provided at all: the guys decided to eventually cuccumb to the modern trends, which led to the departure of two of the members (James Reilly & Vinny Daze(R.I.P.)), who later appeared under the name Deviate NY with just one, albeit pretty cool, demo recorded in 1995; while the rest moved on with "Time Bomb": a major disappointment comprising generic, uninspired modern post-thrash with no traces whatsoever left of the band's previous output. Their drummer Alex Marquez later became one of the drum gurus on the death metal circuit, with participation in famous acts like Cephalic Carnage, Malevolent Creation, Solstice, Hellwitch, etc.

Tortured Existence Full-length, 1990
Epidemic Of Violence Full-length, 1992
Time Bomb Full-length, 1994

DEMOLITION INC (DENMARK)

A very good band who play aggressive modern thrash along the lines of their compatriots Sacrificial, or the Germans Dew-Scented, but with nods to the old school and without shades of death metal (or at least very few: the blasting for a while "Loathe Entirely" ("Laserguided Freedom"), which also offers nice technical licks as well).

Laserguided Freedom Demo, 2004
Demolition Inc. Demo, 2005

DEMOLITION PROJECT (ARGENTINA)

Pantera worship, spiced with more melodic, slower decorations (the very cool short acoustic instrumental "El Indio"), but the approach is pretty much the same: hard-hitting angry thrash, accompanied by a certain amount of groove. The singer is a dead ringer for Phil Anselmo, but the guitarists offer more variety, sometimes going into a more classic Bay-Area thrash metal territory ("A Pure Mind").

To Live This Way Or Die Demo, 2006

DEMON DAGGER (PORTUGAL)

Based on "Inanna Ishtar", this band plays heavy 90's thrash metal ala Pantera and Machine Head, with all the trade marks of this sub-genre. "Burn The Flag" is a good attempt at a more up-tempo thrashing, but such moments are not too many. "Cain Complex" increases the intensity, moving the sound towards the modern thrash/death metal fields, but the music has lost its bite, often sounding too melodic and derivative. On top of that bad clean vocals spring up here and there, to assist on the more romantic sections. "Force Fed On Mayhem" thrashes with passion, but the rest is ultimately ruined by a clumsy blend of soft passages and heavy-handed groovy ones.

Aftershock Full-length, 1999
Inanna Ishtar Full-length, 2003
Cain Complex Full-length, 2009

DEMON PRAYERS (GREECE)

These Greeks pull out intense bashing classic thrash, but there are the requisite slower moments where the guys stick to less painful mid-paced riffs relieving the pressure from the other much faster material which is assisted by throaty semi-shouty hardcore-ish vocals.

Fields of Hate Demo, 2012

DEMON'S FLESH (ARGENTINA)

This is interesting, albeit a bit overdone, progressive thrash/death metal with very long compositions, easily going over the 10-min mark. The pace is mid for most of the time with a couple of sudden fast sections, but the frequent change of tempos and melodies will keep you on the alert. Still, some may get tired of this as some songs are really lengthy, and at some point you may not be sure whether you listen to the same track. Certainly there is a tendency towards sprawliness, similar to Opeth, but here there are very few balladic or acoustic interludes; the thrash riffs keep flowing, but the lack of many headbanging parts make them sound a bit samey. Some of the band members also take part in the black metallers Nightkarnation.

Oh, Lord, Amen Full-length, 2008

DEMONA (CHILE)

The 2-song promo shows quite a capable speed/thrash metal outfit, relying on speed the way the Swedish acts from the near past F.K.U. and Cranium do. No complaints, the guys shred like crazy, leaving a little room for a more laid-back speed metal sound on "Ataque de Locura Homicida", which will throw you directly in the early Helloween camp.
The "Metal is Me" demo offers a relentless speed/thrash metal attack all over, sometimes furiously thrashy ("Demona"), sometimes softer with a speed metal vibe ("Metal Is Me", which strongly reminds me of Piledriver's "The Executioner" from "Stay Ugly"). The old school spirit is nicely captured on every track, but some amendments in the vocal department are necessary: the singer, whose name is Constanza, and she is the only band member at this stage, also playing all the instruments, pulls out a very thin emotionless clean tember which is simply not on par with the better music.
The full-length is finally ready seeing the girl offdring brand new songs not heard on any of her previous recordings. The dedication to speed is admirable the album capturing the unbridled spirit of albums like Angel Dust's "Into the Dark Past", Helloween's "Walls of Jericho" (but, please, don't expect any guitar pyrotechnics ala Kai Hansen) and Not Fragile's "Who Dares Wins" with both hands and holding it till the very end. She ahs also improved her vocal peformance now sounding both emotional and forceful and authoritative at the appropriate moment. This is one of the biggest entertainments to come out of South America in recent years: speed/thrash at its both catchiest and most headbanging best. It's another story how this approach will be accepted on a string of albums, but at this stage it works on all counts also producing more stylish "ecxursions" in to the genre: the engaging speed metal opus "Metal Through The Time"" which also sees the short introduction of male vocals. More aggressive thrash will befall you on "Poisoned" near the end, as well as the very cool cover version of the Germans Wardance's "Heaven is for Sale" "Don't Play with Fire"; this is a desirable tribute to one of the first female-fronted speed metal acts (and one of the finest speed metal albums of all times) on the scene Demona being obviously influenced by the emotional falcetto of Sandra Schumacher. This is a solid retro offering which doesn't sound stale or banal for a split secondm and raises the flag of 80's speed/thrash higher than some of the most renowned practitiotners nowadays.

Promo Single, 2008
Metal is Me Demo, 2009
Metal Through the Time Full-length, 2012

DEMONATH (CHILE)

Based on the "El Vivo En Ancud" demo, this band offers a wild, and a bit undeveloped blend of thrash and death metal which at times sounds quite brutal, but one could hear cool guitar parts (and leads) if he listens carefully. The style moves towards Sepultura and Slayer; the former are honoured with a noisy, not very convincing cover version of "Arise".

Fornication Demo, 1997
The Gods Are Stalking Full-length, 1997
El Vivo En Ancud Demo, 2001
Demonath 1996-2003 Best of/Compilation, 2003

DEMONATION (CANADA)

This obscure band reminds me of the Brits Deathwish: they combine faster, intense thrashers with mid-paced, dark, doomy tracks. These guys are not as proficient musicians as the Brits, but their music delivers the goods, and their sinister, brooding guitars could have been an influence on the doom/gothic acts which sprung up a few years later in the 90's (check out the excellent "Dark Age New Dawn"). This is atmospheric music, partially ruined by the very thin sound of the leads. The vocals are also dark, being mid-ranged death metal ones.

Demonation Demo, 1992

DEMONAX (USA)

This band is from where the Fates Warning guitar player Frank Arestie started his career. The style on this album has little to do with the progressive metal masters, opting for a more direct power/speed/thrash metal blend close to Liege Lord and Exciter. The songs are cool and memorable, ably supported by semi-clean, mid-ranged vocals, which do not change much throughout, but suit the music just fine. The guitars are not "strangers" to a more stylish play ("No More Rats"), and thrash takes over on quite a few songs (the heavy energetic "Evil's Cast Aside", the great speedy "Power of Dark" and "Lay Down The Law"; "Play That Metal Mean", which sounds like a leftover from "Violence and Force"). On the other side we have the edgeless heavy/power metal hymn "Down On Your Knees", which is the only drawback here.

Demonax Full-length, 2001

DEMONBREED (UK)

Britain has made its contribution to the modern thrash/death metal scene. Demonbreed are a part of it; the music is heavy, occasionally groovy, mid-paced, recalling modern-day Entombed.

Middle Finger Up EP, 2004
Closer To God Full-length, 2005

DEMONCRUSHER (CHILE)

Technical/progressive death/thrash metal with very good Shrapnel-influenced guitar work, which truly shines on the excellent instrumental “Onicocriptosis”, which also offers great bass performance. “Garden of Tears” increases the brutal, heavy riffage, but the guitar play remains on a high level. “Tumor Violento” calms down again, providing a couple of atmospheric balladic passages, along with some twisted moments, where the bass reigns supreme. “Sonic Boom” hits the top with its jumpy hectic rhythm and sudden time changes, and “Chernobyl” (remember the disaster in Russia, at that time still the Soviet Union) is finally something more conventional, sustained in a more direct faster headbanging manner, even blasting out for a while.

Violencia Exponencial Full-length, 2008

DEMONIAC (SERBIA)

An obscure, but worthy debut- speed, power and thrash metal shake hands here, and although there are the cheesy moments which inevitably "accompany" combinations like that, songs like "And After All" and the fierce closer "Total Thrash" wave the flag of thrash metal sky high. The nice melodic vocals are worth mentioning, too.
The "Coming Again" demo is another commendable slab of speed/thrash metal sharing only one song with the full-length (the title-track). The attack is full-on here starting with the exemplary speed/thrasher "Heavenly Tigers" sustained in the best tradition of the Angel Dust debut. Pure thrash will welcome you on the more Bay Area-sque "Holy War" which is another sure-handed piece of fury, before "Living In Another World" calms the ball down with heavy epic power mteal hymns liveining up quite a bit towards the end with fierce speed/thrashy riffs. "Satan's Warriors" is another heavy pounding song with a strong 80's American metal flavour again serving something for the headbangers in the 2nd half. "Fight For Your Pride" is straight-ahead speed metal if we exclude the misleading heavy metal beginning. "Rising Power" is a blistering speed/thrasher with a few slower stomping throw-ins, and the closing "Power of Metal" tries to sum up all nuances heard here ending up sounding quite diverse, more in the power/speed metal camp. The singer falls a bit behind the good energetic music singing in a not very emotional clean mid-ranged manner seldom attempting something higher and more dramatic.

Coming Again Demo, 1989
Touch The Wind Full-length, 1992

DEMONIC CREMATOR (UK)

Based on "Blizzards of Hate", this act plays a classic mixture of thrash, death and black metal which recalls early Bathory with a more melodic twist, the latter accentuated on in the middle ("Screaming Winter"), where the more officiant delivery will also remind you of the Austrians Summoning ("Stronghold", in particular: "Screaming Winter") and early Burzum ("Rain Of Skulls"). The singer semi-whispers in a scary, witch-like fashion, and adds up nicely to the eerie, macabre atmosphere.

Blizzards of Hate Full-length, 2009
My Dying Breath... EP, 2010
Crucified Full-length, 2011

DEMONIC FORCE (USA)

Roughly produced, but inspired speed/thrash in the vein of Hallows Eve and Rigor Mortis; so expect generally fast-paced moments, including brutal uncontrolled blasts ("Demonic Forfce"), as well as several mellower passages (the quasi-epicer "Dark Future") where the leads reign supreme taking the upper hand which on the rest has been provided for the dramatic, but limited singer whose attempts to shift form the mid-ranged frequency sound quite laughable.

Demo Demo, 1988

DEMONIC LAUGHTER (ITALY)

Based on the 2006 demo, these guys play retro black/thrash metal mixing the speedy approach of the Japanese wave (Barbatos, Abigail, Sabbat, etc.) with the heavy primal one of early Venom. The faster tracks are by far more appealing, one of which is a very cool cover of Mayhem's "Deathcrush", but the boring 5-min acoustic "Interludium" could have been skipped, as well as some dragging sections from the longer and slower numbers.

Necromadness Demo, 2005
Demo Demo, 2006

DEMONICA (USA)

A decent mix of modern and old school thrash with a boosted modern production reminding of Overkill's "Killbox 13"; the music is mid to up-tempo with semi-groovy implements which are more audible on the slower tracks ("Luscious Damned", the semi-balladic "Palace of Glass"). "My Tongue" is vicious aggressive thrash, and "Alien Six" is close to the Destruction sound after the reformation in 1999, but the guys prefer to thrash in mid-pace most of the time often leaving the better faster aspect of their music aside.

Demonstrous Full-Length, 2010

DEMONIFICATION (SINGAPORE)

Based on the demo, this band plays old school thrash with vicious, black-ish vocals, slightly recalling early Bathory. This is cool, fast-paced stuff, along the lines of early Destruction and Kreator. "Thrash Attack" surely fulfills the promises given with its title, being a smashing speed/thrashing killer which will remind you of the Destruction instrumental of the same name from "Infernal Overkill". "Hell of Hell" is more aggressive, a nod to Kreator's "Pleasure to Kill". "Mental Torture" is another raging number jumping on the death metal wagon. This is total headbanging delight which is not too far from the blitzkrieg approach of the Japanese Fastkill as well.

The Holocaust Continues... Demo, 2003
Hell Metal Full-length, 2004
Bonded By Siamese Hellfires Split, 2006

DEMONIK (SPAIN)

These guys were previosuly known as just Demon, but had to change their name after the British heavy metal legends of the same name reformed. The music on offer is classic speed/thrash with screechy death/blacky vocals and a few clever moments ("A.D.M.") which are like an "oasis" amid the pedestrian dominant delivery which gets more vivid on the more complex closer "Confrontacion" which is furious thrash at least half the time.

Demon Full-Length, 2010

DEMONIZED (CHILE)

Based on "Demonized Legions", Demonized is a very promising old school thrash metal band, very close to the Bay-Area sound, but at the same time having something in common with the German thrash metal scene as well: "Thrash Metal Warrior" with its fast swirling riffs will definitely remind you of Destruction's "Curse The Gods". At the end the band pays tribute to the Chilean thrash metal veterans Necrosis with a cover of "Kingdom Of Hate".

Unholy Thrash Metal Demo, 2000
Thrashing for Something Demo, 2001
Promo Demo, 2004
Demonized Legions Demo, 2005

DEMONIZER (BELGIUM)

Furious thrash/black metal attack of the old school with Kreator's "Pleasure To Kill" serving as a base; sometimes the black metal blast-beats go way over into a Darkthrone or even early Cradle Of Filth-territory. The thrash metal fans might not like these moments very much, but they will also find enough good thrashy riffs to stay put.

Thrashing Force...Attack Full-length, 2003
The Essence of War Full-length, 2005

DEMONKRATZIE

Furious thrash/crossover, which is obviously influenced by the similar exploits of Wehrmacht, but the hysterical screechy vocals will scare you, and these guys go over the top, with blasting pieces like "O Imperio começou a Ruir" and "Assistindo o Fim". We can't talk grindcore here, but this is not too far behind.

Demoncracia 666

DEMONNIA (BRAZIL)

A 3-song EP showing an act with an eye towards the more stylish side of the modern thrash/death metal hybrid which is delieverd in a hyper-active, very energetic manner with wild speedy shreds alternating with seismic pounding passages all this topped by very brutal low-tuned, barely audible at times, death metal vocals. The adherence to blast-beats is not very overt, but on "The Inept" they co-exist very well with the complex arrrangements the latter reaching Necrophagist-esque heights also showing a lot of promise which should materialize on the band's future "exploits".

Demonnia EP, 2013

DEMONOID (SWEDEN)

Demonoid is a side project of the Therion members who have decided to play more aggressive metal again for a change. Well, don't expect the twisted death metal of early Therion- the music here is mostly thrash with death and black metal influences. This is good stuff with brutal, but also technical riffs. The symphonic ultra-fast black metal parts ala Cradle Of Filth and Dimmu Borgir are somewhat misplaced and are the downside of the album. Christopher Johnson has conquered many styles through the years, and his so far solitary venture into thrash metal territory shows that the thrash bands have been lucky to not have himself as a competition at this stage.

Riders of the Apocalypse Full-length, 2004

DEMONSEEDS (USA)

This band is a project of Michael Haaga- a former singer of the death/thrashers Dead Horse. The style is typical modern power/thrash metal with touches of Sabbath-ish doom and some psychedelia thrown in.

Kneel Deep in Hell's Grasp Full Length,1999

DEMONTHOR (BRAZIL)

Based on the EP, these guys pull out black/thrash which ranges from slow atmospheric numbers to faster headbanging ones, two from each approach, the former being the more atractive side, carrying a certain psychedelic shade with them, not far from more recent Satyricon and Thorns.

A Night For The Demon Full-length, 1999
Miss on the Altar EP, 2002

DEMONTHRONE (CANADA)

Roughly-produced black/thrash metal ala early Bathory with a fuzzy guitar sound and sinister hellish semi-whispering vocals; the delivery is energetic with sparce doomy breaks (the heavy tribute to early Celtic Frost "Skullshredder").

Angel Slayer Demo, 2008
Necrólisis / Demonthrone Split, 2008

DEMONWOMB (AUSTRIA)

This is a decent attempt at mixing classic and modern thrash with bad angry vocals and with a pinch of hardcore on the musical approach, also expressed in the short song length (2-3min). The guitars are pretty sharp, and serve well both the fast and the slow moments which alternate throughout in equal dozes.
The EP is pretty much in the same vein trying to sound a tad more classic perhaps the hardcore "remnants" still around now recalling early Pro-Pain quite a bit. The variety is bigger as well some of the numbers being admirable heavy explorations ("Deception") with a shade of doom. The singer is a bit better now his shouts being less rending and even emotional on ocasion.

Demo Demo, 2011
Cursed EP, 2012

DEMORALISER (UK)

Modern thrash/death metal of the Gothenburg variety, but completely lacking dynamics also sticking to frequent metalcore breaks evolving around repetitive mid-paced to slow patterns to no avail.

Conveyance EP, 2011

DENATA (SWEDEN)

A more classically inclined thrash/death metal hybrid, closer to thrash, sounding like a nice combination between the German scene and the Bay Area. The style recalls the French No Return, and more particularly their debut and "Machinery". This is cool headbanging stuff with death metal vocals; there is no variety between the albums, but this is hardly a complaint. On "Art Of The Insane" there is a very cool cover of Celtic Frost's "Morbid Tales".

Necro Erection EP, 1999
Departed To Hell Full-length, 2000
Deathtrain Full-length, 2002
Art Of The Insane Full-length, 2003

DENET (CZECH)

Based on "Krev", this is a good mix of thrash and death metal from the old school. Death's "Spiritual Healing" is an obvious influence, but there are tracks which are slow, moody, with clean vocals.
"Terrestrial Dying" is the lesser achievement featuring a mixture of late 80's Metallica and the Black Album, with vocals firmly in James Hetfield-territory, which is far from bad, but there are some not very convincing moments, like the pop ballad "God Save Us the Love", which would better suit acts like Quiet Riot or Poison, and another one: "I Pray", which is better, recalling the Testament efforts in this field. The last song: "Mortuary", is a stunning turn into death metal, with a strong nod to Death's "Spiritual Healing" again, suggesting at what was to come later.

Terrestrial Dying Full-length, 1993
Krev Full-length, 1997

DENIAL (SWEDEN)

Apart from the fact that the Dark Tranquillity mainman Mikael Stanne has a guest appearance here, there is not much to write about this EP: modern groovy post-thrash in a clumsy mid-tempo and repetitive dull riffs; hardcore-ish outbursts try to lift up the mood, but only once do they extend into a whole song: the 1.5-min "Humanity Fails".

Rape Of The Century EP, 1996

DENIAL (USA)

Competent, well played old school thrash metal; the music is heavy, slightly reminiscent of the D.B.C. debut, but is more technical and with longer tracks. "Insane Asylum" shows the more ambitious nature of the band, with a more complex song-writing and more intricate guitar work, but such moments are not too many. But even in its more straight-forward side the music is still quite impressive: "Antichrist President", a great short headbanger which would hardly leave anyone indifferent. Both sides of the band's music (speed and technicality) are nicely fused near the end in "Sentenced": the album highlight. This was a promising debut which, unfortunately, sank almost without a trace in the growing indifference towards the thrash metal genre in the 90's.

Antichrist President Full-length, 1991

DENIAL FIEND (USA)

From the line-up of this new act one name will strike a cord: none other than the legendary Terry Butler (Obituary, Death, Massacre, Six Feet Under). Otherwise this is cool heavy thrash/death metal which at times has the playful vibe of early Six Feet Under or mid/late-90's Entombed ("Return to the Tombs of the Cursed Blind Dead"), but there are songs which thrash admirably, accompanied by more interesting riffage ("Flesheater"). The sound is never very aggressive, and the songs stick from each other, making up for an entertaining listen.
"Horror Holocaust" offers a similar blend, the thrashterpieces ("Stuck Pig/Bleeding Out") being quite a few, despite the fact that some of them come with a merry proto-stoner vibe in the lead department. "A Fiend Without A Face" in the middle is a formidable steam-roller, influencing the remaining material, which decreases the speed quite a bit. The vocals are scary semi-hysterical/semi-screamy rendings, which at times take a cool semi-clean shade, and become much more intelligible.

Dead Awakening EP, 2007
They Rise Full-length, 2007
Horror Holocaust Full-length 2011

DENIED (SWEDEN)

Based on "New Army For The New Revolution": these guys pull out heavy mid-paced modern thrash which is not bad despite its derivative nature. Crunchy pounding riffs galore will one find here, as well as tasteful, but sparce guitar work. Shades of 90's Flotsam & Jetsam are all over the album as well as echoes of the Black Album, 90's Chastain, etc. There is a lot of dynamics involved: the heavy aggressive "Rise"; the more diverse "Lazarus"; the energetic rock-ish "Red Threat", the multi-layered "F.E.A.R.", which is a nice combination of peaceful passages and hectic jumpy riffs.
"Let Them Burn" would be quite a surprise the band incorporating 90's power metal into the picture by retaining their biting thrashy riffage. The vocals (if those are the same ones) are not on the clean, more emotional side and fit the frolic power/thrashy landscape which now sits between the classic and the modern trends. The guys aptly mix contrasting numbers: the nice ballad "Garden Of Stone" vs. the intense headbanger "Constant Rage", before they bring some of the heaviness of the debut in the 2nd half which may enchant the doom metal lovers (the imposing doomster "The Black Room") at times. Without re-inventing the wheel, the guys translate well on the contemporary music horizon by widening their scope without sacrificing much from their early repertiore.

7 Times Your Sin Full-length, 2005
New Army For The New Revolution Full-length, 2008
Let Them Burn Full-Length, 2013

DENIED EXISTENCE (USA)

This is interesting: progressive power/thrash with slow, almost doomy melodies and complex song structures, and a female singer whose voice is a bit rougher version of Leather Leone (ex-Chastain). The style is actually close to a more thrashy Chastain (the works of the 80's), or less technical, and slower, Hexenhaus. The guitars are not overtly technical, but the riffs are heavy and interesting, and there is enough energy involved in the proceedings. All tracks are nice examples of a mixture of slow, atmospheric melodies and faster, sharp guitars. "Virgin Blood" is a particularly good number, with sinister male choruses, maybe the only one which stays closer to doom metal most of the time. There is one ballad, too: "Birth (An Endless Circle"), which slows down considerably, but is quite good.

The Future's Past Full-Length, 1999

DENIS VLACHIOTIS (AUSTRALIA)

This promising young guitar virtuoso parted with his colleagues from the technical thrash metal outfit Dred to concentrate on his solo career which has so far produced this 4-track EP which sees the guy delivering strong performance with the leads prevalent, as expected, but there are enough pure riffy sections of the power/thrashy type with frequent speedy expansions. The music is not an exact take on the Dred style, but is closer to Marty Friedman's "Dragon's Kiss" and Jason Becker's "Perpetual Burn", only faster. There are numerous classical references, as well as several Latino deviations ala Marc Rizzo, plus a not very obtrusive presence of keyboards here and there. The music is by all means technical, but this is not the main point here, Vlachiotis clearly intent on showing his skills beyond the mere thrashy shredding the latter reaching its culmination on the encompassing "Everlasting Allegiance": a larger-than-life speed/thrashing opus mixing razor-sharp riffage with meditative balladic interludes.

Imperishable Ferocity EP 2007

DENOUNCE (UK)

Cool modern thrash/death metal: At The Gates meets thrash metal; there are successful attempts at a more technical play, but not too many. Still, these guys are superior to the many The Haunted and Carnal Forge-clones walking around the metal scene nowadays.

The Inner Workings of the Hate Game EP, 2005
The Art Of Broken Teeth EP, 2006

DENTIST OF DEATH (SPAIN)

Energetic old school thrash/crossover close to Lethal Aggression and Rumble Militia; the guys experiment with the funky sound on "Porn (is All I Need)", but rest assured that there will be speedy riffs there, too, this one being the longest song, along with the blitzkriag thrasher "Perfect Organism", lasting for whole 3-min compared to the very short length of the other material. "Coneheads" is another really good all-out thrash attack spiced with a few laid-back passages and very screaming leads. Their compatriots Storbais also come to mind as well as Su Ga Tar, but judging by the more elaborate arrangements on the aforementioned "Coneheads", these guys definitely have something up their sleeve which would hopefully find a fuller realisation on the full-length.

Pornoaliens Demo, 2009

DENY (GREECE)

Cool retro thrash metal akin to Sacrifice and early Whiplash; so expect raw, fast-paced thrash, accompanied by not very pleasant, hoarse vocals, recalling the early attempts at singing made by Simon Forrest on the early Cerebral Fix works. The guitar work is simplisitc, but packs a punch, producing really worthy speed/thrashers: "Detonation", "Paradise In War", the great intense riff-fest "Remove Yourself" in the best tradition of early Destruction.

Back on the streets Demo, 2004

DEONA CART DELUNA (MALAYSIA)

4 songs of modern thrash with horrible hysterical synthesized vocals (they sometimes come accompanied by brutal low growls) which don't really suit the relatively laid-back music which develops in mid-pace with sudden fast outbursts. The guitar sound is quite abrasive, though, and there is a very sparce use of leads.

First EP EP, 2009

DEPARTMENT OF CORRUPTION (USA)

Based on the demo, this is good interesting thrash metal with a heavy sound and semi-technical riffs, not miles away from Anacrusis's debut, but with a much worse sound quality. The tempo changes nicely from slower stomping parts to faster technical ones. Rarely does the music smell death metal, and the vocals are vicious semi-black/semi-death metal ones.
The EP is another fairly cool affair offering a monolithic heavy sound comprising the cool energetic galloping number "What's Up Doc", the frenetic aggressive speedsters "Free Will Free Hell" and "2 TO 3", the punk joke "What I Like (Live)", and the stylish jumpy technical opener "Conscience Captured". The singer this time acquits himself with gruff hardcore semi-shouts.

Hanging Material Demo, 1988
The Resurrection EP, 2006

DEPLETION (PAKISTAN)

This is 2 songs of atmospheric, brooding thrash/death which is mid-paced with the casual more speedy "intrusion" ("Human Drones"). The guys aim at the more melodic fields which results in a few nice memorable passages with slight Oriental motifs. The singer is a brutal low-tuned deathy growler.

Demo Demo, 2010

DEPONIA (SERBIA)

Based on "Fuck It All", these guys "fuck it all" with modern abrasive semi-industrial thrashcore of the heavy proto-groovy variety. The music is kind of one-dimensional with repetitive mid-paced riffs which break the pattern at times starting to jump suddenly in a hectic Helmet-like fashion. One will be delighted to hear sparce pure thrashy outbursts ("Shadowrun"), but on an album of 15 songs their number should have been much bigger.

Fuck It All Full-length, 2000
Sick Skara Full-length, 2002

DEPREDADOR (ARGENTINA)

A heavy blend of classic and modern thrash, more modern-sounding probably, mostly in mid-tempo, slowing down to stoner/doom at times, but the riffs are sharp and meaty, and the overall approach is not far from the one of the Italians In.Si.Dia, their 2nd album, more particularly. The faster material reminds of the Scots The Almighty and Skid Row's "Slave to the Grind" (the song): "Mi Pais", "Bajo Tu Sombra". "Mezcal" is a cool heavy semi-ballad with Metallica overtones.

Suplicando Furia Full-Length, 1997

DEPREDATION (GERMANY)

Based on the "Ruhrpottmetal" demo, this is excellent classic thrash metal obviously influenced by the Bay Area scene, but also featuring speedy riffs akin to Tankard or Paradox. There are both heavier, somewhat technical, tracks and more light-hearted faster headbangers.

Live in Ratingen Live album, 2002
Megaton Scythe Demo, 2003
Ruhrpottmetal Demo, 2005

DEPRESSION (AUSTRALIA)

As you can see, the information here is not complete. The first part is pure hardcore with almost no traces of thrash, but in the second half things start taking a nice shape: "Have A Look Around", followed by a brilliant semi-technical "Instrumental" and the very good closer: another instrumental, "Spiritual Warrior", a great atmospheric piece.

Thrash Till Death Full-Length, 1987

DEPRESSIVE AGE (GERMANY)

This band literally saved thrash metal from being obliterated completely from the 90's music scene. They raised the hopes high that thrash metal would survive at least in Germany, and would even continue to flourish. The band could be viewed as the leaders of the progressive/technical thrash metal movement which virtually started with their debut. And this was exactly the case on the band's first two albums, which were fabulous progressive thrash metal works, quite aggressive at times, but also with original, complex song-structures, with interesting avantgarde elements and very good melodic, alternative vocals. These guys have managed to forge a really compelling sound, combining complex song-structures with fast-paced, intense passages, often interrupted by slower atmospheric ones. The debut contains the more elaborate and technical material, whereas "Lying In Wait" offers a more aggressive and sharp sound, with shorter tracks and more accessible arrangements. The traditionally difficult third album was a deviation from the hard course into an alternative form of progressive metal, which had very few "remnants" from the biting thrash metal sound of the previous efforts, but was strangely enchanting and interesting. After this one the band's music changed direction quite radically, and gradually left the metal field, causing them to change their name into D-Age, where the syle shifted into a new wave-ish post-rockabilia with borrowings from alternative, punk, etc.

Innocent In Detention EP, 1992
First Depression Full-length, 1992
Lying in Wait Full-length, 1993
Symbols for the Blue Time Full-length, 1994

DEPTERA (RUSSIA)

Dynamic modern thrash with the odd technical hook the latter having a nice dry sterile edge not far from Altered Aeon and Biomechanical; the singer is angry with shades of low-tuned death metal growling at times. The riffs are pretty sharp changing the tempo the whole time, even blasting on occasion, where the approach comes close to the controlled chaos of Suffocation. "Fucking Disease" is a confident minimalistic technical creeper with another super-aggressive blast near the end giving a lot of hope for the quality of the eventual full-length.
"Gravity" is another teaser consisting of 4 songs from which the opening "Gravity" is a less restrained butalizer; "Anxiety" is a clever shredder in more moderate tempos producing exquisite technical entertainment with a few quiet moments; "Velocity" is again more on the brutal side with a few not as controlled blasts; and the final "Break Stuff" is an intelligent rendition of the Limp Bizkit hit by preserving the staple for the stars breakdowns still managing to bring it close to their style.

Pressure EP, 2011
Gravity EP, 2013

DER GEIST (ITALY)

This Italian formation specialize in modern thrash/death with expressive shouty death metal vocals. The music is served in various tempos with a sophisticated semi-technical edge which is disguised in more conventional Swedish school riffs. The slower material (the cleverly-concocted "Another Cutting Weapon") seems to carry the bigger technical charge while the faster cuts sound more ordinary, with timid shades of Darkane sneaking in (the dynamic closer "The Struggle Within") the very good melodic leads gracing both sides leaving the most positive impression from this cool, but hardly striking effort.

The Pain We Don't Feel Full-length, 2012

DERANGED (CANADA)

Brutal devastating thrash on the second demo, and more restrained and technical one on the first; both styles are expertly delivered as the preferences would probably go for the second one for its better production and ultra furious character- listen to it if you dare!

Premonitory Nightmare Demo, 1988
Place of Torment Demo, 1989

DERANGED THEORY (USA)

This new act specializes in cleverly-constructed modern thrash which has both an industrial and technical vibe. The dark complex riffs aof the opener "Abandoned By The Gods" are suddenly replaced by much faster fiery ones on the shorter and more immediate "Blind To The Suffering". Later on the approach becomes a bit more ordinary with more adherence to the Swedish patterns which get more obvious on the shorter material ("Headless But Not Horseless") which come with a more brutal death metal edge and nice enchanting balladic leanings on the excellent instrumental "Terminus Est". The closing "Voice Of Eclipse" is a true revelation bringing the best from everyone involved to a produce a dramatic technical vortex is only flaw being the rough brutal death metal vocals.

Steel Clad & Super Bad Full-Length, 2012

DERANGER (BELARUS)

Based on the Best of Compilation, this act played (the first demo) low-tuned minimalistic black/thrash metal with awful rending vocals which are barely audible for most of the time. Later on the music ("Zombie") moved towards more sensible thrash/death metal ala Messiah, and during their final stages the guys started playing retro thrash of the fast direct variety akin to Slayer and early Kreator. The sound quality all over is bad, but this is intentional; the band apparently wanted to remain deep underground.

Satanic Frost Demo, 2007
The Goat Demo, 2008
Black Hammer / Zombie (live) Single, 2009
Zombie / Possessed Single, 2009
Power of Satan Demo, 2009
Flag of Hate Demo, 2009
Broken Heaven Best of/Compilation, 2009

DERETLA (USA)

Good modern technical/progressive thrash/death metal; "Altered" is a nice lead-driven intro, and "Celestrial Arrival" is a confident jumpy stomper. "The Creatures....They Have Become" is a fine nod to later-period Death in a steady mid-tempo which remains for the more standard pounding "Empty Skull". "Guide to Purpose" is a calm semi-balladic piece with great melodic leads, but "Walls Divided" is already edgier with intriguing technical hooks. "No Response: concnetrates on the impressive lead guitar work again abandoning the bolder technical performance which may leave a certain aftertaste in the listener after the EP is over due to its slightly uneven nature. The vocalist is hardly the highlight with his subdued growly tone which is comrehensive, but pretty low-tuned.

Altered EP, 2011

DERIDE (NORWAY)

Jumpy modern thrash/metalcore which is more on the lyrical side that side greatly helped by the tender clean side of the vocal amalgam. This is too boring and rehashed to make one stand through the whole album since the same riff-patterns keep repeating on every track to an ultimately dull effect.

Scars Of Time Full-Length, 2001

DERIDE (USA)

Typical standard modern thrash which is not much more than repetitive rehashed riffs the majot "detraction" being the spacey balladic passages which are nice and atmospheric, but are quickly superseded by the next portion of noisy groovy or proto-hardcore passages. The band spread their wings wider later on incorporating elements from heavy metal, hard rock ("Fallen") and to some this may be the album's saving grace because the guys pull out the softer stuff with more panache if we exclude the gruff shouty vocals which are not very pleasant and take quite a bit of space.

The Void Full-Length, 2012

DESACRATOR (USA)

This is the early incarnation of the avantgarde thrashers/post-thrashers Thought Industry. The style here is again ptetty weird, although way more standard than the eccentricity of the Thought Industry works, sounding like a twisted, more technical version of the Bay-Area. "Wishing Well" is a solid mid-pacer with very good melodic leads, and a few unexpected time-changes, while "Ecocide" is more aggressive and faster, although it pales in comparison to the next "Malice Rancor", which is a major headbanger with blazing leads again. "The Lonely and the Damned" is a very cool semi-ballad with nice galloping alternations, and could be viewed as a major rival to Flotsam & Jetsam's similar exploration "Escape from Within" that same year. "Electronic Apparition" follows the mid/late-80's Metallica patterns, but adds its own characteristic eclectic twist, including a great balladic shift, and the next in line virtuoso lead section, which literally makes the lead guitarist the star of the show. "Genesis by Revelation" is an ambitious udnertaking: a heavy progressive piece with faster passages, another nod to Metallica with echoes of the obscure technical thrash metal act Forced Entry. The final "Malevolent Winds" is bound to jump in the opposite direction offering faster more vivid rhythms, but the lead guy steals the show for the upteenth time, with some of the finest leads around, both technical and melodic. And a few words about the singer: the man is quite an asset, too, with his diverse range pulling out fairly attached emotional performance reminiscent of Scott Holderby (the 1st Mordred singer).

111mzd Demo 1988

DESARME (PERU)

Based on "Es tu Error", these guys have come up with some of the most ferocious brutal sounds from South America in recent times. This is unbridled aggressive thrash/crossover quite close to the early outrages of Cryptic Slaughter. There is hardcore, there is grind, there is even death metal here, but there are a couple of more restrained merriers which branch out into sincere punk ("Futbol"; the melodic instrumental extravaganza "La Mosca") for not very good measure. The guitars are quite noisy and come with a certain mechanical edge which are ably matched by the shouty angry vocals.

Corrosión (en la Nación) Full-length, 2004
Es tu Error Full-length, 2005

DESASTER (BRAZIL)

A 2-song demo of very violent and brutal thrash/death which in terms of speed and intensity surpasses almost everything created until that stage in the Brazilian underground (and not only there).

Demo Demo, 1988

DESASTER (GERMANY)

One of the first 90's bands who rediscovered thrash metal's 80's roots; their style is quite consistent throughout their career, being black-ish thrash in the vein of Sodom, Destruction and the likes with power, epic, and even death metal elements thrown in. These guys are not meant to make a revolution in music; they just want to show to the world that there is nothing better than the good old thrash.
The debut is the band's least diverse effort concentrating more on black metal with majestic medieval atmosphere akin to mid-period Immortal, with a pinch of thrash metal thrown in ("Devil's Sword"). "Into a Magical Night" is exemplary atmospheric black metal with more extreme symphonic passages ala Dimmu Borgir, but the rest seldom leaves the mid-tempo being long on atmosphere and dramatism.
"Hellfire's Dominion" starts with the maddening black metal on "In the Ban of Satan's Sorcery", but soon after settles for mid-paced epic thrash with a few edgier moments: the intense Germanic thrash shred on "Expect No Release"; the brutal hyper-blasts on "Past...Present...Forever...". The end is too quiet for such a release the last two compositions being folk/epic opuses in the vein of Bathory's "Nordland" with the thrashy guitars taking a secondary role to the atmosphere.
"Tyrants of the Netherworld" begins in a similar to its predecessor fashion, with the more extreme black metal opener "Nekropolis Karthago", to make room for thrash metal for the forceful retro thrashers "Victim of My Force" and "Profanation" the latter a standout aggressive shredder with proto-death shades. Things only get better later, with the smashing speed/thrash fest "Sworn to Avenge". Time for more black metal with the furious Immortal-esque "Tyrants of the Netherworld", after which the thrashing madness carries on with the fine nod to the early German school "Call on the Beast". "Battle Oath" is the staple epic thrasher, followed by more blitzkriag thrash on the raging "Disciples of Darkness". The end is the traditional one for the band, with the calm epic/viking instrumental "Reign of Tyrants".
"Divine Blasphemies" again tries something more brutal in the beginning with the super-blasts on the opening title-track, but this touch is just for destraction of the listener since later on the music returns to the typical for the band mixture of black and thrash metal alternating the two sides throughout the album. The sound has become more melodic, a tendency shown with the mellower power/thrasher "Alliance to the Powerthrone".
"Angelwhore" is no different from the previous offering, serving the trade mark extreme black-ish beginning, before switching to retro thrash for most of the time with slow and fast tracks taking turns, with the closing "Revelation Genocide" being a nice aggressive Slayer-esque number.
"666 - Satan's Soldiers Syndicate" bears no surprises, starting with the explosive death/thrash on "Satan's Soldiers Syndicate", before moving onto more laid-back speed/thrash with an Exciter and Motorhead flavour ("Hellbangers"). Still, the sharper Germanic thrash is just around the corner ("Vile We Dwell") as well as the sparce brutal black metal outbursts ("Fate Forever Flesh"). The exit "More Corpses for the Grave" breaks the created a long time ago pattern of softer slower tunes, and continues the thrash metal mayhem in a vigorous German fashion.
5 years later the band are alive and well, and "The Arts of Destruction" shows no remorse from the very beginning opening with the furious black metal madness "The Art of Destruction" which finds some time for more laid-back epic riffs ala Moonspell and mid-period Bathory amidst the raging blasts. The thrash/death saga starts with the next "Lacerate (With Rans of Doom)" which is a cool melodic headbanger. "The Splendour of the Idols" keeps thrashing on, but "Phantom Funeral" is another epic blacky cut, a very cool atmposheric song. Then the thrashing "carnage" begins reaching extreme death metal proportions on "At Hell's Horizon". "Possessed and Defiled" is a great epic hymn with doomy tendencies, an enchanting melodic composition which could stand for the highlight on this diverse offering which delivers in every department spanning several sub-genres all blended well, preserving all the staple characteristics of the band's encompassing style.

A Touch Of Medieval Darkness Full-length, 1996
Stormbringer EP, 1997
Hellfire's Dominion Full-length, 1998
Tyrants of the Netherworld Full-length, 2000
Divine Blasphemies Full-length, 2002
Angelwhore Full-length, 2005
Infernal Voices EP, 2006
666-Satan's Soldiers Syndicate Full-length, 2007
The Arts of Destruction Full-length, 2012

DESCENCUS (DENMARK)

Thrash/death metal of the Gothenburg school- quite brutal at times, with Norwegian black metal elements present as well.

Winter Breeze Demo, 2003
As Darkness Descends Demo, 2003
Bewildered Existence Demo, 2004
Exploited Innocence Demo, 2005

DESCEND (MEXICO)

Death/thrash with a more classic edge, with a dark quality, mixing fast blasting sections with more controlled mid-tempo ones. The style resembles mid-period Messiah, but is more straight-forward, although "Request To Creator" is an 8-min opus, alternating between raging and more quiet moments the whole time. No such surprises on the good aggressive thrasher "Remembers From The Past", except for the balladic inclusion at the end.

Request To Creator EP, 2007

DESCEND (SWEDEN)

A decent entry into the modern thrash/death metal hybrid, varied music with technical, even progressive (the Opeth-sque "A Sudden Sense Of Clarity" and the dreamy balladic cut "Through The Eyes Of The Burdened"; the atmopsheric complex number "Disambiguous") pretensions the former culminating on the puzzling Oriental piece "The Life Delusion". There are not too many happy moments for the headbangers since this is more thought-out stuff with quite a few not very easy-to-swallow moments.

Through the Eyes of the Burdened Full-length 2011

DESCENDANT (USA)

This power US trio deliver cool melodic modern thrash which is full of some of the most infectious hooks of recent times. Mid-period In Flames are a very close reference point, but there are also elements fo death/doom as well as sudden technical twists ("The Gatekeeper") which may make you a bit bewildered at first, but when they become more frequent later on (the excellent puzzler "Death Depraved") one will find out that here he/she has a band who will not be content merely emulating their Gothenburg colleagues. And, indeed, "Images" is a brilliant speedy instrumental with haunting atmospheric tunes, and the following "Left In Pieces" is almost 8-min of stylish technical thrash/death taken straight from the Atheist and Sceptic textbooks. The surprises don't end here, thogh, and the immediate track is another great instrumental ("Descendant of Darkness") of the balladic lead-driven kind. "Sonic Lust" is a galloping speed/thrash anthem graced by an unexpected fast technical interlude, and the closer "Behind the Lies" is a diverse offering blending technicality, balladic digressions, and direct headbanging parts into one interesting whole. There is certainly quite a big potential in this new act who gather several approaches under one roof, but it seems as though they are still looking for their most fitting face which will definitely take a more coherent shape soon.

Descendant Full-length, 2011

DESCENDENT (USA)

2 songs of fast intense thrash/death metal, both heavy and fast, but relying more on crushing mid-tempos, where the approach comes close to the one of Obituary.

Descendent Demo, 1994
Degeneration Full-length, 1995

DESCENDER (CROATIA)

This new Croatian band offer fast blitzkrieg classic thrash not far from Morbid Saint and Torture. The production is certainly more polished, and the guitars are given a big boost which favours the riffs, but not the leads that much which sound muffled. "Thrash Burn Kill" is the new thrash metal hymn of the new millennium, but every other track here can qualify for this position. Raging fury emits from proto-death lacers like "Betrayer", "Black Cat" the sole "apology" offered this cut being a more moderate speed/thrash metal anthem. The vocals are clearly on the death metal side, but are comprehensive except on the moments when they try to scream in a scary Tom Araya-sque manner (not very successfully at this stage). This is an admirable dedication to the old school sound which would make quite a few heads bang with passion in the days to come.

Descending Into Chaos Full-Length, 2012

DESCENDING (GREECE)

The famed guitar virtuoso Constantine (Mystic Prophecy, Nightfall) plays here, to help in the creation of this modern thrashis, which is quite close in spirit to modern day Annihilator (see the album-title for more references), the main difference being the harsh death metal vocals. This is music which is both intense and melodic (check out the infectious riffs and leads on the crowd pleaser "Part Of The Game"), the guitars having a slightly dry mechanized sound. "Killer Instinct" and "The Creations Remains" are forceful shredders, and "Raging Cold Blood" is a capable nod to the Swedish school, Dark Tranquillity's "Haven", in particular. "Day To Die=Die Today" is another headbanger worth mentioning, but the quiet moments are not just a few, either, abandoned at the very end where the final "Trust" will shoot you at close range with its rapid fire approach.
"New Death Celebrity" is a better offering, way more aggressive, now bringing death metal forward as well as more technical decisions, both aspects well reflected on the ripping opener "No Other Gods Before Me". The songs after that develop in a sweeping fashion with fast and slow passages alternating, accompanied by the regular blast-beating sections. The melodic deviations are the laid-back romantic piece "How Much This Life Weights" and, partly, the mechanical shredder "The Energy". The rest is speedy and pretty hectic, but seldom abandons the well established melo-death/thrash formula.

Enter Annihilation Full-length, 2008
New Death Celebrity Full-length, 2011

DESCENT (UK)

Modern thrash/death metal with nods to the Swedish scene, spiced with slower groovy sections in the Pantera-vein.

In The System Full-length, 1999

DESCOMUNAL (ECUADOR)

The full-length: groovy alternative post-thrash sounding like more aggressive Rage Against the Machine; heavy repetitive riffs topped by hoarse semi-clean vocals will one find here, plus the obligatory metalcore breaks as well as several heavy breakdowns ala Biohazard.
The EP: the approach is harsher here, with clear pretensions at mechanized modern thrash/death metal not far from mid-period Meshuggah, but kind of wilder and not as focused, with a pinch of Mindrot/Soulstorm-esque industrial as well. Still, the riffs squash majorly, and the sudden blasting "surprises" ("De Oscuro Final") will make you jump on your seat. The singer is pretty harsh and shouty this time, with a synthesized blend. The final "Ya Basta (Vivo)" is an early recording with a much worse sound quality, a pure retro death/thrasher of teh direct bashing kind.

De Oscuro Final EP, 2005
Invalorable Full-length, 2007

DESECRATE (USA)

Based on the "Mental Massacre" EP, this act plays good speed/thrash metal which "courts" both the modern and the classic school. At times the music is heavy and pounding ("Overpowered") with a late-80's Metallica influence, at times is uplifting and speedy (the excellent short instrumental "Shizzle"), but at their best the guys pull out awesome semi-progressive speed/thrash (the 8-min opus "Mental Massacre") ala Manticora and Hellfire. The lead guitar work is good without taking too much space, and the singer delivers with his mid-levelled clean tone, although more emotion and the casual higher-pitch for the future would be beneficial.
The full-length is a sure-handed beginning for the band offering music similar to the EP, with two tracks ("Trapped" and "Overpowered") also included there. "X-Machine" is an energetic mid to up-tempo speed/thrasher with heavy sharp riffs, and "Altered Creations", albeit slower, is another fine piece of hard-hitting thrash with forceful rhythms and good leads and melodic hooks. "Power Trip" is all-out headbanging thrash, and "Rising Terror", despite its formidable title, is calmer with a nice balladic interlude and technical overtones reminding of Helstar's "Nosferatu". Then comes the aforementioned "Trapped" which speeds up again, a tendency preserved on "The End" which is a nice blend of speed and technicality, before the crushing pounding riffs of "Overpowered" "overpower" you in the best tradition of "Leper Messiah" ("Master of Puppets") offering a slight faster twist in the middle. The singer here sounds better with a more dramatic and attached delivery although his tember is not too different from the one on the EP. Although both efforts are good and proficient, it seems as though the guys are yet to develop their full potential; those technical moments can be elaborated on in the future, and the leads could probably be given more space; the guitarist can obviously show more like he already has on the longer compositions.

Desecrate Full-length, 2005
Mental Massacre EP, 2008

DESECRATION (SPAIN)

Claasic thrash metal with a boosted modern production; there are moments of the 90's scene, but overall the guys mosh fast and tight in the spirit of Dew-Scented with the odd tribute to their American peers (Slayer, in this case): "Mental Anesthesia".

Lords of Misery EP, 2011

DESECRATION (USA, AZ)

A furious mixture of thrash, speed metal and hardcore with short blasting tracks reminiscent of Wehrmacht, but these guys are more extreme and vicious- no kidding!

Who's in Control EP, 1987

DESECRATION (USA, CA)

"Psycho" is excellent aggressive thrash sounding like more restrained "Seven Churches" with a few more clever riffs; "The Summoning" follows the same pattern, but is faster with revolving Destruction-like melodies and punk-ish jokes ("Cowboys In Bondage"); the 1989 "Demo" is faster, a bit more melodic, with a certain shade of hardcore.

Cowboys In Bondage Demo, 1985
Psycho Demo, 1985
Live at Ruthies Inn, USA 26/12/1985 Demo, 1985
The Summoning Demo, 1986
Demo Demo, 1989

DESECRATOR (AUSTRALIA)

Based on the full-length, this band pulls out competent retro thrash which is pretty dynamic, an evidence given with the very 1st track: "Til Death", which is a prime relentless headbanger with nice melodic inclusions. "1800 Volts" after that is a dramatic galloper with very cool melodic leads, and "Bred, Fed Then Dead" is another more direct smasher with speed metal tendencies. The thrashing assault reaches Slayer-esque proportions in the middle, on "Slaughtered in Masses", despite the more relaxing mid-break, and "Serpents Return" is another galloping "horse" with more aggressive slamming passages. The mosh carries on until the end, making this effort a sure-handed entry into the quite voluminous classic thrash metal catalogue of recent years. The singer is a good forceful mid-ranger not far Phil Rind (Sacred Reich).

Desecrator EP, 2010
Live Til Death Full-length, 2011

DESECRATOR (COLOMBIA)

Fast uncompromising death/thrash metal of the old school; a brutal, but comprehensible, affair close to the Sadus debut and the Italians Schizo. The guys bash with passion producing furious neck-spraining moments along the way only relaxing on the short hardcore closer "Llevate A Esas Perras".

Terror Nuclear Demo, 2010

DESECRATOR (SWEDEN)

Based on the "Black Sermons" demo, this band pulls out an early mix of thrash and death metal, fast and semi-technical, obviously influenced by early Death. All the 3 tracks are cool blends of aggression and technicality, without overdoing it in either department; "Necrosis" goes over the top a bit perhaps, with an overlong insertion of a middle doomy break (the song is 8-min long). There are stylish keyboard implements to be heard, recalling Nocturnus. Later the guys changed their name to Ceremonial Oath, and produced two LP's and one EP of less interesting Swedish melo-death.

Wake The Dead Demo, 1989
Black Sermons Demo, 1990

DESECRATOR (USA)

This very obscure band nicely mixes Slayer-esque aggression with early Celtic Frost, resulting in a really compelling sound. Without having any shades of death metal whatsoever, the band's sound is very heavy and brutal. Songs from the two types alternate, with "Eruption of Repression" near the end "marrying" both.

The Nightmare Calls Demo, 1987

DESEKRATEWHORE (CANADA)

Three folks, with just letters substituting for their names/aliases, are responsible for this fuzzy take on the retro black/thrash metal idea which comes with a certain touch of gothic/doom despite the quite a few more energetic sections ala Deathwish. On the slower moments the guys also resemble early Messiah, including the vocals which are deep underground growls of the more comprehensive type.
"Shadows of the Past" is aslower affair, with heavy sections taken directly from the textbooks of early Celtic Frost and Hellhammer ("Souls of the Insane"), plus long compositions ala early Burzum ("Illusions in the Mist"), and generally the songs are pretty atmospheric with not too many speedy breaks, partially ruined by the not very clear sound quality.

Illusions in the Mist Full-length, 2010
Shadows of the Past Full-length, 2011

DESEKRATOR (NORWAY)

This is quite a mixed bag: there are speed/thrash metal moments reminding of Exciter ("Metal for Demons"), there are very awkward brutal grindcore numbers ("Aphice"), and there is a very annoying presence of ultra fast, blast-beat rhythms throughout the whole album. There is modern 90's thrash involved, too, but this wild mixture is just plain bad. There is punk, hardcore thrown in, too, as well as some awful industrialized vocals; you get the horrifying picture... I'm not sure that even the "demons" will like this kind of "metal".

Metal For Demons Full-length, 1998

DESEKRATOR (USA)

Power/thrash sounding like a cross between the first two Nasty Savage albums (more thrashy than the debut, and less hard-hitting then "Indulgence"); at times the guys exceed in heaviness, moving onto a Celtic Frost ground ("Rituals").

Demo Demo, 1989

DESERT (PORTUGAL)

This 2-song demo shows a band trying to shift the thrash/crossover style into a more avantgarde mellower direction spiced with classic heavy/power metal moments as well, and a few genuinely technical riffs on the instrumental "Picture". This is an intriguing, albeit very short, effort with clean alternative vocals on the other track and quirky rhythms which could have developed into something really interesting if the guys had survived long enough.

Promo Demo, 1999

DESERT STORM (GERMANY)

Based on the EP, this band plays typical 90's post-thrash, mid to up-tempo, with no highlights whatsoever, quite monotonous and one-dimensional, with the exclusion of the more intense "Goblin", which thrashes in a heavy pounding fashion, adding quite interesting melodic leads (the theme is actually taken from somewhere, but I can't recall from where).

Perspiration EP, 1994
Walking Straight To The Moon Full-Length, 1997

DESERTION (GERMANY)

Based on "In Rage", this band offers mellow power/thrash with a firm classic edge, with adherence to ballads ("No Forgiveness", the short "Separate Ways"), doom ("Another Rage"), and speed ("I Stand Alone"). Cool stuff with semi-melodic mid-levelled vocals and generally not very edgy guitars sticking more to the power metal formula.

Desertation Full-length, 1996
In Rage Full-length, 2000

DESEXULT (DENMARK)

Artillery and Invocator could have had a strong competition if these guys had managed to "break the ice" and leave the underground. They are actually one of the first thrash metal bands from Denmark, second only to Artillery. Based on the 1987 demos, the band's style is similar to early Slayer (the period before "Reign In Blood") mixed with crossover/thrash along the lines of Rumble Militia (who appeared later).

Live 7.3.86 Demo, 1986
S.O.D.F.O.A.D. Demo, 1986
Saurian Dance Demo, 1986
Demo III Demo, 1987
Fat Boys Wanna Rock Demo, 1987
Pana Wichee Salitu Demo, 1988

DESIGNIO (ARGENTINA)

Based on the split, this band plays speed/thrash of the more melodic variety, not too far from Horcas, the main difference being the gruff semi-death metal vocals.

Caotica Existencia Demo, 2007
Thrash Slash Vol. 2 Split, 2009

DESILENCE (GERMANY)

Modern thrash/death metal: think Dew-Scented with a stronger presence from the Gothenburg scene (Dew-Scented's drummer actully takes part in the recording process). A good sense of melody is displayed here, but otherwise this is not something we haven't heard many times before.

Antisilent Demo, 2003
Wreck the Silence Full-length, 2008

DESLOK (USA)

Based on the "No Peace, Know Pain" demo, this is cool energetic thrash with crossover tendencies and an overall aggressive attitude akin to Evildead's "Annihilation of Civilization".

Instant Death... Just Add Water! Demo, 1988
No Peace, Know Pain Demo, 1989

DESMATRON (UK)

This band was formed by Ritchie Desmond- the man who tried to unsuccessfully replace Martin Walkyer in the great Sabbat for "Mourning Has Broken". Listening to this demo, it's not hard to see why he had managed to impress the Sabbat guys: this is quite good fast-paced thrash, intercepted by impressive atmospheric, sinister passages ("March of the Wicked"). The music actually resembles the one of early Sabbat quite a bit (listen to "Day of the Red"), and the guitarists do an admirable job, changing riffs and tempos all the time, topping them up with excellent leads. Desmond's peformance is impressive, too, and it's a pity that he had apparently felt quite nervous, filling in the vacated Walkyier's shoes, because here he handles all possible ranges with ease and confidence. The fine instrumental piece "Parametric Force" is probably the only place where your head will take a break from headbanging, being more peaceful, but it will delight you with its brilliant guitar work. It would be a very unpleasant paradox if the band's demise had been caused by the ill-fated short spell of Desmond with Sabbat (which is not very likely, having in mind the big 4-year gap between the two releases).

Theological Void Demo, 1987

DESMODUS (ITALY)

This demo reminds me a lot of the Brits Xentrix, from the good, Chris Astley-like vocals, to the simplistic, but catchy riffs. "Domination" shows the faster, more aggressive side of the band, and is probably the better one; the rest, however, is by no means bad, being cool, mid to up-tempo classic thrash.

Human Wreck Demo, 1992

DESOLATE ANGEL (USA)

Modern 90's power/thrash ala Flotsam & Jetsam from the same time with heavy "leftovers" from the 80's scene in the Sacred Reich's "The American Way" spirit. This is mid-paced, heavy music, one-dimensional which loses its edge here and there (the melodic, groovy "What I Need").

No Apology Full-length, 1995

DESOLATE VOID (USA)

Based on "No Sign of Better Times", this act offers a surprisingly energetic mix of sludge, hardcore and thrash with brutal death metal vocals which "duel" with hysterical husky ones the whole time. The speed goes up quite a bit at times ("Wreckage of Yesterday", the grinding sludge madness "Fucked and Furious"), and generally the slower doom/sludgers are not many at all. The faster extreme touches get a full grip on the guys' other project Invicticus where they practice brutal death/grind.

Self Medicated Psycho Therapy Full-length, 2006
No Sign of Better Times Full-length, 2008

DESOLATION (BRAZIL)

A typical blend of the fashionable death metal of the time and remnants of the dying thrash metal movement; keeps the speed at a respectable rate, but the approach is too one-dimensional to really stay in your mind.

In A World Of Terror Full-length, 1992

DESOLATION (CHILE)

4 songs of good aggressive retro thrash in the vein of Bloodcum and Num Skull. The guys lash out with a nice technical edge the good music assisted by subdued low-tuned death metal vocals. "Thrashers Never Die" deserves its title quite well being intense hard-hitting thrash with sharp stylish riffage lasting for about 6-min keeping the fast pace the whole time as well as the more clever decisions which will also remind you of Torture's "Storm Alert".

Thrashers Never Die Demo, 2006

DESOLATOR (UK)

This UK trio provide abrasive old school thrash which is obviously enchanted by the early days of the German movement the band thrashing with gusto unpretentiously and effortlessly doing the major damage in the bass department where tehg uy really excels at times with his vociferous support. The end is preserved for the slightly careless crossover version of Tankard's "Empty Tankard" who are arguably the most evident influence on the band.

Demo Demo, 2011

DESOLATOR (USA)

A 3-track demo of fast evil black/thrash metal sounding like more proficient early Sodom and Bathory; the guitars are simplistic, but pack a punch, especially on the slower more atmospheric sections. The singer croaks like a raven, reminding of Quorthon (R.I.P.), but less comprehensible.
The “The Bells Ninth Chime” demo boasts a much better sound quality, and in the music department we have implementation of the more recent black/thrash school (think the Japanese trend: Sabbat, Abigail, Sigh, etc.). Spasmodic blast-beats haven’t been spared the unprepared listener who will cringe on those passages, but there will be plenty of old school fun ala early Bathory and Celtic Frost for him/her to get back on track. The melodic tunes have been increased to the point of overtaking the hard-hitting riffage (check out “In The Sign Of Vengeance”), but they are a nice touch, and give the demo a characteristic, sureal shade.

Infernal Desolation Demo, 2009
The Bells Ninth Chime Demo, 2012

DESOLUTION (AUSTRALIA)

Modern dynamic groovy thrash, following early Pantera quite close, and producing decent results, even moshing out on a few times with brisk energetic guitars ("Faker"), or lashing steel mid-paced riffs ("Lean Against") to a not lesser effect. "Disconnected" at the end is a cool take on the jolly crossover style of early Suicidal Tendencies.

Desolution EP, 2009

DESORDEIROS DO BRAZIL (BRAZIL)

Thrash/crossover with a jolly, punk-ish attitude, but with some quite furious tracks thrown in as well.

Desordeiros Do Brazil Full-Length,1990

DESPAIR (GERMANY)

This band is more famous for the fact that it featured Robert Kampf- the man who founded the famous metal label Century Media, and Waldemar Sorychta who later made a name as a producer and a member of other more celebrated bands like Grip Inc, Voodoocult and Moonspell. They started greatly with the debut album "History of Hate", which set the tone for what followed: stylish and often quite interesting technical/progressive thrash, ranging from hectic, speedy, and very technical moments ("History of Hate"), to longer, slower, but also quite complex ones ("Constructing the Apocalypse", which is truly a masterpiece with its many time changes, atmospheric breaks and precise technical guitars), all those coming with magnificent melodic guitar hooks, some of the finest to ever grace the scene. The concentration on this one is clearly on a "technique-meets-melody" delivery, which raised this effort to the level of a masterpiece, standing proud beside peaks of the genre like Sieges Even's "Life Cycle", Deathrow's "Deception Ignored", and Living Death's "Protected From Reality".
"Decay of Humanity", as expected, is another display of flawless musicianship, which sounds very close to the previous offering, and bears almost no surprises, except for the marvellous doomy, semi-ballad "A Distant Territory", one of the band's finest achievements, which is like an "oasis" amidst the fast-paced technical numbers which surround it.

"Beyond All Reason" is by no means less striking, but the guys have concentrated more on the melodic lines, and one can't help but notice how proficient the leads are this time, the culmination being the marvellous instrumental piece "Crossed in Sorrow". The speed is there, even more accentuated on- check out the raging "Deaf and Blind", but is more often interrupted by slower, even semi-balladic sections, as though the band were deliberately looking to make their music sound progressive and complex, something which was earlier achieved simply through a high level of musicianship. Still, technical masterpieces like "Imported Love" are hard to be ignored, and the outstanding guitar performance (some of those melodies will haunt you) makes this album another winner, although this time the sound is quite close to Helstar's "Nosferatu", also helped by the rough, James Rivera-like vocals, losing its individual face, which the debut, and even the follow-up, had all over. Whether this was the band's creative peak, is debatable, but the band members went their separate ways after this one, leaving a legacy of three standout works for the metal fans.

History of Hate Full-length, 1988
Decay of Humanity Full-length, 1990
Slow Death EP, 1991
Beyond All Reason Full-length, 1993

Vibrations of Doom

DESPISE (GREECE)

The full-time members of this band are actually only two, one of whom is a girl (the bass player). She, as well as her colleague, does a fine job pulling out good classic 80's, Slayer-influenced thrash. The "State of Brutality" demo is vintage aggressive Slayer ("Reign in Blood"); the first half of the Best of Compilation features 4 songs which again remind of Slayer, but their late 80's, heavier period. Even though Despise don't offer much outside mere Slayer-worship, this is well executed music which captures the essence of the two sides of the Americans during their prime.

State of Brutality Demo, 1993
Indefinite Force LP Demo Best of/Compilation, 2006

DESPISE & CONQUER (GREECE)

This is an atmospheric take on the thrash/death metal idea sitting between the battle-like riffage of Bolt Thrower and the gothic-laced landscapes of Septic Flesh all this built around dark thrashy riffs in mid-tempo and nice haunting keyboard implements. Faster moments ("Fear My Thoughts") are inevitable some coming with a cool technical decoration, others with exuberant melodic leads. Operatic majesty is served on "Moonlight Serenade" which is a moody composition with a fine orchestral exit. The 2nd half is a bit more one-dimensional offering pounding mid-tempo rhythms which don't change much throughout, but putting up a solid monolithic approach with a pinch of doom. The deep throaty death metal vocals leave a positive impression providing the requisite darkness in this department.

Invasion Full-length, 2012

DESPISED (GERMANY)

It's a little "absurd" that the music of the these guys had impressed Sabine Classen (Holy Moses) to recruit them for her act Temple of the Absurd. Not that it's a total waste; it's that it's nothing more than the typical 90's aggro-thrash spiced with a less pretentious Motorhead-ish vividness from time to time. Shades of the already dead at the time 80's thrash movement can also be caught: the little hectic thrasher "Fornever Stag", and especially the energetic speed/thrash metal hymn "Remembrance". The singer is put too much up front, and his angry shouts ala Jan-Chris De Koeijer (Gorefest) are hardly the most pleasant side of this album, and could distract the listener a bit.

Twisted Full-length, 1993

DESPITE (SWEDEN)

Based on "Clanched", this band plays mizes the more dynamic side of modern thrash metal (think early The Haunted, Terror 2000) with heavy groovy passages to mixed, and also fairly predictable, results. The guitars have a dry clinical sound, totally devoid of any melody, the bleak atmosphere further increased by the rough shouty synthesized vocals. A stylish insertion is the final heavy ballad "The Cause And Solution", where some melodic choruses can be caught, with even the main vocals taking a more tender shade.

In Your Despite Full-length, 2009
Clanched Full-length, 2011

DESPOTIC ROBOT (USA)

The guys from the thrash/crossover heroes Ramming Speed harden the course here pulling out more aggressive thrash frequently bordering on death metal reflected in the spasmodic blasts scattered all over. Shades of crossover/hardcore spring up here and there ("Crucial Dude"), but most of the time this is extreme stuff of the direct bashing variety.

Despotic Robot EP, 2006

DESTINITY (FRANCE)

This band started as a black metal outfit, and their first four (!) albums are well worth tracking down by fans of the genre. On "Synthetic Existence" the guys moved to death/thrash, and arguably started sounding more appealing. The tempos change frequently, and this is by all means technical stuff, acquiring progressive tendencies at times. There are quite a few atmospheric, keyboard-driven passages, as well as several orchestral sections, reminiscent of Bal-Sagoth. The brutal death metal parts dominate, and the very fast-paced nature of the material might startle some thrash metal fans, who will be less pleased than the death metal ones in the long run.
"The Inside" is not too far from the style of its predecessor, but this time more pure thrash headbangers roam around (the raging "Murder Within" and "Ready To Leave" (but, please, ignore the clean vocals on this one) which smell early The Haunted, but in a good way; the mid-paced smasher "Thing I Will Never Feel"). Sheer speed is not the order of the day anymore, and atmospheric slower numbers lead the pack here: "A Thousand Falling Skies", as well as quite impressive more technical ones: "Inhuman Corrosive Report", "Enemy Process", and especially the twisted, Morbid Angel-like closer "The Inside".
"Resolve in Crimson" follows the path carved by its predecessors, but adds more aggressive riffage which still goes well with the excellent melodic lead guitar work. The style for the most part is pure Swedish death metal, at times stripped and direct, at others a bit more complex carrying the Dark Tranquillity and early In Flames influences openly on its shoulders. As such the headbanging fun will be guaranteed the guys playing fast and tight producing proficient music (check out the great atmospheric exit on the closing "The Hatred" which would rather make you love the band more rather than "hate" them) which would inevitably have its appeal for fans of the more recent wave in death/thrash metal.

Synthetic Existence Full-length, 2005
The Inside Full-length, 2008
XI Reasons to See Full-length, 2010
Resolve in Crimson Full-length, 2012

DESTINY'S END (USA)

After the commercial and critical failure which "Multiples of Black" was, James Rivera decided to stop meddling with the Helstar name, and decided to join the band which offered the closest to his old band sound at the time: New Eden. Well, months after the announcement that he would be working with the band Rivera, accompanied by the complete New Eden line-up, minus the founder Colmenares, was seen in the new project Destiny's End, along with Eric Halpern, the guitar player who helped him on "Multiples of Black", and is now his constant companion, also taking part in Rivera's new act Distant Thunder. How he managed to talk those guys into coming with him, remains an unexplained phenomenon. If he had messed it up the way he did with the last Helstar offering, the metal world would have shown its unforgivable nature once again, aggravated by the fact that he came close to ruining a very promising young act by taking away its talented line-up.

Well, "Breathe Deep the Dark" tells the opposite story: it's a stunning work of technical speed/thrash metal sounding like the best possible continuation of "Nosferatu"; a really great album, which remains one of the highlights of the 90's. Just listen to the brilliant speed metal opener "Rebirth": such addictive riffs haven't been heard in a long time. "Breathe Deep the Dark" is exemplary technical thrash, after which the speed metal assault continues, but with a technical twist, on the gorgeous "To Be Immortal". More intense, but also technical thrash follows suit on the excellent "The Fortress Unvanquishable", which seamlessly flows into another thrash monster: "Sinister Deity", which was originally written for the demo which Rivera recorded under the name Vigilante. "Unsolved World" slows down, but the sharp shredding is all over it; "Under Destruction's Thumb" is not the fastest track here, either, but is truly satisfying with its heavy riffage. "Clutching at Straws" is another winner, sounding like a leftover from "Nosferatu" with mighty, machine gun-like guitars and brisk tempos. "Where Do We Go?" (indeed where, after such an album?!) is the break from the relentless speed/thrashing, being a mild, mid-paced track; an idyll which is broken by the closing "The Obscure", which offers another feast for the ears with razor-sharp riffs galore.
It was clear that the band would not be able to beat this astonishing work, and the hopes were for at least a decent follow-up. "Transition" starts the sophomore effort in a great speedy manner, sounding pretty much in the vein of the debut opener "Rebirth". "The Watcher" doesn't betray the beginning, being a fine galloping power/thrasher, and the next "A Passing Phase" is not too far behind, introducing the technical elements, combined with a great sense of melody. At this point things look quite good, although the listener will notice the retouched guitar sound, lacking the ferocious bite and edge which made the debut so unforgettable. "The Suffering" is the band's venture into progressive metal territory, but the laid-back approach hardly makes it the highlight, and the following speedy "From Dust To Life" is a big relief. The band's consistency in the progressive department pays off once again, with the soft, semi-balladic "Storm Clouds", which is accompanied by the also complex, but much more edgy, and faster "First You Dream Then You Die". And then comes the magnificent "The Legend": a riff-fest in the best tradition of the debut, followed by the similar, but a bit slower "A Choice Of Graves". The last composition "Vanished" is again a display of the band's infatuation with the progressive sound, but the semi-balladic delivery ruins it considerably. An obvious step back from the band's first effort, "Transition" logically put an end to this short-lived, but essential, act which remains Rivera's finest "offspring" among his numerous other projects.

Breathe Deep the Dark Full-length, 1998
Transition Full-length, 2001

DESTINY DENIED (USA)

4 songs of modern thrash with very brutal death metal growls interrupted by sparce clean vocals the latter being not bad at all; the music is mid-paced with shades of 90's groove, and a few nice melodic hooks ala the Swedish school can be caught here and there.

Destiny Denied - The Unofficials Demo, 2006

DESTITUTE SAVIOR (USA)

A cool combination of heavy, almost doomy thrash akin to late 80's Slayer and fast, aggressive one with a shade of death metal.

Exhumed Demo, 1989

DESTITUTION (HOLLAND)

A 2-track promo of energetic old school thrash metal in up-tempo with screaming leads and a very sparce participation of hoarse drunken dirty vocals. There are nods to the Metallica debut, mostly on "The Rhythm of Horses" (the song-title could be another reference to the Americans), and the guitar work is generally playful with a shade of crossover. All the band members except the singer take part in the heavy/speed/thrash metal outfit Xi-Void.
The EP is 3 songs of energetic retro thrash with good melodic guitar work which is boosted by the crystal clear sound quality. The tempos vary some of them being intense speedy ones ("Genesis") with a pinch of Forbidden and Exodus. The singer leaves a more positive impression now taking more space as well, but showing more professionalism with a more attached cleaner delivery.

Promo Demo, 2009
The Human Error EP, 2011

DESTITUTION (USA)

Noisy buzzy guitars take away considerably from the joy here; otherwise this is heavy mid-paced thrash ala Abomination and Cerebral Fix on the more dynamic sections. The guitar work is heavy except on the energetic melodic twister "Mentally Detained" which comes like an "oasis" amid the one-dimensional squashing wall of sound.

Demo Demo, 1992

DESTRAGE (ITALY)

Modern thrash/death metal with a technical twist mixing a more direct headbanging material with dry mechanical riffage; the mix kind of works, although at times sparce metalcore borrowings can be caught, and the very tender clean vocals are simply no match for the aggressive angry main shouts. The tempos change too often within one composition, and that's why the less diverse tracks work better: the nice straight speedster "Digital Abuse", the opening Trivium-esque "Trash for Sale".
"The King Is Fat\'N\'Old" is a much inferior effort offering timid melodic modern thrash metal with a little edge bordering on metalcore quite a bit stretching indefinitely into the fields of ballad to the point of oblivion near the end. There is very little to connect this bland work to the vigour of the previous album, and often do the guys sound like an almost entirely new band.

Urban Being Full-length, 2009
The King Is Fat\'N\'Old Full-length, 2010

DESTROY (PERU)

Classic thrash coming with a bad noisy background, which still manages to pull out the casual intense headbanger ("Alcoholicmosh"), which comes accompanied by pretty shouty, but quite clean, vocals recalling Russ Anderson (Forbidden) at his most high-strung.

Destroy Demo 2011

DESTROY (PORTUGAL)

Thrash, death metal and grindcore meet on this vicious brutal affair whcih is one uninterrupted aggressive bash from beginning to end with the occasional heavy less relentless hardcore break.

Access Denied EP, 2002

DESTROYED EMPIRE (BRAZIL)

This young outfit offers a modern mix of thrash, death and gothic which tries to please fans of all the 3 styles, and succeeds blending furious riffs wwith atmopsheric dark passages the latter accompanied by good female vocals, which nicely oppose to the main guttural growls, and to these ears are the better choice. "The End" is logically the closer, and it offers heads-down lashing thrash the female singer taking the upper hand to a pretty positive effect, creating a beautiful surreal contrast with the raging guitars, and this should be the dominant tendency in the vocal department for the future.

The End Single, 2009

DESTROYER (COLOMBIA)

Based on the "Dark Command" EP, these guys pull out good speedy thrash metal of the early German school and the Portuguese Alastor; cool up-tempo stuff with a simplistic guitar sound and low mean, black-ish vocals. The last song ("Funeral") is slower, almost doomy, with a worse sound quality.
"Prepared For Discharge" is classic speedy/thrash metal with the German trends again covered the widest. The music develops in a flying speedy fashion the whole time, at times moving onto pure speed metal ("Destroyer"), although the vocals remain sinister and evil throughout, with a clear black metal edge. "Pornographic Death" actually slows down to power/thrash metal dimensions, but one would hardly notice this that same track surrounded by furious fast explosions one of which is "Funeral" from the EP (as a matter of fact, all the 3 songs from the "Dark Command" EP are featured here). The guitar sound is dirty obviously made this way to recall the early years, and succeeds as such although the leads are hardly favoured by that sounding quite screamy and unmelodic.

Destroyer Demo, 2004
Alcoholic Rites Of Metal Split, 2005
Dark Command Single, 2006
Prepared For Discharge Full-length, 2010

DESTROYER (POLAND)

Based on the split with the Norwegians Violated, these guys play melodic power/proto-thrash with a firm classic sound reminiscent of early Laaz Rockit and Meliah Rage. The tempo is predominantly mid, which is sad since when the music speeds up ("Metal Addiction", parts from "Trip to Hell") things become quite cool. The last song is a cover of the hard rockers Sweet Savage's hit "Eye of the Storm", and expectedly there is nothing thrashy about it.

Into the Fire Demo, 2003
6 Motherfuckerz Demo, 2007
Outbreak of Metal Vol. II Split, 2009

DESTROYER (RUSSIA)

This Russian formation indulge in a mix of classic and modern thrash which clings more towards the modern side with shades of melo-death shining here and there, including short sparce blasting moments (the final "Net Postadui"). Seeveral tempos are covered the speedy side of the style paid a bit more attention with technicality coming second (check out the intriguing 8-min puzzler "Vii"). There are ideas to be come across here most of them left undeveloped, but the guys seem to be fonder of the more direct barrage at this stage, and as such this effort should be able to please the headbangers easily.

Budusti Net Full-Length, 2012

DESTROYER 666 (AUSTRALIA)

This band is often considered the leading metal band of Australia for the past 10 years. From the rawer, old school mixture of black, thrash and death metal on the first works the band managed to develop a really interesting sound, which later incorporated more melodic epic/viking metal elements that increased their appeal. This is music which will find its way to the hearts of fans from all walks of metal.
Being busy helping hordes of acts in and out of Australia, the guys have finally found time to record something new again. "Defiance" is a cool mix of the basic extreme styles (thrash, black and death metal- for the uninitiated), but the more recently acquired epic approach has been well covered as well: "Blood for Blood", "Stand Defiant", the mid-period Bathory worship "A Path to Conflict", and although the speed there gets lost completely, the nice melodic lines deliver on all counts, and rest assured that the next blasting black/death explosion is just around the corner: "The Barricades Are Breaking". Seldom are the two trends mixed into one composition: "A Thousand Plagues". The closing "A Sermon To The Dead" is excellent elegiac epic doom, again recalling Bathory, but clinging more towards "Twilight of the Gods" this time.
The "See You In Hell" EP is just 2 songs both sustained in a heroic epic/viking spirit, with bathory a very close soundalike again, bordering on doom with memorable sing-along choruses. The complaint comes from the sound which is very fuzzy, and is a hindrance for the listener to appreciate the guitar work.

Violence Is the Prince of This World EP, 1995
Unchain the Wolves Full-length, 1997
Satanic Speed Metal EP, 1998
King of Kings/Lord of the Wild EP, 2000
Phoenix Rising Full-length, 2000
Cold Steel...for an Iron Age Full-length, 2002
...Of Wolves, Women & War EP, 2002
Terror Abraxas EP, 2003
Defiance Full-Length, 2009
See You In Hell EP, 2010

DESTROYERS (POLAND)

This band fits nicely into the more technical side of Polish thrash metal alongside Turbo, Wolf Spider and Astharoth. Destroyers are not as overtly technical, but there are enough interesting riffs and twists in their sound to label them as at least semi-technical thrash. Their music is quite fast-paced and enjoyable, recalling Toxik's "World Circus". A highlight (or annoyance, depending on the taste) is the vocals which at times reach impossible heights even reachng out for the King Diamond pitch. The debut is an enjoyable affair, boasting brisk thrashers full of energy, like the opening "Straszliwa Kletwa". Then comes the brilliant technical speed/thrash feast "Zew Krwi", followed by the diverse heavier, and longer "Caryca Katarzyna", which decreases the speed for the sake of stomping hammering riffs. "Wino I Seks" (yes, you guessed right: "Wine and Sex"!) is more melodic speed/thrash, but on "Noc Królowej dzy" the aggressive shredding continues, interrupted in the middle by a quiet balladic interlude. The remaining songs carry on in the same vein, with a few of the tracks being more speed metal-based: "Bastard", "Bastiony Śmierci (Bulwark Of Death)", "Hammer Against The Inquisition", and it's those tracks which the future power/speed metal acts must have listened to carefully and taken notes.

The band's second album could be considered the better one, at least from a production point-of-view. The sound is tighter and more aggressive, this time with no leanings towards power/speed metal. The guitar work is more technical and polished, as evident from the excellent biting opener "The Miseries Of Virtue". The speed gives room for pounding guitars in mid-tempo on "Histoire D'O", which nicely livens up in the 2nd half, for a couple of headbanging moments. "Oeachlet" is not the fastest song in the world again, but the technical edge of the guitars leaves little to be desired, lashing riffs from all sides. "Odyssey" is a kind of a semi-ballad, supported by a nice acoustic guitar play. The following "Nymphomania" (these guys are really fond of sex, hey! Well, who isn't...) starts in a similar fashion, but very soon the speed/thrashing starts with no bars held. "The Birth Of a Courtesan" is another speed/thrashing madness, as well as "The Craft Of Tyranny", which boasts a nice chorus, if, of course, you have no problems tolerating the high-pitched very melodic vocals that can easily compete with King Diamond himself in the very high wailing department. "I Praise You, Lilith" is slower and more technical than the preceding couple of songs, introducing a few slower stomping passages, suddenly interrupted by speedy outbreaks, and several technical moments, accompanied by stylish, but a bit fuzzy leads. Their sincere classic thrash approach was a delight to listen to, but with the changing of tastes the band chose the wiser alternative to disband, rather than succumb to the oncoming trends.

Night Of The Lustly Queen Full-length, 1989
Noc Królowej Ż±dzy Full-length, 1989
The Miseries of Virtue Full-length, 1991

DESTRUCCION EXTREMA

A wild mixture of classic thrash/crossover, modern thrash/death, and a slight shade of grindcore; there are semi-clean vocals, brutal death growls, unholy black metal shrieks, and more in the vocal department. At times the music calms down quite a bit, and these are the moments when it actually takes off, offering cool, even semi-technical riffs. If we exclude occasional furious blast-beat sections, the sound is not very aggressive, and near the end cool operatic clean vocals can also be heard, on a Bal-Sagoth, or a later period Therion, music background; the last few tracks are actually more melodic, with a considerable presence of keyboards, only loosely belonging to the thrash metal field.

Homenaje AV8 Full-Length

DESTRUCTION (GERMANY)

Arguably the greatest German thrash metal band; at the time when Sodom and Kreator were still not sure what direction to take, Destruction put German thrash metal strongly on the metal map with "Sentence Of Death". The next two albums are nothing short of the essence of European thrash metal- aggressive and even semi-technical at the same time. Mentioning technicality, this is the key word for the band's next efforts; "Release From Agony" took part in the establishment of the technical thrash movement in Europe together with the same year's works of Living Death, Mekong Delta, Target and Coroner. With a drier more clinical sound, this album pulled back some of the Destruction's old fans, but won them many new. And then came the big strike on the band's career, with the leaving of Marcel ``Schmier``. André Grieder from the Swiss colleagues Poltergeist was invited to help with his vocals during the recording of "Cracked Brain", which took the band's infatuation with technical playing even further. A strong effort on all counts, it was largely ignored by the majority of their fans mainly because of Schmier's absence.
Mike Sifringer tried to keep Destruction alive during the 90's, but the two EP's and the one full-length, which were released during those troublesome times, had better be forgotten, being modern, below average post-thrash with very few merits. "All Hell Breaks Loose" saw the return of Schmier in the band, but failed to capture the uniqueness of the band's previous output, and sounded more like a more aggressive version of the Headhunter debut "Parody of Life" with a boosting modern production, also featuring a re-mastered updated version of their early hit "Total Desaster". With the fans' illusions left aside, one can not help but admire the visceral power of the monstrous "The Antichrist": the finest achievement of the band since the reunion, and one of the best thrash metal works of the past 10 years. Unfortunately, it also made the two following albums sound too meek and average.

"D.E.V.O.L.U.T.I.O.N." doesn't betray the razor-sharp delivery of the preceding couple of albums, and is another heads-down retro thrash metal affair, this time with a bigger number of slower, mid-paced tracks which alternate with the staple blitzkrieg thrashers, and sound kind of more interesting, with clever guitar hooks involved ("Inner Indulgence"). The Headhunter influence, which album was released a few months earlier, can be felt on more speed metal-based numbers, like "Odyssey Of Frustration", but hopefully the two acts won't merge together music-wise, like it happened with other renowned bands in the past, "ruled" by a celebrity (remember King Diamond/Mercyful Fate in 1998).
Well, one first have to settle for the fact that after the climactic "The Antichrist" the band would not be able to produce another album of a similar seismic quality. With this fact well settled in, the listener can indulge in the next chapter, called "Day of Reckoning" in this case, from the band's career which actually shows the guys hungry to thrash their souls out once more, and they manage to do this better than on the previous one. "The Price" is the staple fast-paced opener, but later on the picture is more varied with slower compositions, as well as some which sound as though having been written for Headhunter (the speed metal winner "Devil's Advocate"). One may catch touches of a more stylish play on "Sorcerer Of Black Magic", for example, but it's more direct thrashers like "Misfit" and "Church Of Disgust" which get the message through more efficiently; and fortunately this is where at least half of the material clings to. Schmier and Co. would hardly disappoint their fans with an off-the-path release in the near future, but at the same time they should not expect their idols to come up with "Release from Agony 2" (or is it "Infernal Overkill 2"; or "Eternal Devastation 2"? You make your choice!).
Your favourite teutonic thrahser is here again and it seems as thoguh he plans to compete with Rage and Tankard in terms of productivity. "Spiritual Genocide" is the next chapter in the band's history, and it has a heavy boulder to carry because with a fifth consecutive mediocre effort the veterans could find themselves very near the bottom of the list, a humiliation which would be really hard to make up. But before one asks the question, "Does anyone really need another Destruction album so soon?", he/she should give a listen to the shattering opener "Cyanide" which is a neck-sprainer second to none. Hopes for another "Antichrist" arise at once, and "Spiritual Genocide" will keep those hopes floating around with its inspired speedy barrage with a pinch of elusive technicality. Things become even more interesting on the next "Renegades" which is more complex and serious still keeping the voltage high with a few portions of fast-paced rhythms. The more technical patterns stay around for "City Of Doom" which is graced by a few speed metal sections to only a positive effect (no doom metal here, folks). Time for more direct ripping thrash with "No Signs Of Repentance" which will lift up the spirits big time and will set the scene for "To Dust You Will Decay" (which is not an Angel Dust cover), and slows down a bit at times also full of plenty of atmosphere. The rest of the songs acquire a slightly mellower tone before the coming of "Riot Squad" (which is not a Paradox cover) which is another invigorating speedster although it sounds quite soft compared to the brutal closer "Under Violent Sledge" which will mosh your world in a way last heard on "The Antichrist". This is not the end, though: it's the cover version of Saxon's "Princess of the Night" done in a surprising speedy/crossover manner giving it a nice desirable individual touch. Then comes a second version of the number "Carnivore" with Tom Angelripper and Gerre (Tankard) helping Schmier ("Teutonic thrashers from all parts of Germany, unite!" this is an example well set); otherwise this composition is offered without any alterations from the original. As a result we have the best Destruction album since the aforementioned "The Antichrist", a strong effort which Schmier and Co. really needed in order to keep with the strong competition in their homeland (Paradox, Kreator, Tankard, Exumer, plus numerous younger practitioners) after the string of not very impressive albums of recent years.

Sentence of Death EP, 1984
Infernal Overkill Full-length, 1985
Eternal Devastation Full-length, 1986
Mad Butcher EP, 1987
Release From Agony Full-length, 1987
A Black Metal Night EP, 1989
Cracked Brain Full-length, 1990
Destruction EP, 1994
Them Not Me EP, 1995
The Least Successfull Human Cannonball Full-length, 1998
All Hell Breaks Loose Full-length, 2000
The Antichrist Full-length, 2001
Metal Discharge Full-length, 2003
Inventor of Evil Full-length, 2005
D.E.V.O.L.U.T.I.O.N. Full-Length, 2008
Day of Reckoning Full-length, 2011
Spiritual Genocide Full-Length, 2012

DESTRUCTION AHEAD (USA)

Based on the "Mind Your Own Business" demo, this band play stylish semi-technical thrash which bears resemblance to the early attempts at the style from the same country: Ulysses Siren, and Have Mercy, but offering faster more aggressive rhythms as a whole only lacking in the production department where the guitars sound a bit muffled. The guys bash with brains and even the shorter cuts are technically-charged whereas the longer ones ("Bed Of Nails") are virtually invincible with their cleverly-changing tempos and intelligent screamy leads. The final track "Guilty Of What!?" was later used in the guys' other formation, Harms Way, to whom the approach here is quite reminiscent at times. Some of the musicians also had a one demo spell in the early-90's under the name Present Absence.

Darkness Will Fill Demo, 1988
Mind Your Own Business Demo, 1989

DESTRUCTION'S END (USA)

Aggressive thrash/crossover- quite fast, not too far from Wehrmacht, or Beyond Possession (the 4th track-"Vengeance", is actually a cover of a song of this same band); "Zombie Attack" is not a cover of Tankard although it will definitely remind you of the Germans with its brisk speedy riffs.

Prepare to Die Full-length, 2005

DESTRUCTIVE (TURKEY)

These Turks occupy the 2nd part of this split with the Greek retro thrashers Bio Cancer, and provide similar stuff: intense speedy old school thrash in the vein of Necronomicon and Darkness topped by husky proto-death metal vocals.

Endless Violence Split, 2011

DESTRUCTIVE AGGRESSION (GREECE)

Quite good 80's thrash metal reminiscent of another Greek band- Flames, and more particular, their best album: "Nommen Illi Mors". So in other words we have 4 songs of mostly up-tempo material, with sharp and simplistic guitars, and one smashing aggressive thrasher ("Perfect Holocaust").

Sacred Path Of Hate Demo, 1997

DESTRUCTIVE ANGEL (JAPAN)

This is modern, almost instrumental-only, speed/thrash which comes with a dry abrasive, buzzy guitar sound, apparently intentionally, but to whose avail?! It takes away so much from the otherwise not bad riff patterns that in the end it would sound as an up-paced industrial effort than anything else. There is an overuse of keyboards which give the effort a very cheesy outlook more than now and then, and they compete with the speedy guitars the latter still winning in the long run despite their retouched sound and the frequent adherence to other non-metal gimmicks (violins, etc.).

Extreme Genocide Force Full-Length, 2009

DESTRUCTOR (USA)

Despite the obvious enthusiasm and energy put into the recording of the debut, the lack of certain music skills is the reason why it's hard to put this work on the same level with the same year's "Bonded By Blood" or "Hell Awaits". The style is speed/power/thrash metal which could have developed into something better in the near future, but the band split up. They returned in 2003 apparently encouraged by the thrash metal revival with "Sonic Bullet" which is an obvious improvement over the debut with a better production and a slightly more proficient musicianship containing an entertaining cover of Hawkwind's "Master of the Universe" in the middle finished with two recent live versions of two songs from their ("Pounding Evil " and "Iron Curtain").
"Forever in Leather" has its good speedy moments, but some of the songs lack a punch and pull the sound towards the power/heavy metal arena. The album starts in an awesome fashion, with the first two tracks "Tear Down the Heavens" and "Skull Splitter" being mighty speed/thrashers, but loses steam little by little, with sparkles of aggression here and there. The guys could be excused; after all, they have never been a full-fledged thrash metal band in the first place, and the final impression from this effort is actually more on the positive side.

Maximum Destruction Full-length, 1985
Sonic Bullet EP, 2003
Storm of Steel EP, 2007
Forever in Leather Full-length, 2007

DESTRUCTOR MOSH (CHILE)

Based on the "Violent Rehearsal" demo, these young Chileans pull out good old school speed/thrash reminiscent of the Whiplash debut and early Exciter, if we exclude the opener ("Nuclear Devastation"), which is a violent thrasher that would make even bands like Possessed and Dark Angel proud. The rest is not nearly half as aggressive, but it packs a punch if you don't mind the annoying vocals which come up with laughable (and downright irritating) high-pitched screams ala the singers of Blessed Death and Anvil Bitch, but not even half as good.

Destructive Rehearsall Demo, 2006
Violent Rehearsall Demo, 2007

DESTRUCTORES DEL AMANECER (PANAMA)

Thrash/death metal hybrid, which sounds more on the classic side, fast-paced with really cool guitar lines, which could put it sometimes in the semi-technical category. The problem is the singer who, with his synthesized, death metal shouts, tries to ruin the good impression left by the others. "Destructores del Amanecer" is a fine instrumental; this time, without the detrimental presence of the vocals, the guys have put their effort into it, producing smashing riffs and, again, nice melodies. The guitar sound, unfortunately, is quite fuzzy, and is another detraction from the good music. The last track "Brutal Destination" is totally inappropriate, albeit pretty well justifying the "brutal" part of its title, being a brutal, furious death metal outbreak which would have been more suitable for the works of the Australians The Berserker.

Rebeldes Somos EP, 2005

DESTRUCTURA (ECUADOR)

Modern thrash/death metal with metalcore references, melodic stuff as a whole with good guitar licks which deafen the weak quarrelsome death metal vocals. The guys shred with professionalism wthout producing anything too original the Swedish canons well covered served with both speed and heaviness. The riffage is not very "mecanic" except on a very few moments and even some more classic hints can be caught from time to time.

MecanicAmoral Full-Length, 2012

DESTRUKTOR (AUSTRALIA)

Like miany of the contemporary Australian metal acts, this band also features members of Destroyer 666 as well as one from Toxic Holocaust in the early stages. Based on the "Nuclear Storm" EP, these guys don't stray too much from early Destroyer 666: this is quite fast, and frequently brutal fusion of thrash, death and black metal, with the typical blast-beats throughout, as well as really good lead guitar work at times. The vocals are mostly in the black metal camp- vicious rasps, occasionally interrupted by death metal growls.

Brutal Desecration EP, 2002
Nuclear Storm EP, 2004
Metal of Death Split, 2007

DESTRUTOR (BRAZIL)

Decent intense old school thrash metal mixing aggressive parts with proto-death elements ala Rigor Mortis and Morbid Saint, with less impressive hardcore-based ones where the guitar work is more simplistic. Check out the bass player, who is a really beautiful girl, going under the pseudonim Mary Thrasher, and also does a "beautiful" job on the bass.

Coerçăo Profana Demo, 2009

DESULTOR (SWEDEN)

The hyper-active cyber-technical style of acts like Biomechanical and Altered Aeon is brought forward by these guys who unleash very intense speed/thrash with the inclusion of frequent blasting passages which create the impression that this effort may tumble into death metal fields which doesn't really happen. Expect wild frantic music reflected in short (3-4min) compositions which are very eventful decorated by cool clean vocals which should hit the higher registers more in the future since now they get stifled by the instruments at times. This may be an exhausting musical experience to the less prepared: pretty energetic fast shred all over with seldom a quiet moment.

Masters of Hate Full-length, 2012

DESULTORY (HOLLAND)

These guys are all over the place offering a very uneven mixture of thrash, death/black metal and grindcore which comes as a not very smooth "marriage" between early Sarcofago and Impaled Nazarene, and this EP can be considered one of the first ultra-brutal efforts of the 90's predating the similar outrageous exploits of the aforementioned Finns with a few years. A really curious stuff topped by vicious apocalyptic Burzum-like vocals; not for the faint-hearted.
The demo tries to balance between thrash and death metal, but again the "symbiosis" is not very impressive even without too manys tyles present, and at soe stage the guys just surrender to pure semi-amateurish bashing which needs very little to pull you back completely.

Religious Extermination Demo, 1990
Desultory / Can't Deny EP, 1991

DETENTE (USA)

The first band which Dawn Crosby (R.I.P.) (Fear Of God) took part in. Not as striking and original as the Fear Of God debut album, this is perfectly acceptable energetic speed/thrash metal with touches of hardcore. This is good headbanging stuff, with short, fast-paced songs and simplistic, but sharp and catchy guitars. The first half is an all-out speed/thrash assault, whereas the second one breaks the pattern, introducing slower tempos, mixing power and thrash on "Russian Roulette" and "Vultures In The Sky". Crosby's leaving to form Fear Of God put an end to what could have been a successful career.

"History I" is featured somewhere as a Best of Compilation, since it contains the first Detente demo, plus the early demos of the band Catalepsy, which was founded by the Detente members soon after that band's split-up. The first four songs are already familiar from the first Detente effort, but the Catalepsy material may raise some brows. The style is not too far from the one presented on the only Detente album, and "Obituary Fear" is vintage old school speed/thrash metal with good thunderous riffs. Then the music slows down to heavy/power metal dimensions, on "Evil Within". All is corrected on the smashing "Under the Influence", and the next heavy hammering "Who Can You Trust". "Law and Disorder" is a nod to the 80's American power/thrash metal scene, and is kind of underwhelming, with its more laid-back guitar work. As a whole this is a faithful continuation of the other act, albeit missing its impulsive visceral power. Ann Bolein (also Hellion) does a good job behind the mike, staying true to the husky semi-clean delivery of Dawn Crosby (R.I.P.).
"Decline" introduces a new female singer (the name is Tiina Teal) who hasn't taken part in any known acts before, but her forceful aggressive performance is quite striking; her brutal hoarse shouts are well more extreme than the ones of Crosby (R.I.P.) or Ann Boleyn. Otherwise the music is vigorous old school thrash in a fast relentless tempo which smites you from the get-go with the furious opener "In God We Trust" which is immediately matched by the explosive "Predator" and "Kill Rush". It's "Degradation Machine" in the middle which tries to calm down, but just for a bit; this is another merciless display of the good old thrash with a few slower breaks. The attack continues with two more blitzkrieg numbers, until it hits the varied closer "This is Not Freedom", which nicely combines weighty doomy riffs with fast intense ones, plus intriguing melodic Oriental leads. The band has done a good job here pulling out inspired direct performance which sounds way more aggressive than their debut stripped of the hardcore/punkish leanings characteristic of the latter.

Recognize No Authority Full-length, 1986
History I Full-Length, 2008
Decline Full-length, 2010

DETERRENT (GERMANY)

These guys have definitely have original ideas, but their enthusiasm to show them to the world is much bigger than their actual skills. There is so much put here that if they had left some of it for another album, things would have been a lot better. Almost all of the songs start in a fairly good manner (except the opener "Live!" which could seriously pull you back), but then come the tempo-changes, the weird riffs and the awkward, "what-was-that" parts (check/don't check the 12-min long opus "Maybe The Darkest Spot On One": my god!), add the indifferent, sloppy vocals, and things get considerably messed up. Progresive thrash this is, no doubt, but the best description would be "a poor man's Mekong Delta", which still sounds as a compliment. This is one of the most flawed entries into the progressive/technical thrash metal movement which was making waves at that time in Germany. A few years later some of the and members appeared with their new outfit: the death metallers Sudden Death, with whom the guys have two full-lengths and two EP's released; and early in the new millennium another act: Brett Pit, sprang up, too, involving the same musicians, where the style on the only full-length so far ("Tritonus", 2001) is a more conventional form of thrash.

Re-invention Full-length, 1994

DETEST (SWEDEN)

These obscure Swedes haven't done a Riot worship, like some of you out there may think, judging by the title. This is epic power metal with timid attempts at thrash relying on an imposing mid-tempo for most of the time consequesntly sounding quite close to their compatriots Heavy Load and partly Jag Panzer. The vocalist could have used more dramatism, though: his indifferent mid-ranged clean tember falls behind the better battle-like music.

Thundersteel EP, 1990

DETHERA (FINLAND)

A 3-song EP of energetic classic thrash metal with a nice technical edge ("Contaminated") and heavy punishing riffs on the rest topped by low-tuned death metal vocals and Swedish-styled hooks on "Madman In Chains".

Arts Of The Insane EP, 2007

DETHLEHEM (USA)

A mix of modern and classic thrash with borrowings from Swedish death metal, energetic spiced with a few epic elements ala Amon Amarth, plus the odd grinding break. The screeching death/black metal vocals are kind of annoying, among the other quite a few vocal styles involved. The other complaint is the too big a number of short peaceful balladic instrumentals which leave the listener with just 4 pure songs to enjoy.
"The Ghorusalem Codex, Vol. 2: Of Magick & Tyranny" is the better effort, now containing the sufficient number of songs to please the fan who would hear a diverse concoction of epic, thrash, death, and power metal with progressive overtones which only suffers from the lack of speed: "The Cliffs" is a more energetic number, but the rest is mostly mid-paced, with "Spelljammer" near the end producing a few seismic high-octane doomy riffs. The vocal duel is expected, the clean side in this case being the better one of the emotional, attached type, the deathy one mostly serving unintelligible guttural sounds.

The Ghorusalem Codex Vol I: Enthroned Upon A Spire Full-length, 2009
The Ghorusalem Codex, Vol. 2: Of Magick & Tyranny Full-length 2011

DETHRONE (FINLAND)

The band's debut showed a lot of promise with its heavy late 80's Metallica-influenced sound. The guys display both energy and technical competence, handling complex, pounding tracks like "Beyond the Wall", "City of Silence" although to these ears the more immediate, faster headbangers ("Black Dawn", "Predator") are the more appealing side of the band. "Haunter in the Dark" is a nice galloping instrumental with very effective heavy riffage and a great bass bottom. "Powermad" and "The Day After" introduce a more melodic, power metal-based sound, but work well, too, accentuated by cool lead guitar work. Unfortunately, it was all ruined three years later on the sophomore release which has adopted a lot more melodic modern and insipid sound.

Let the Day Begin Full-length, 1989
The Decay of a Man Full-length, 1992

Vibrations of Doom

DETHRONE (SWEDEN)

THrash/death metal with a cool classic shade with just a few inevitable Gothenburg leanings; the guys know thier craft well pulling out sure-handed headbangers, like the "break-facing" "The Facebreaker", or the sweeping death/thrashterpiece "The Global Profit". "When I Decide" is a typical early In Flames-worship, and "Forced Paranoia" is a less typical dry, mechanical shredder with Meshuggah-sque echoes. The singer is a throaty semi-shouter providing standard death metal vocals. The guys were previously known as Amygdala where the style was more conventional Swedish death metal.
The full-length clings more towards the modern side with Swedish death metal now "saying its opinion" more often although the thrashy side of the guys' repertiore is still pretty much here with intense ragers like "Deathwish" and "Greed". Whichever direction the sound swings to the band never let the speed drop the fiery riffage delivering acquiring more epic tendencies on the long encompassing progresive closer "When I Decide". The vocalist now shouts more expressively creating quite a bit of noise when in action.

Dethrone Demo, 2011
Humanity Full-Length, 2013

DETONATED (USA)

Based on the full-length, this band pulls out competent retro thrash which shifts from the expected formula by keeping the songs longer (5-7min) and generally more interesting. One would be ineviatbly fascinated to hear constant thrashing for nearly 7-min with clever technical insertions on "King of Hell", or stylish blends of creepy, doomy and faster headbanging riffs on "Forced to War". "Mentally Possessed" is a less ordinary pounder with cool jumpy guitars, and "Reign of Terror" is a fine thrashing shredder ala Slayer with short demented leads. "Demons Upon You" closes the album with raging proto-deathy sections, giving this cool album a more aggressive colouring as a finishing touch. The singer has a forceful semi-shouty tember, which "commands" the proceedings in an unobtrusive, but authoritative manner.

Pre-Set to Annihilate E.P. EP, 2010
Set to Annihilate Full-length, 2011

DETONATHRASH (CANADA)

A good demo of aggressive thrash metal bordering on death in a way similar to Possessed's "Seven Churches"; the sound quality is a bit muddy, but these guys are excellent musicians, and pull out awesome smashing riffs (check out "Cremations Of Souls"). This band is a proof that early death metal was not only a USA's "child".

Death on a Thrash Demo, 1987

DETONATION (HOLLAND)

On their debut full-length Detonation mix Swedish death with thrash metal sounding like a more thrashy In Flames. Later thrash metal is almost gone with the band having chosen to concentrate on their death metal side.
"Reprisal" relies on modern semi-technical thrash to pull it through ending up somewhere between early Meshuggah and more recent Annihilator. Fast death metal elements are still present, but they are merely detonations... sorry, "decorations" the guys sticking to pounding mid-paced patterns making vigorous raging pieces like "Falling Prey" and the hectic technical masterpiece at the end "Insults To My Heritage" hanging with force as a finishing touch, making the listener a bit let down for not having encountered such ferocity earlier on.

Lost Euphoria EP, 1999
An Epic Defiance Full-length, 2002
Portals to Uphobia Full-length, 2005
Emission Phase Full-length, 2007
Reprisal Full-length, 2011

DETONATOR (BULGARIA)

Thrash/death metal, a typical product of the late 80's-early 90's; the guys obviously "court" the French models on the scene (Agressor, Loudblast, Massacra), playing brutally and fast, but leaving quite a room for slower developments (the heavy opener "Okovite Na Obshtestvoto"). "Delirium" is another intense fast shredding instrumental, despite its misleading galloping power/thrashing section, which pops up later again; this is a really good number, exiting with style with a fine peaceful moment. "Putnikut Kum Nesushtestvuvasht Sviat" is a standout progressive composition, combining fast merciless thrash/death metal with beautiful melodies and atmospheric passages. "Kurvava Zora" will also remind you of Rigor Mortis, with the stylish guitar work and the fast relentless riffage. "Noshten Zov" is a great intermission: a breathtaking 2-min acoustic instrumental, after which the aggressive thrashing continues on "Vsichkoto", where the melodic leads make it sound even more appealing. "Traur" is another first-rate up-tempo instrumental, pure technical thrash- a fine display of high level of musicianship. "Othvurlenite" provides some of the most brutal death-laced moments on the album, and here quite a few of you will recall 90's Protector, but watch out for the excellent melodic section in the middle, which the Germans could only dream about; galloping rhythms are thrown in later on, accompanying the leads, which hit the top on the closing part, ably assisted by the fine, more melodic riffs. This is another impressive offering from the Bulgarian underground, which has two downpoints: the bad sound quality, and the gruff, brutal, unintelligible vocals, which still fit the fast-paced stylish music. It's sad that acts like this one disappear without a trace after just one release, their demise apparently caused by the lack of finances- a very common obstacle for many bands from the East-European metal scene during the 90's.

Traveller To A Nonexistent World Full-length, 1992

DETONATOR (HUNGARY)

After the imposing, orchestral intro (which I can't recall where it comes from, but is pretty popular, at least around the Eastern block), these Hungarians unleash quite aggressive thrash with a touch of death metal, which owes as much to early Kreator and Necrodeath, as it does to the French acts Massacra and Agressor. The music is fast and vicious, with slight semi-technical "decorations", and a singer who has a sinister death-ish tember, and it's sad that he is often stifled by the guitars.

Demo Demo, 1990

DETONATOR (RUSSIA)

Dark moody thrash/death metal with technicval tendencies recalling Death's "Human" quite a bit, but the awful sound quality mars the guys' efforts to a large extent. The pace is mostly mid, and the faster additions are not too many, although they are the more attractive side: the little outburst of death metal aggression "Corpses Bane", the diverse semi-progressive closer "Pick Out Death". The guitar sound is very pounding and heavy topped by very brutal low-tuned vocals and short stylish leads very close to the ones of Chuck Schuldiner (R.I.P.).

Fucken All Demo, 1992

DETONATOR (USA)

Old school Slayer-esque thrash metal with echoes of the early German scene as well; good stuff, with a very raw sound, obviously imitating the early production qualities of the 80's. The music packs a punch, being fast-paced, with cool screaming leads, which are more proficient than the rest, but are a good contrast to the heavy pounding riffs.

Age of Chaos Demo, 2008

DETONATOR 666 (CZECH)

Based on "Supremacy & Tyranny": stars from the Czech black metal underground have gotten together to pull out fast & furious, evil black/thrash metal, sounding like the perfect soundtrack to hell. Impaled Nazarene shake hands with the Italians Vexed, so expect uncompromising, merciless music from beginning to end.

At The Dawn Of Sadistic Infernal Holocaust Full-length, 2004
Supremacy & Tyranny Full-length, 2008

DETRIMENT (AUSTRALIA)

This is a diverse and unimpressive mix of punk/hardcore ala The Exploited ("Battle Hymn", "New Shoes") and fast intense, but raw thrash in the vein of Hallows' Eve.

Demo Demo, 1989

DETRIMENT (USA)

There is nothing "surreal", and the intriguing album-title is not deserved at all since the music is pedestrian modern post-thrash of the heavy abrasive type with semi-angry vocals which will surprise pleasantly with some decent singing on the heavy ballad "World Comes Down", the best song on the album, with the dynamic power/thrashing closer "Spear Of Destiny" a close second.

Surreal Full-length, 2003

DETRITUS (UK)

A Christian thrash metal band can not simply be ordinary, especially if they come from the UK. The presence of Mark Broomhead from Seventh Angel raises the hopes even higher, and the music is anything but disappointing. "Perpetual Defiance" starts in a heavy headbanging fashion with nods to the Bay-Area (Testament, Metallica, their compatriots Xentrix as well). The guys have a more ambitious approach, shown with longer technical tracks, which again follow closely the Metallica way of the late 80's; as a result this album ends up sounding like "...And Justice For All", including the presence of one semi-ballad, not too far (but shorter) from "One".
"If But For One" is more light-hearted and much more diverse; at least half of the songs start with long balladic intros (including two short pure ballads: "Feel" and "Subtle Shades", and another heavier one: "Blindly Rejected"), and later develop into more energetic (but not much) thrashers. Of course, some numbers carry the dark heavy spirit of the debut ("Ler Peace begin With Me"), but the presence of jolly folk-ish Skyclad-like tracks ("Sailors' Farewell") retouch their impact. Variety doesn't always mean better, and this album is a good example of a variety of the not very convincing and impressive kind.

Perpetual Defiance Full-length, 1990
If But For One Full-length, 1993

DETTO (CZECH)

Based on the "Perpetuum Debile" demo, these obscure Czechs pull out pretty cool speed/thrash metal with crisp energetic riffage and good memorable choruses. All the 4 tracks are intense speedsters "Perpetuum Debile" featuring the odd more technical hook, and "Thrash And Roll" being an entertaining mix of merry rhythms and brutal shred.

Tanec ve Spanělských Botách Demo, 1988
Zlej Tejden / Tanec Ve Spanelskych Botach Single, 1990
Perpetuum Debile Single, 1991

DEUS.EXE (GERMANY)

Modern industrial thrash/death metal with frequent nods to Fear Factory; the music is more complex, though, with fast thrashy sections alternating with peaceful balladic ones which are ably assisted by nice clean emotional vocals as opposed to the typical main death metal semi-shouts. There is a lot of dynamics involved, although the doom-laden depressing "Apocalyp-Tech" and the more moderate gothic-tinged "H+" instrumentals deliver the goods no worse.
"Collapse" is another futuristic "animal" a bit softer this time the band spicing their approach with more ambitious orchestral arrangements ("Bathed in Dark Matter") and with a bigger presence of clean vocals which are quite good, by the way. "Ecophagy" is a creepy atmospheric industrial opera which grows into the brutal death metal "decapitator" "Reduced to Planck Length" which is pure unbridled fury all the way. "Omniversal" is a mroe lyrical offering, almost balladic at times, again wrapped in atmospheric sinister undercurrents also aggravated by the scary tortured shouts used. More optimism with the merrier shredder "Pathogen" before the final string of tracks brings the sound close to later-period Strapping Young Lad with its over-the-top structures and more adherence to thrash (check out the lashing closer "The Broken").

Transhuman Full-length, 2008
Collapse Full-Length, 2012

DEUS EX MACHINA (SINGAPORE)

A nice mix between classic and modern thrash; the guys prefer to pound with heaviness, rather than going for the speedy numbers. Still, on a long song like "Warmonger", which lasts for more than 8-min, more intense riffage can be expected. "A Heretic Prayer" successfully tries to preserve the dynamics, although the hammering mid-paced riffs and the stylish Oriental-laced solos steal the show. "In Memoriam" is a cool acoustic interlude with very good emotional female vocals, before "Inside" wins you over with another portion of crushing, this time even doomy riffage. "Visions Blind" is a nice closer, adding more speed and technicality, as well as angelic female vocals ala Liv Kristine (Theatre of Tragedy), and is the only more openly modern-sounding number.

The War Inside Full-Length, 2008

DEUS INVICTUS (USA)

Chaotic modern thrash/death metal with excellent lead guitar work and several intriguing abstract technical aspirations. Unfortunately, the band are eager to attract the modern crowd, and here come the numerous metalcore "decorations" to kill the joy from this otherwise diverse material which is served in the form of overlong (8-10min) compositions which twist and turn into many directions to keep the ship sailing, some of them pretty interesting, actually; but again, those metalcore leanings....

Staged In Awaiting Full-length, 2010

DEUS MORTIS (MEXICO)

On their only demo this band plays fast intense death/thrash metal with a slightly rough guitar sound and good forceful death metal vocals. The guys bash with no mercy until "Errant Legion" which is a mid-paced pounder with Celtic Frost overtones. Those overtones remain for the rest of the material which is a mix of fast and slow passages finished with the explosive thrash/deathfest "Same Destination... Death" which is vintage early Death.

Ominous Eyes Demo, 1993

DEUS OTIOSUS (DENMARK)

A 4-track demo of thrash/death metal of the old school, alternating between heavy slower and faster sections (on those the sound comes close to Benediction); "Kult of the Horned Snake" is a very cool speedy number with nice melodic guitar lines, shades of epic, and a few great slower thrashy sections.
"Murderer" doesn't betray the sound from the demo, although the guys slow down more than now and then, but those moments are well worth hearing recalling Celtic Frost in their prime, among the purely epic references ("Thousand Arms of the Dead") which, albeit interesting, stifle the sharp guitars, bringing with them the taste of viking/black metal. The obvious loss of intensity may disappoint a bit, but large on atmosphere tracks, like the cool closer "Murderer", compensate for that. The band members spend more time with their full-time occupations: the classic speed/thrashers Victimizer and the more aggressive death metal-inclined Hideous Invasion.
"Godless" is the next chapter in the band's discography and as such bears no surprises the familiar thrash/death hybrid brought forward without many innovations except for the several atmospheric sections (the operatic one on "New Dawn" is truly a revelation and will remind of Immolation's heydays) which bring spice to this otherwise pedestiran affair which also shines for a bit on the orchestral black metal-tinged "Cast from Heaven". The singer is not very pleasant with his ultimately brutal low-tuned growl which is not very intelligible for at least half the time.

Death Lives Again Demo, 2007
Murderer Full-length, 2010
Godless Full-Length, 2012

DEUS VULT (USA)

Although "Soul Assault" is listed as an EP in their discography, this is actully more of an LP with its impressive length of35-40min. And this is very good because the guys offer smashing power/thrash metal ala Wargasm's "Why Play Around" with certain technical tendencies the latter touching Forbidden's "Twisted Into Form" at times. The opener "Waiting for White" starts as a ballad, not raising the hopes high, but it finishes in a great headbanging fashion. "Deus Vult" takes no prisoners with its fast intense pace, boasting great chorus and a genuine technical break in the middle. The remaining songs carry on in the same fast-paced pattern, but slow down more frequently, keeping the catchy chorus lines. The technical edge is more clear, especially on the last two tracks which are more varied coming with swirling, screaming leads.
The demo is just 2 tracks which sound like being left out of the EP being intense technical power/thrashers with plenty of stylish riffs and unexpected twists, especially the short 3.5-min instrumental "Transformation" which can literally "transform" you into an avid fan of the band in case of you haven't already become one at this point.

Soul Assault EP, 1990
Demo Demo, 1991

DEUTERONOMIUM (FINLAND)

Based on "Deathbed Poetry: Hope Against Hope", these guys offer modern melodic thrash/death with echoes of Dismember and early Entombed. The band thrash with conviction, often speeding up beyond the realms of thrash, but this is not a pullback since there is plenty of energy at display, as well as the obligatory breaks from the intense delivery: the pensive semi-balladic elegy "Alive Immortal", which features a captivating melodic chorus; the heavy proto-doomster "Sun and Moon". The singer has an expressive shouty tember quite reminiscent of Lars Goran Petrov (Entombed). Some of the musicians also play in the stoner metal formation Stoner Kings.

Tribal Eagle EP, 1997
Street Corner Queen Full-length, 1998
Here to Stay Full-length, 1999
From the Midst of the Battle Full-length, 2008
Retaliatory Strike EP, 2009
Deathbed Poetry: Hope Against Hope Full-length, 2011

DEVASTACION (ARGENTINA)

Based on "...Que Lo Parió!", this band plays good aggressive thrash, bordering on death metal on the most intense sections, reminiscent of early Pestilence, Torture, Massacra, etc. This is fast-paced stuff with occasional slow moments (parts of "Pata, Sudor Y Sangre", which are compensated by the very few blast-beats used). The guitar work is excellent, with a nice technical edge.
"Resistiendo al Engańo" is a bit more varied with more slow sections, but fast-paced headbangers like "Humanidad" and "Eternos" are still the order of the day, both nice blends of technical and melodic riffs. "En El Ojo Del Piquete" is a nice epic thrasher with very cool leads, but its serenity is totally cancelled by the furious "Politica Mierdera", although the balladic "Tributo" is just a song away.

...Que Lo Parió! Full-length, 1999
Resistiendo al Engańo Full-length, 2007

DEVASTATE (COLOMBIA)

Thrash/death influenced by Morbid Angel on the more intense moments, among others, which means that here you will get a stylish technical play as well as very brutal fast sections. The music of the Colombians is probably more thrash than death metal, but the blast-beats are too frequent for a full-blooded thrash metal release; there are straight parts where there are no traces of any technical guitars, and this creates the impression that various songs from this album have been recorded through different periods of the band's career; a slightly uneven effort, but it definitely has its headbanging moments.

Armies of Hate Full-length, 2006

DEVASTATING ENEMY (AUSTRIA)

Based on the full-length, these Austrians offer fast relentless modern thrash/death metal with a strong sense of melody. Early Dark Tranquillity are a very close soundalike music-wise whereas in the vocal department one will encounter a very deep brutal growler. When the guys slow down they manage to sound even technical ("As Bloodshed Begins"), but those moments are not very frequent, although near the end the sound acquires certain mid-paced semi-epic tendencies also recalling Amon Amarth.

The Gods Of Reason EP, 2009
The Fallen Prophet Full-length, 2011

DEVASTATION (CROATIA)

Despite the bad sound quality and the weak, strained vocals, these guys manage to come up with cool speed/thrash on both demos, in the vein of Paradox, early Destruction, the Exumer debut. The last track from "The Upcoming Mayhem" is a cover version of S.O.D.: "United Forces", but the music has almost no traces of hardcore. Another cover awaits you on the other demo: the punks Discharge's "The Possibility of Life's Destruction" (both a little strange choices, since the band's sound has almost no ties to hardcore/punk). The sound on that second demo is more aggressive and faster, recalling even Slayer, but the musicianship on both efforts is not that striking, but catchy and enjoyable: just simple and direct riffs.

The Upcoming Mayhem Demo, 1987
The Possibility of Life's Destruction Demo, 1989

DEVASTATION (BELGIUM)

This young Belgian band provide cool classic speed/thrash sustained in a vigorous, energetic pace with the casual nod to death metal ("License to Chill"). The music has a big headbanging potential, so the fans will spend plenty of time moshing around, the way the acts from the early German school had made you to (check out the perennial speed/thrash metal classic "Leather Jack Maniac", in the best tradition of Necronomicon and early Destruction). The singer shouts in an appropriate semi-hysterical fashion in the vein of early Mille. These guy would "thrash" even "in hell", like the title of one of the songs says; this is a cool addition to the Belgian metal scene, and could soon rival the thrash masters From Beyond for domination at home.

Leather Jack Maniac Full-length, 2011

DEVASTATION (USA, Chicago IL)

This band were no less talented than their namesakes from Texas, but they only managed to release one full-length. Their music was definitely more mature compared to the early messy efforts of the other Devastation; it is well executed aggressive thrash, not too far from the other band, with an early incarnation of the death metal vocals acquired by so many bands later (could have been an influence), and an overall more intense sound than the other extreme acts around (Possessed), acquiring proto-death metal tendencies on their second demo and the full-length. Later members of this band went on to form another one- Sindrome, but the style remained pretty much the same.

A Creation of Ripping Death Demo, 1986
A Re-Creation of Ripping Death Demo, 1986
Dispensable Bloodshed Full-length, 1987

DEVASTATION (USA, Corpus Christi TX)

The band started in a very humble and unpromising way, to put it mildly, with primitive raw thrash and declamatory vocals, something which one might have problems calling singing. "Signs of Life" is so much better that one may want to check the debut once again; but, seriously, don't bother... From the very beginning, with the furious, and even slightly technical "Eye for an Eye" the listener knows that this is one of the cases where the band has quickly discovered the way leading to the top, after an embarrassing start. The awesome beginning has its match on the following direct smasher "Desolation". "Signs of Life" is relatively more controlled, with more clever riffs, which remain for the explosive "Retribution": thrash without mercy... "Tomorrow We Die" shows again the more intriguing, technical side of the band in the beginning, but relentless moshing is what follows later. "Contaminated" is 2.5-min of all-out aggressive thrash, followed by the much longer, 6-min "Fear of the Unknown", which is a nice diverse composition, finally offering something slower as a pause from the intense delivery. "Escape to Violence" is 2.5-min of heads-down brutal thrash, closing this impressive effort, paving the way for the band's magnum opus.

"Idolatry" arrived at a time when thrash metal had begun to fall from grace, and many 80's acts were changing their "clothes": embracing other styles (death metal, post-thrash, etc.). Well, in this case we have another great offering of unadulterated classic thrash: extreme aggression all the way, spiced with a pinch of death. The uncompromising opener "Deliver the Suffering" hits you like a hammer, filling you with gratitude and bliss that thrash is still pretty much alive and well. "Freewill" is less intense with slower deviations; there is a lot of headbanging on this one as well. "Forsaken Hatred" creates illusions in the beginning that this might be an entertainment of the more technical kind, but the brutal guitars take over very soon after. "Souls of Sacrifice" finally fulfills the promises for a more elaborate, technical song-writing, bringing about loads of time changes and clever stylish guitars; the high level of musicianship displayed on this one would hardly make anyone notice the reduced amount of aggression. "Idolatry" starts with a nice acoustic intro, and later on relies more on heavy crushing mid-tempo riffs. "Legacy of Faith" goes back to the more intense patterns, thrashing all the way to "Subconscious", which carries on in exactly the same vein, going up a bit the aggression scale with death metal-laced sections. "Never Believe" closes the album exactly in the way it started: bashing thrash/proto-death, kind of a precursor for an eventual future transformation into a full-fledged death metal outfit. This transformation, however, never took place, since this was the last album the guys released. Still, hats down to them for making a more than a worthy exit from the scene, without messing it up like many other bands before and after.

Violent Termination Full-length, 1987
Signs of Life Full-length, 1989
Idolatry Full-length, 1991

DEVASTATION DEVICE (USA)

This is your average modern thrash played in a workmanlike, dispassionate fashion. The guys possess all the requisite tools of the trade, but this is all too predictable and derivative to really strike a cord. You have the lashing guitars, the "fast-slow section" alternation, the gruff death metal vocals, even the odd more stylish lead (the closing "Shudder"): all is here to produce a painfully strong feeling of deja-vu. Some of the musicians are also involved with the formation 11:34 where the style is pretty much the same.

Nation of Extinction Full-length, 2011

DEVASTATOR (CANADA)

Mid-paced groovy thrash with elements of stoner/doom with catchy hooks ala early Six Feet Under and brutal death metal vocals; "Savage Wasteland" livens up in the middle to justify the album-title, but is completely cancelled by the very tender blue-sy instrumental "Waste" (yeah, waste it is, at least on a metal album). The sound is very fuzzy, and spoils the impression, especially on the more intense doomy numbers one of which is high-octane doom in the best tradition of Saint Vitus: "Yea Though I Walk".
"Fragile Messiah" is a modern groovy post-thrashy steam-roller, at least for half the time, which becomes strangely dancey and rock-ish ("Dirty Laundry") to the listener's shock, among other annoyances exiting the field at will on at least half the tracks. The singer rends his throat with his ultra-shouty delivery trying to seemingly compensate for the very mellow nature of the music which may have no relations to thrash whatsoever on the next recording. Some of the band members play more serious death metal stuff with Asphyxiation.

Savage Wasteland Full-Length, 2008
Fragile Messiah Full-Length, 2013

DEVASTATOR (ITALY, Lucca, Tuscany)

Classic thrash with annoying, hysterical vocals which don't really sound like anyone else, maybe if you remember the ones used by Tourniquet on their first two albums: the high-pitched screams, these are close; lower ones in the hardcore-vein are added from time to time to perhaps lessen the shock. The music has influences from all over the spectre: Slayer, Kreator, Sodom (they also make a very energetic cover of "Agent Orange"), but... again, these vocals.
"Andatevene Tutti Affanculo!" is 4 songs of playful roller-coaster hadrcore-ish thrash; this is fast samey stuff which doesn't hide its fascination with punk ("Sfilata Di Moda") at times, although the hoarse semi-death metal vocals are hardly the most suitable ones for the latter style.
"La Musica fa Schifo" is a total take on the good old thrash/crossover, the guys producing a very diverse affair with nods to classic heavy metal, funk/jazz, hardcore, grind as well. Enjoyable, multifaced stuff as a whole, which begs to not be taken seriously.

Live to Make War Demo, 2003
Alive From Devastation Live album, 2005
Thrash 'n' War Full-length, 2005
Alcoholic Assault Full-length, 2007
UNderground 'n' Roll Full-length, 2008
Andatevene Tutti Affanculo! EP, 2010
La Musica fa Schifo Full-length, 2011

DEVASTATOR (USA, CA)

Based on the "Crush and Kill" EP: cool 80's speed/thrash metal recalling Blessed Death and Anvil Bitch, but only music-wise (not in the screechy vocal department); "Burn the Beast" is much more satisfying, a more aggressive offering now seeing the guys thrashing out with the best out there. The sound has now moved towards the Bay-Area with the legendary "Bonded by Blood" an obvious influence. The music is fast and energetic seldom leaving the up-tempo, adding a couple of cool technical twists ("Slaughtered Like Pigs": yeah, you wouldn't expect that on a song of such title). "Rise of the Undead" gives new unexpected more extreme dimensions to the band's approach being an exemplary piece of technical aggression ala Hellwitch, maybe a tad more restrained. The guys have done a very good job here, and maybe it's time to break this vicious circle of releasing EP's only with something longer...

Fuck Everything EP, 2005
Crush and Kill EP, 2006
Slaughtered Like Pigs... EP, 2007
Burn the Beast EP, 2009

DEVASTATOR (USA, FL)

Based on the split, this is a black/thrash metal band of the old school not too far from Alastor (Portugal), or Nocturnal (Germany), but badly produced with a thin guitar sound and vocals which are put too high in the mix, leaving no room for the bass to be heard. Those same vocals are cool vicious black-ish rasps recalling the mighty Quorthon (R.I.P.).
"Morbid Force" offers a fair slab of the same black-ish thrash which was present on the debut, maybe faster this time, also recalling early Kreator, but the flaws kind of remain, and the guitar sound is still thin, especially on the leads, albeit more audible. There are more serious attempts at song-writing: the almost 10-min closer "The Final Descension" which has parts which are pure thrashing, as well as parts where the symphonic black metal elements dominate, but not in an irritating way. The irritating thing is the intros which precede every song on this album (something which has already been done before, but in a better way, by the American black metallers Acheron on "Lex Talionis"); they are short, but quite meaningless... well, at least to these ears. The songs nicely vary from fast intense thrashers to atmospheric, even epic-tinged ones, carrying a mid-period Bathory flavour.
"Conjuring Evil" is a cool companion piece to the preceding album, this time with a stronger presence of black metal and longer compositions ("The Devil's Mark", "Worship The Gibbous Moon") which recall Bathory, both their early and mid-period. Still, some good thrashers are around to keep fans of the style happy: the mid-paced atmospheric "Summon The Night", the excellent up-tempo "Pazuzu, Demon Of Plagues", and especially the furious closer "Third Dynasty Of Ur", which doesn't stop thrashing mightily during its 7.5-min, graced by fine keyboard implements from time to time.

"The Summoning" is another cool release concentrating more on speed/thrash metal ala Whiplash, early Destruction and the Portuguese Alastor. "Four Emperors" goes a bit beyond the good taste with furious blast-beats, but the rest is fast-paced retro speed/thrash, topped by brutal black-ish vocals. The pace is kind of samey, but doesn't really wear thin, since the tracks are not very long, and the lead sections are lengthy, although nothing too technical or striking can be heard there. The final "Living Creatures Of Apocalypse, The Sacrifice" switches onto furious thrash ala Rigor Mortis, nicely alternating very fast parts with cool more laid-back ones. The guys also have two other projects: the black metal outfits Blasphemer and Ordine Nero.
"Nocturnal Slut" is very close in spirit to its predecessor speed/thrashing in a more carefree manner adding more variation (the epic stomper "Sepulchral Screams"; the early Bathory-esque closer "Pussy Troll Rock 'n' Roll") here and there, as well as the odd appropriate cover: the early Running Wild hit from the Germans' debut "Black Demon" ably boosted by the sinister semi-declamatory vocal performance.

Nuclear War EP, 2004
The End Full-length, 2005
Devastator/Blasphemer Split, 2005
Nuclear Proliferation Full-length, 2006
Morbid Force Full-length, 2007
Conjuring Evil Full-length, 2008
The Summoning Full-Length, 2009
Nocturnal Slut Full-length, 2010

DEVASTER (ITALY)

Very good Germanic thrash- for fans of early Deathrow, the Exumer debut and Paradox; this is direct speedy stuff with very cool guitar work, which occasionally brings forward technical riffage ("Feverish Commando"), as well as melodic lines ("Infernal Evocation" which, despite its sinister title, is the most melodic song, rubbing shoulders with the speed/power metal movement). "Persecution", being the longest track here (6.5min), affords some slower passages, but the furious ending more than compensates for them. "Necrothrash" closes the EP in a truly aggressive manner, introducing proto-death sections.

Infernal March Demo, 2005

DEVASTHATOR (COLOMBIA)

A Colombian trio which offers 3 tracks of raw primitive old school thrash in a never-changing up-tempo with gruff shouty vocals which sound so loud that at times completely stifle the hollow guitars. Sodom are paid tribute at the end with a lacklustre cover of "Outbreak of Evil", and the Germans' early efforts can actually serve as a reference point to the stuff heard here.

Accomplice of Evil Demo, 2008

DEVASTRACKTOR (FINLAND)

Classic Germanic speed/thrash (think "Angel Dust meets Destruction") is offered here by musicians who are engaged in numerous other projects (the technical death metal virtuosos Inimicality; the brutal death metal "monsters" Tamakeri; the black metal "sorcerers" Tumult; etc.). Here they feel content enough to make your day with direct sharp riffage, mostly played in up-tempo, and cool mid-levelled semi-clean vocals. One can not go wrong moshing out to compulsive speedsters like "Devastracktor Battalion" and "Bring Upon The Fire", or relaxing, but just a bit, on the more serious, almost technical, "I.D.G.A.S", or the crushing stomping "Interlude" which comes too near the end to be an interlude. This is good headbanging fun which will remind of the good old days in a charming, unobtrusive way.

Warhorsepowers & Megaton of Balls Full-length, 2011

DEVIAN (SWEDEN)

Former and present members of the black metallers Marduk, supported by the bass metal guru Roberth Karlsson, whose list of metal acts in which he has taken part may be one of the longest ever (Facebreaker, Edge of Sanity, Scar Symmetry, to name just a few), get together to release this album of intense black/death/thrash metal; this is not a Marduk-influenced material, although shades of black can clearly be heard; the concentration is more on the other two genres, with stronger nods to death metal perhaps. The overall style is close to early Dissection and Dark Tranquillity, supported by sharp thrashy riffs and leads. The tempo is fast, and doesn't change much throughout the album, making it a slightly one-dimensional listen.
The guys are not willing to lose the inertia, and here comes "God To The Illfated" to keep it up. With both releases separated from each other by less than a year, it's not a surprise the strong similarity between them music-wise; this is again thrash/death metal with strong nods to the Swedish scene, this time cleared off all black metal reminders. The guitars are both sharp and melodic, and some of the hooks are simply addictive, especially those served with a genuine Oriental flavour ("The Unspoken", "Assailant"). The tempo is quite fast, and the slower breaks are more than welcome ("Saintbleeder", "Summerdeath"), when they come. Although death metal is again more strongly accentuated on, at least in the 1st half, make sure not to miss first-rate thrashers like "God To The Illfated" or the galloping speed/thrash delight "Awaiting Doom". The guys pay tribute to the more epic-inclined modern acts, like Amon Amarth and Destroyer 666, on the closer "When The Vultures Have Left", which would stay proud even on Bathory's "Hammerheart".

Ninewinged Serpent Full-length, 2007
God To The Illfated Full-length, 2008

DEVIANT (USA)

The demo is nice pounding thrash quite close to Nasty Savage's "Indulgence" with heavy, smashing guitars, speeding up a bit at times. The EP moves towards a Slayer-like aggression.

Faces of Death Demo, 1988
Balance of Power EP, 1991

DEVIATE NY (USA)

This is the continuation of the vicious thrashers Demolition Hammer, and is a much better effort than their lacklustre last release. The music flows in the same vein as the first two albums: hard-hitting brutal thrash with shades of death metal, very well done. There is perhaps more variation with slower, heavier pieces ("Gallery of Death"), which work as well as the faster material; looked like a fresh new start for the band, but was left without a follow-up.

Gallery of Death EP, 1995

DEVIATED INSTINCT (UK)

Based on "Rock N' Roll Conformity", these veterans from the UK hardcore/punk scene could be viewed as the English answer to Cryptic Slaughter. The music on offer is often very fast and chaotic, although generally more controlled than the one of the aforementioned Americans, but is savagely executed enough, with a characteristic sound of its own, also bearing resemblances to The Accused. When the guys slow down, they come up with pretty decent hard-hitting steam-roller thrash ("Through The Looking Glass"), but one can not possibly stand still on compulsive moshers like "Mechanical Extinction", and just nod. On "Guttural Breath" the band have slowed down considerably opting for a heavier less dynamic approach with more brutal death-tinged guitars; it offers almost nothing to the thrash metal fan, but its monolithic monotonous delivery is compelling enough.

Welcome To The Orgy EP, 1986
Consolidation Split album, 1988
Rock N' Roll Conformity Full-length, 1988
Definitive Instinct Best of/Compilation, 1989
Guttural Breath Full-length, 1989
Demo Demo, 1989
Nailed EP, 1990

DEVICE (BRAZIL)

Based on "Antagonistic", this act provide competent fast raging thrash/death clinging between the old and the new school thrashing fast with some nice elad guitar work following suit (check out "Under the Cross"). "Insanity" is a slower stomping piece with the leads again being the superior side. The "rage" reaches semi-blasting proportions ("Temptations Desert") here and there, but the officiant tone also "roams" around ("The Meaning of Horror"; the excellent dramatic "Thanatos (Morbid Curiosity)") accompanied by nice melodic tunes those recalling mid-period Messiah. The final "Pátria dos Porcos" is a more intense death metal cut finishing this effort with aplomb which it by all means deserves.

Behold Darkness EP, 2007
Antagonistic Full-length, 2010

DEVIL'S ISLAND (USA)

Although having taken their name from a Megadeth song (from "Peace Sells..."), the style of this band only distantly recalls their legendary "godfathers". This 4-track demo mixes classic, Bay Area-influenced thrash (Exodus, Testament) with the modern sound of the 90's (think Overkill). The guitar work is particularly good, with nice leads and cool riffs. The tempo is, however, not very energetic trying to give credit to the 90's, too, and consequently losing in the process. The singer is not a very big asset with his hesitation whether to stick to the more conventional thrash singing, or spice things up with more melodic tones (the mixture doesn't really work, at least for me). This is not bad for a first effort, after all, and there is enough time for the band to find the right way on their future efforts.

Demo Demo, 2004

DEVIL MANMADE (FINLAND)

Modern post-thrash with heavy abrasive guitars and gruff semi-shouty vocals; the guys emphasize on melody more which leads to a couple of cool ballads ("Winter") with clear pretensions at the doom/gothic camp (think Lake of Tears, End of Green, later-period Sentenced). "Unlife" tries to lift the spirit up in the middle with more energetic crossover rhythms, but the guys are quick to "bury" those attempts under another portion of gloomy dark riffage, exploited by hordes of acts from their homeland, on the next couple of songs. "Blood Burning" is a surprising retro thrashing bomb thrown near the end, but again, the closing "Harmony" leaves it no chances to survive, the latter being a melancholic balladic composition offering dreamy depressive riffs for about 10-min with the leads being particularly good, producing a few haunting melodies along the way. Fans of the more aggressive side of gothic may want to check this out as well as those who like their post-thrash atmospheric with a strong focus on melody.

Born Of Nothing Full-Length, 2008

DEVIL ON EARTH (BRAZIL)

Brazil has been taking over as the leading metal scene of the new millennium, and this band is another fine addition to it. The album-title sums it up nicely: this is a pure old school speed/thrash metal attack in the fine tradition of early Destruction, Exumer and Kreator. The guys fit nicely along the horde of Brazilian thrash metal bands who have started down the road of the German sound- Executer, Farscape, Violator, Bywar, etc., but Devil on Earth are faster than those acts, and more aggressive. A pleasant surprise awaits you at the end: a nice cover version of Exumer's immortal anthem "Possessed by Fire".

Hunting, Shooting, Slashing and Thrashing Full-length, 2007

DEVILISH (FINLAND)

Based on the debut demo: another underground gem from Finland; there is a golden mine out there: first-rate German thrash metal; Kreator and Destruction have new, very worthy followers.

This is A Good Day To Die... Demo, 1999
Armageddon Is Here Demo, 2000
Reign Of Evil Demo, 2002
Possessed By Hellfire Demo, 2004

DEVILRY (RUSSIA)

An obscure release offering old school power/thrash metal akin to early Iced Earth sustained in a heavy pounding, mostly mid-tempo, sound. When the guys speed up, they can thrash along with the best: the excellent diverse "Can You See", a progressive masterpiece with standout guitar performance recalling Marty Friedman's early pyrotechnics in Hawaii. The other excerise in more complex progressive metal "Last Night" is a bit less impressive relying on the heavy mid-paced rhythm section to pull it through although the real hero here is the lead guitarist again. The closer "Riders of Doom" is not a Deathrow cover, but is a nice varied thrasher with very good leads and meaty doomy riffage spiced with the odd faster break. The singer is traditionally for the Russian bands of that time not a very big asset, and his uneventful clean low-tuned tember is often stifled by the guitars for the better.

Devilry Full-length, 1992

DEVIOUS (HOLLAND)

Based on "Domain", this band plays aggressive modern thrash/death metal. The balance is well distributed between the two styles, as a slight preference is given to death metal, but in this case this is probably the better choice, since those numbers are the superior ones, especially the ones with a more technical inclination: "Boundless Domain", "Dead Cannibal Civilization", "Lowest In The Food Chain".
"Vision" is a capable follow-up, more atmospheric and a bit slower now sounding close to their compatriots Gorefest after the reformation with the odd brutal outbreak ala Suffocation ("Abide"). "Impulse Overload" is more than welcome with its uplifting speedy spirit giving the album the desired boost which results in the excellent progressive opus "Predefined" and the epic Amon Amarth-esque smasher "Validate", both graced by beautiful balladic passages. The closing "Disconnect" can also join this group being a cool mix of fast raging guitars and the characteristic balladic/semi-baladic moments which the band has mastered so well, although here they are probably a bit overused stifling the aggression of the riffage.
The “Wolfhagen” EP is a sure-handed of the good new Swedish thrash/death done with a strict following of the rules: the melodic guitar duels, the throaty semi-shouty vocals, the quiet interludes, the sparce use of keyboards, etc. The sound quality simply rips making every instrument very clearly heard including the forceful vocals. The bombastic atmosphere on the operatic cut “Her Divine” comes a bit unexpected, and generally there is quite a bit of subtlety here to be savoured reminiscent of mid-period In Flames and beyond. Expect a few frowns at the end on the dubstep remix of “Respiration of Fear” which will make the damsels (and not only) dance around with “sweet” memories of Clock DVA, Camouflage, and Covenant.

Acts Of Rage Full-length, 2003
Domain Full-length, 2007
Vision Full-length, 2009
Wolfhagen EP, 2012

DEVOID (INDIA)

Modern thrash metal with slow and fast songs taking turns on a noisy shouty death metal background. The guitar work is good, but comes with a slightly buzzy sound which nicely gets lost for the jolly crossover closer "Beer Song" (bottoms up!).

A God’s Lie Full-length, 2010

DEVOLUTION (UK)

It's a real pity that this talented trio managed to only release this 3-song split, because what we have here is standout technical thrash with slight shades of death metal, way superior to the music presented by the two other acts included in the split, although this one remained the least known. The music has its characteristic dark haunting sound which doesn't leave the mid-pace, but the riffage is stylish and diverse, suddenly bursting out with the odd speedy section ("Mediocracy"). "Negate (This Aftermath)" starts in a fast aggressive manner, but later on evolves into another whirlwind of technical guitars, interrupted by another more intense moment. "Condemnation - Manipulation" is more up-tempo, but surprisingly here the guitars have the most technical, almost abstract at times, edge. As a whole the style may remind you of Coroner's "Mental Vortex", which is the closest soundalike, but the guitar tone on this effort is darker, a tad less dynamic, and the time changes are not that frequent. Surely something big was in the makings, but sadly remained unmaterialized...

Grave / Deviated Instinct / Devolution Split, 1991

DEVORCE (NORWAY)

This is dark, still classic-sounding, thrash with consistent heavy riffage with beautiful acoustic interludes (check out the 1.5-min instrumental "You re the One") and dramatic build-ups. The efforts moves towards a Black Album-esque post-thrash on the pounding "Seven Sorrows", but things become wonderfully dynamic on the energetic closer "Freedom of Choice" which is a merry speedy cut. The singer tries to emulate James Hetfield, but ends up sounding closer to Chris Holmes (Paradise Lost) due to his more aggressive lower-tuned delivery.

Pay the Price of Peace EP, 1993

DEVOTED TO HATE (HOLLAND)

Modern thrash metal meets crossover; the style will remind you of Madball, but with more balls (and definitely not mad). Very fast numbers are mixed with heavy, groovier ones.

Revenge... And A Little More Full-length, 2001

DEVOUR THE MARTYR (AUSTRALIA)

This is modern thrash with expressive shouty death metal vocals. The musical approach is not very impressive being bit boring mid-paced riffage which sounds more appetizing whent it comes closer to the semi-ballad ("The Closer We Get"). "Realm Of The Toxic", on the other hand, is a cool dramatic ripper with vivid dynamic guitars before the closer "No Suicide Without A Homicide" further corrects the impression with a few portions of more stylish technical riffs.

Wasted on the Living EP, 2011

DEVOURON (RUSSIA)

Very raw, amateurish thrash/death metal with a very thin, also buzzy, guitar sound and awful deathy vocals. The guys obviously try to imitate the brutal aesthetics of their more renowned compatriots Korozia Metala and D.I.V., but their musical skills are way inferiorThis is modern thrash with expressive shouty death metal vocals; seldom producing more than plain noise with a rough, aggressive death/thrashy background.

Fascinating Taste of Blood Demo 1992

DEW-SCENTED (GERMANY)

One of the holy three of the dern thrash/death scene (the other two- The Haunted and Carnal Forge) who brought forth the style in the mid 90's, and have been practicing it with little deviation from the path. Dew-Scented are probably a bit more classically-inclined than the other two, with frequent nods to the old school.
With "Invocation" the band continues the tradition with titles starting with "I", but in the music department we have mostly energetic retro thrash this time with the prototypical hoarse semi-death metal vocals. The moshing starts right after the dramatic lead-driven intro the guys throwing a bomb after bomb adhering to the odd more aggressive death metal-laced passage ("Have No Mercy On Us"). There are a few "pauses" along the way: the calmer mid-paced "Artificial Life" and another very good lead-dominated short instrumental ("Totem"), but heads fall from now until the end with compulsive headbangers like "Torn To Shreds" and "A Critical Mass". The closing "Slaves Of Consent" is a more complex technical song featuring several pounding heavy sections and more diverse tempo changes. This is a good effort which shows certain improvement in the guitar department (check those great leads!).
"Icarus" is the next chapter from the band's I-bound album-title catalogue, and sees them hungry for some more intense thrash with both a classic and technical edge. It pulls no punches with its raging character reflected in some of the less merciful shredders of recent times: the furious opener "Sworn to Obey", the dramatic speed/thrasher "Thrown To The Lions", the proto-death laced "bomb" "Gleaming Like Silver", etc. The leads are again on a fairly high level the others trying to match them, more or less successfully. The sparce slower moments ("Reawakening": this is not really "reawakening") are not as impressive, but fortunately they have been kept to the minimum. This album is not a groundbreaking effort by any means, but is not a step back either keeping the flame of thrash high and also the faith in the band who are not likely to disappoint their die-hard fans any time soon.

Immortelle Full-length, 1996
Innoscent Full-length, 1998
Ill-Natured Full-length, 1999
Inwards Full-length, 2002
Impact Full-length, 2003
Issue VI Full-length, 2005
Incinerate Full-length, 2007
Invocation Full-length, 2010
Icarus Full-Length, 2012

DEWARSTEINER (ITALY)

Based on the "Still Fucking Alive" split with the black metallers Crossodomizer (also from Italy), this band plays brutal grinding black ala Impaled Nazarene on two tracks, and produce one long epic 9-min atmospheric black metal composition in the spirit of Burzum.
"Ethylic Lovestories" offers a more melodic material, with a certain part of the songs now being in the thrash/crossover camp. Still, not all of the aggression has been gone, and some explosive pieces can be found, but rest assured that all gets cancelled by the 8.5-min long "Alcohol Screams My Name" of laid-back Motorhead-ish rock'n roll. The guys explore the other extreme side of metal with their other act, the doom/stoner-oriented Drunk & Stoned.

Still Fucking Alive Split, 2008
The Oath Of Bacco Militia Split, 2008
Ethylic Lovestories Full-length, 2008

DEXTERAM (COLOMBIA)

Predictable modern thrash metal which mixes the pace clinging towards the old school on the faster material ("The Preacher"). "Thrash Metal" could have been more aggressive, now full of too many melodic hooks; a situation improved by the rigorous speed/thrasher "Inquisition". Then comes "Give Me Your Soul" which will "give your soul" to the classic sound once again with a nice crossover overtone added, which also stays around for the really aggressive closer "Christ Must Die", which is an intense slab of music coming with a slight proto-death edge. The singer is nothing special, though, pullng out a pedestrian semi-shouty/semi-death metal tember.

The Hidden Face Full-length 2011

DEZAZTRE NATURAL (CHILE)

This Chilean horde produces rigorous classic speed/thrash which gets mixed at times with less convincing proto-modern elements ("Eskupiendo Lava"), but generally the energy seldom drops, and prime headbangers like "Matanza" (the screaming leads on this one will pierce your brain) and the opening exploder "Azote Teluriko" will make your fay in no time. The singer is a bit annoying with his undeveloped semi-hardcore tone, often assisted by the others for the release of plenty of shouty, sing-along choruses.

Dezaztre Natural Full-Length, 2012

DEZEMBER (THAILAND)

This band offers intriguing technical/progressive thrash with shades of death metal. The full-length debut is a commendable effort, nicely mixing more complex numbers with more immediate, aggressive ones. The music is heads-down thrash with a few death metal reminders, and the tempo is never too fast; the jumpy guitar work will remind you of the Japanese Doom, although these guys here stretch the style towards more peaceful, baladic territories at times, which are not overused, and add up to the elaborate picture; some attempts at "techno-meets-guitar" industrial are also present, and are not too bad. However, the more direct, thrashy riffs seem to work better, especially those coming with a slight pinch of death metal. As a result we have an engaging combination which will keep you focused for most of the time.
The follow-up boasts better guitar work, especially in the lead department, but as a whole is a less satisfying achievement; it often degenerates into more ordinary modern thrash, with a few sparkles of the technical skills displayed on the debut. Some tracks are pointless "funk-meets-groove" experiments, and spoil the picture quite a bit, along with the new industrial deviations, which this time are simply bad. The balladic moments are here again, but more frequently expand into a full-blooded ballad.
"Naturalism" comes after a long 7-year break, but shows the band in an inspired form once again. The sound is full-fledged progressive death/thrash metal, with longer songs which offer everything from the progressive spectre: jumpy jazzy guitars, proficient leads, quiet atmospheric passages, twisted time changes, etc. Some songs are really striking combinations of brutal, fast sections and very complex, multi-layered ones ("Slut", "Killer Bastard"), others are slower, less intense haunting pieces ("Betrayer") with abstract Voivod-ish riffs, which nicely contrast to the brisk, melodic leads. "Vilely Untamed" is a brilliant exercise in technical thrash metal with a touch of late-period Coroner, where even the groovy mid-section works just fine, ably supported by a nice flamenco acoustic tune. "Horny" sums up everything this album is about, containing all of the afore-decsribed touches, not forgetting a very brutal death metal section near the end. And finally, one more conventional song as a finishing touch: "Peace", although the "peace" here is still quite jumpy. Not a dull moment with this really good album, which alone does a lot to make the thrash metal fanbase take acts from this part of the world with a certain amount of respect.
"Spiritual Leader" follows after another healthy hiatus, and shows the band in a more restrained light, abandoning the complex arrangements once again, thrashing in a controlled direct manner for most of the time adhering to power and speed metal as well whenever necessary. So this is laid-back thrash of the more conventional variety the main reminder of the band's previous works being the staple gruff semi-death metal vocals.

ĹŃ·¸Ô«ŇµŇą EP, 1993
ÇÔąŇČˇĂĂÁ Full-length, 1995
şŇ» Full-length, 1997
ĘčÍą Full-length, 1998
Naturalism Full-length, 2005
Spiritual Leader Full-length 2011

DEZPERADOZ (GERMANY)

With this band Tom Angelripper gives his tribute to the Wild West with its cowboys, damsels and all. The music is melodic and thrashy, of course, recalling the Sodom albums from the mid 90's, or the works of the other Angelripper side-project under his own name; Desperados' music is actually edgier and darker. For some strange reason, Tom is missing from "The Legend and the Truth", which takes a whole pleiad of other metal stars to replace him behind the mike: Tobias Sammet (Edguy), Joacim Cans (Hammerfall) and the legendary Doro Pesch.
"An Eye For An Eye" offers another slab of jolly, light-hearted heavy/thrash, this time having a more modern, and a more aggressive, sound, not too far from Annihilator ("Hate", "Days of Thunder") at times. There is one cool short ballad ("A Tooth for a Tooth"), and two covers: one of Johny Cash: "25 Minutes to Go", and one of The Doors: "Riders On The Storm". Tom Angelripper is again missing from the line-up; maybe he feels happy enough at this point to just pull the strings behind the stage?
"Dead Man's Hand": unkle Tom is again missing from the line-up, and Alex Kraft, from his other act Onkel Tom Angelripper, has stepped in to replace him behind the mike. In the music department expect the same unpretentious frolic post-thrash'n roll which this time doesn't focus too much on the "thrash" side, but relaxes with merry tunes from the good old days "courting" country, blues, and stoner/doom along the way. A bit more life is poured near the end with the speedy cut "Showdown", but the last songs are pure ballad/blueses; a sure sign that unkle Tom loses his initial interest to pursue a more thrashy career outside Sodom.

The Dawn of Dying Full-length, 2000
The Legend and the Truth Full-length, 2006
An Eye For An Eye Full-length, 2008
Dead Man's Hand Full-length, 2012

DEZTROYER (GERMANY)

The German metal scene is full with one album wonders like that. This is outstanding thrash metal with a certain technical edge, which will catch you with your pants down. The style is close to that of the bands from the progressive/technical thrash wave which rose a few years later (Depressive Age, Entophyte, Lost Century, etc.), but is a bit more aggressive and faster, and less technical. It starts in an awesome fashion with the first three songs being fast and furious pieces ("Climate Change", "Ain't No Cure"), which are more straight numbers, with a certain early Angel Dust-vibe; "Solitude" slows down considerably, but retains the technical edge. Then the album returns to the speedy formula, this time even with more aggression involved: the blasting ball of fury "Can't Complain". It remains fast and intense until the end, finishing with a marvellous jolly rock'n roll joke "Souvenirs", featuring nice guitar melodic hooks. This gem boasts a crystal clear production and immaculate musicianship; it's a pity bands like that disappeared after just one effort.

Climate Change Full-Length, 1990

DHUL KARNAIN (SPAIN)

Based on the full-length, this act plays intnse, one-dimensional thrashcore which develops in a samey up-tempo for most of the time, except for a few very surprising lyrical, acoustis sections which, albeit pretty misplaced, serve as a nice interlude from the otherwise unmemorable bash, topped by quarrelsome punky vocals which don't miss the opportunity to show their more melodic side on the aforementioned calmer moments.

Dos Cuernos Full-length, 2008
Destructor EP, 2011

DIA DE LOS MUERTOS (USA)

Based on the EP: a decent mix of modern and classic thrash/death metal, which is fast and ripping for most of the time, accompanied by forceful death metal vocals, and a few heavier, pounding sections with a touch of late-80's Slayer ("Falso Poder"). Some of the guys are also members of the thrash metal outfit Agony.

Day of the Dead EP, 2005
Satánico Dramático Full-length, 2011

DIABHOLICO (CANADA)

Ariel Martinez- the singer who sang in Kataklysm in an early incarnation of that band, is responsible for the ultra-brutal guttural vocals here, which top heavy groovy death/thrash metal of the early Six Feet Under type, with more frequent faster passages, some of them pure hyper-blasts.

Diabholico Demo 2011

DIABLO (FINLAND)

Based on "Icaros": this band plays modern thrash/death metal with borrowings from the progressive power metal scene. The mixture works, and the concentration is more on the progressive side, when the compositions get really interesting, sounding not too far from Nevermore, or Chaoswave (the excellent dark "Light Of The End"), despite their losing some of their thrash metal appeal. The singer is not bad, coming as a cross between James Hetfield and Chris Holmes, maybe lower-tuned than both; he does a fairly good job on the nice balad "Chagrin". The problem is that there are clean vocals, which are hardly necessary. The other thing which might annoy is that the band has forgotten about the pure more aggressive thrashy numbers, which on their early efforts have always taken a considerable part, and there are not too many of them around ("Hammer" comes to mind, but that's about all) being replaced by less interesting groovy numbers ("Through Difficulties To Defeat"). The closing "Into the Sea" is a cool more complex thrasher with gothic overtones, which is another testimony that the band has taken a new direction, away from their earlier more direct thrash/death metal approach.

Elegance In Black Full-length, 2000
Renaissance Full-length, 2002
Eternium Full-length, 2004
Mimic47 Full-length, 2006
Icaros Full-length, 2008

DIABOLIC FORCE (BRAZIL)

The title of this EP already suggests a lot; this is a side project of two members of the Brazilian thrashers Farscape. The music is not miles away from the Farscape's Germanic thrash-worship: it's more aggressive and will remind you of early Kreator and Sodom's "Persecution Mania", with a touch of death metal. The band plays fast and aggressively, with only "Nuclear Beast" being a deviation from the pattern moving towards a stomping heavy sound ala Celtic Frost; a great track, by the way.

"March To Calvary" is more controlled, now Celtic Frost even a bigger influence, with Abomination a very close call as well, except on a couple of hardcore-ish outbursts ("I Just Wanto To Get High", "Piss on the Holy Ghost") and the odd proto-death-laced deviation ("Prisoner of Wickedness"). The final "March to Calvary" is a nice melodic addition mixing the carefree spirit of Motorhead with the more experimental arrangements of "Into the Pandemonium". The vocalist is a dead ringer for Tom G. Warrior, maybe a bit higher-pitched.

Old School Attack EP, 2003
March To Calvary Full-length, 2009

DIABOLIC HERITAGE (GERMANY)

Modern thrashcore of the heavy mid-paced variety which can become faster-paced on occasion ("Bateman-Syndrom") and generally the approahc is not stale and tedious, but moves around recalling at times Pro-Pain, at others Madball, among other heroes. For a demo the sound is really clear boosting both the guitars and the expressive shouty singer whose quarrelsome antics fit the angry character of the music.

Diabolic Heritage Demo, 2011

DIABOLICAL (SWEDEN)

Based on "Synergy", this formation provide quite cool thrash/death metal with obvious leanings towards the Gothenburg school, but the guys here have a nice sense of technicality which goes well with the prevalent speedy riff-patterns, and they manage to create one of the better examples of the sub-genre in the new millennium. The shadow of At the Gates can be felt as well as the one of Carcass' monumental "Heartwork" the guys shredding with the utmos tintensity at times producing admirable blends of speed and technicality: "Human Control", "The Passenger", finishing this death/thrashy fiesta with the slightly underwhelming "Haven" which may be a reference to their compatriots Dark Tranquillty title-wise, but in terms of execution this is strictly for Opeth lovers, a dreamy and semi-balladic composition which somewhat betrays the technical speedy crescendos encountered earlier. The vocalist is very close to the hysterical rendings of Jeff Walker (Carcass) serving them with a bit more attached, also lower-pitched, way.
Welcome to "The Gallery of Bleeding Art"! The retro thrash/deathsters haven't forgotten how to produce mighy fiery riffs and this effort is sure testament for that. The fast blizkrtieg numbers (the raging "Pavor Nocturnus") aptly alternate with heavier more seriously-plotted compositions ("Vertigo") bordering on the progressive and the technical, especially on the jumpy unpredictable "The One Who Bleeds". "Extinction" is a particularly macabre number its middle occupied by a theme recalling the introduction to Destruction's "Curse the Gods" wrapped by ambient keyboard-suported atmosphere. "Religionism" also shows more technical prowess with its twisted blend of sharp riffage and breath-taking melodies before the closing 10.5-min opus "Ashes IV" shows a very ambitious side of the band's repertoire this time taking a more individual direction losing the Opeth references to an extent. It works well maybe losing focus here and there, but is by all means worth exploring on future releases.
"A Thousand Deaths" is an exemplary work of the Swedish thrash/death metal movement, a riff-fest of the highest order blending technicality and melody to a really impressive effect. The guys thrash with no remorse putting to shame most of the practitioners of this massive sub-genre, both at home and abroad. With At the Gates already gone by that time, this outfit looked like their most worthy successors raising the level up due to the numerous unobtrusive technical nuances. One would find it really hard to sit still on compulsive moshers like "Dead Angel's Choir" and "Until The Day Arrives", both short explosive cuts served with style to spare. "Under My Skin" is a more elaborate piece, the composition "Heartwork" mysteriously left behind. "An Opposite Law" is the relative break with its more restrained stomping rhythms before "Demonic" bursts in a cavalcade of fiery blitzkrieg riffs the latter coming under control on the closing "Profane Murder" which is a longer progressive cut of the pensive type, a bit underwhelming, but captivating nonetheless. The band took a long break instead of capitalizing on their masterful command of the style which was head and shoulders above most of the At the Gates "wannabes" roaming the scene at the time.

Deserts Of Desolation EP, 2000
Synergy Full-length, 2001
A Thousand Deaths Full-length, 2002
The Gallery of Bleeding Art Full-Length, 2008
Neogenesis Full-Length, 2013

DIABOLICAL DEMON DIRECTOR (AUSTRALIA)

Based on the "The Death Sentence" demo, these guys offer old school thrash along the lines of early Venom and Destructor. The music is laid-back, seldom bites with power, and the most aggressive thing is probably the vicious semi-death metal vocals. When the guys give up thrashing with speed, at which they are not good at all, they manage to produce nice mid-paced epic tracks ("Day of the Antichrist") in the spirit of mid-period Bathory and their compatriots Destroyer 666. The rest is raw primitive thrash with no many musical merits, trying to emulate the sloppy production qualities of the early 80's attempts at more extreme music.
The "Surrounded by Evil" EP is "graced" by another sloppy production, if not even sloppier, with the delivery moving up the aggression scale a bit this time, to introduce more speed, but all be prepared to cry on the 3-min soporific, balladic cut "Fathomless Dungeon". Otherwise, the band lashes out pretty intensely (the furious piece "Surrounded by Evil") reaching a mid-period Razor-like aggression with ease. The closing "The Prophecies Of Doom" has nothing to do with doom, but is the fastest song, belonging more to the speed metal genre. The vocalist hasn't improved a lot not, singing in a distorted semi-declamatory manner, often ending up buried in the noisy background.

As Darkness Hits Demo, 2007
Hour of the Black Demons Demo, 2008
The Death Sentence Demo, 2008
Surrounded by Evil EP, 2010

DIABOLICAL DISMEMBERMENT (USA)

Based on the "Hell on Earth" demo, these guys offer very brutal death metal with the odd thrash metal break. The music is quite fast and relentless throughout, and the singer is the ultimate low-tuner, an extreme grunter of the least comprehensible type. Reportedly on their earlier demos the band were more thrash metal-inclined, although this may be hard to beleive having in mind this vocalist. Both guys (there are only two people in the band) are also responsible for the doom/death metal formation Cemetary Visions with whom they have one full-length released.

Nocturnal Blood Bath Demo, 1997
Gloom of the Dead Demo, 1998
Hell on Earth Demo, 2001

DIABOLUS IN EXTREMIS (SPAIN)

This formation come up with right as rain old school thrash which is not supported very well by the abrasive sound quality which makes the guitars sound too pounding at times and gives the leads a very screamy edge. Still, the guys thrash on unimpeded by the obstacles on the way, and tracks like "Parar El Tiempo" and the thrash/crossover delight "Tie Your Mother Down" are major headbangers, the latter a nice speedy version of the early Queen hit. The album loses steam in the 2nd half the approach becoming too mild and more power/thrash metal-based acquitted by the aforementioned "Tie Your Mother Down" which is the closer. The singer has a drunken tember which at its most inspired may remind you of Gerre (Tankard). Some of the band members are also involved in the heavy/power metal outfit Sonem.

Parar el Tiempo Full-Length, 2012

DIAGNOSIS 303 (CZECH)

Modern abrasive thrash which can be both fast and stomping hardcore saying its word more than now and then due to the short song-length and the outrageous slamming sections where the vocals shout to an apocalyptic effect. This is direct simplistic music which sounds like a rehearsal for a bit more coherent effort.

Detoxxx EP, 2011

DIAGNOSTICO FINAL (ARGENTINA)

Based on the full-length: this is decent retro power/thrash metal with a muddy sound quality, which on the best moments speeds up no worse than Horcas and even Lethal. Some duller modern elements can be heard, and the energy gets lost near the middle, on a short string of mellow power metal numbers, but this work scores way higher than the bland offerings from their more renowned compatriots from around the same time.

Diagnóstico Final EP, 1999
Involución Full-length, 2001

DIAMOND DUST (CROATIA)

Based on the "Triumph Of Soul" demo, these guys pull out heavy semi-technical power/thrash recalling late-80's Metallica, spiced with a pinch of the 90's proto-groove in the beginning. The music is not bad, but the first couple of songs merge into one another being all of the pounding mid-paced crunchy type, and the demo takes off on "Live Or Die" in the middle which is a cool more dynamic epic thrasher ala Bifrost and Drifter. "Damnation" is a melodic power metal instrumental experimentation followed by the closing power/thrasher "Salvation" which is a bit faster offering cool melodic leads ala Iron Maiden.

Diamond Dust Demo, 2007
Triumph Of Soul Demo, 2010

DIAMOND PLATE (USA)

Based on the split, this band plays excellent old school thrash metal, fast and intense (the first two tracks), recalling Vio-Lence's "Eternal Nightmare". "Criminal Justice" is a nice, slower and more laid-back instrumental, and "At the Mountains of Madness" (hello, Lovecraft!) is a cool mix of very speedy raging riffs and stomping crushing ones.
"Generation Why?" will be a disappointment for the band's fans, featuring mostly mid-paced tracks with casual speedy references, and although cutting thrashers like "Waste Of Life" provide the necessary enjoyment, the energy from the EP's is seldom felt, even a slight shade of modern metal can be felt here and there. The closing "Empire Tomorrow" is a more complex progressive cut lasting for nearly 9-min, although again there are only heavy stomping riffs floating around without any more exciting deviations. The singer now sings in a subdued deathy manner, semi-shouting whenever appropriate, but suiting the minimalistic samey approach.

Mountains Of Madness EP, 2008
Relativity EP 2009
Generation Why? Full-length 2011

DIANTHUS (POLAND)

Heavy dark thrash/death, more in the old school camp, with heavy crushing guitars recalling the Brits Bolt Thrower, although often is the music melodic, with gothic overtones, and thrash metal is more widely covered, but is seldom of the faster headbanging variety. "Uncontrolled Hatered" starts thrashing, but in a controlled (pun intended) way, in the middle, but is cancelled by the following morose doomy "Eternal War", and the rest of the songs which only rarely reach the up-tempo.

Dianthus Demo, 2009

DIE HAPPY (USA)

Die Happy was formed after the Vengeance Rising members (all except Roger Martinez) decided to explore other musical territories. The music is decidedly more melodic than the father band being power/thrash metal along the lines of Aftermath or Meliah Rage, plus a certain doze of groove and awkward, undesirable bluesy moments; not too bad, but would hardly make the Vengeance Rising fans happy.

Die Happy Full-length, 1992
Volume II Full-length, 1993
Intense Live Series Vol. 4 EP, 1999

DIE HARD (SWEDEN)

These Swedes offer heavy old school black-ish thrash metal (see the band name: hello, Venom!) which comes as a more dynamic, but equally as twisted, version of the legends Hellhammer, or early Celtic Frost (no Venom here, sorry!). The guys sometimes speed up, and then they evoke another veteran from the 80's: the Canadians Slaughter. Heavy pounding riffs aplenty will one find here, but don't expect a very high level of musicianship.
"Nihilistic Vision" sees the guys speeding up well beyond the Hellhammer influences which here are almost nowhere to be heard producing much more dynamic compositions with clear speed/thrash pretensions (check out the spontaneous headbanger "Hidden Face", or the splashing speed/thrash delight "Nihilistic Vision"), strangely recalling the Venom period with Tony Dolan (1989-1992), as well as the early German school on the more speedy moments ("Mercenaries of Hell" which is sustained in the best tradition of early Angel Dust). Even cool melodic leads are present on at least half of the tracks. "Ride the Incubus" strays from the path moshing out in a less controlled proto-death manner, but "I Am Possessed" safely returns to the successful speed/thrashing formula with a few Swedish melo-death leanings. "Attack from the Back" is direct fast-paced thrash, and the final "Death Chasing the Flock of Mortals" doesn't betray the speedy approach of the album closing it in a flying fast-paced fashion. The gruff Tom G. Warrior-like vocals which fit perfectly on the older material, here are simply misplaced, and now the more invigorated delivery would benefit from a higher singer.
The "Mercenaries of Hell" EP is just two songs: "Mercenaries of Hell", already heard on the following full-length, and the cool faithful cover version of... come on, make your guesses here: Venom's "Die Hard", of course!
"Conjure the Legions" will "conjure the legions" from all parts of the world for the final battle which gets harder again with heads-down thrashers like "Masters Of Deceit" and the maddening proto-deathster "Antichrist" which blast-beats for a while like the end of the world is indeed coming very soon. The rest has this dirty Venom sound and is consequently not as aggressive the closing "Robe And Crown" even acquiring sombre doomy tendencise, but only to a positive effect (check out the very good melodic leads on this one).

Emissaries of the Reaper Demo, 2007
Evil Always Return EP, 2008
Mercenaries of Hell EP, 2009
Nihilistic Vision Full-length, 2009
Thrash Them All EP, 2010
Conjure the Legions Full-Length, 2012

DIE PROUD (SLOVAKIA)

Modern Swedish thrash with heavy, but also melodic, guitars and brutal low-tuned death vocals; some groove can be caught ("The Waves of November Nights") as well shades of the Amon Amarth epic style ("Ravens Flied Upwards").
The full-length is an elaboration on the demo the band playing laid-back melodic thrash which exits the trite patterns with the more casual technical flair (the sterile mor ecomplex shreds on "To Die Proud"). "Ravens Flied Upwards" is a more intense headbanger, but the dominant character is mid-paced and more officiant also helped by the more intelligible this time vocals which are higher-pitched and do attempt some actual singing from time to time.

Demo Demo, 2009
Die Proud Full-Length, 2012

DIECELL (FINLAND)

One of the many underground metal bands from Finland, Diecell plays modern-ish melodic thrash akin to Darcane and Mokoma with gothic shades ala Sentenced.

Thrashborne EP, 2006

DIEMENTIA (UK)

These Brits pull out satisfying retro thrash with brutal death metal vocals. The band marches on alternating fast with slower tracks, throwing in the odd more complex, epic-tinged composition ("Tears Of Blood"). The 2nd half is more diverse and mellower, comprising the more speed metal-based cut "Bad Blood", which boasts a great lyrical semi-balladic ending; the heavy ballad "No Escape"; with sparce outbursts of energy (the short "rager" "Rage"). The closing "Where I Belong" is a lengthy doomy semi-ballad, which is hardly the most fitting epitaph to this varied, for better or worse, affair.

Tears of Blood Full-length, 2009

DIESEL MACHINE (USA)

Heavy, groovy modern thrash close to Pantera and Puncture: quite harsh, mostly mid-paced with shouted, bordering on death metal, vocals.

Torture Test Full-Length,2000

DIEVERSION (SOUTH AFRICA)

Based on "Anthems Of Violence", this band mixess tedious repetitive groovy post-thrash with forceful death metal vocals. The mixture is not completely bad, but the groove dominates leaving the more intense death metal material seeming like a "remnant" from the past where the guys had reportedly played brutal death metal.

Victimized Full-length, 2001
Anthems Of Violence Full-length, 2002

DIFFICILE (DENMARK)

This is cool modern thrash metal with the obligatory amount of groove, but with also more edgy and even technical riffs, and nice clean vocals.

Thoughts And Dreams Demo, 2005

DIKTATOR (HUNGARY)

Based on "Vigyázz, Jön A Vadász!", this band pulls out melodic modern power/post-thrash clinging more towards the groovy side, but there are a couple of more speedy numbers, as well as soft hard'n heavy "joys"; an uneven unpretentious effort as a whole, and clearly not aiming at the thrash metal audience only.
"A Hét Vezér" is more aggressive, although it still remains in the power/post-thrash metal camp, but more than half of the songs are dynamic with touches of speed metal recalling the 80's American scene. The leads score really high providing addictive melodic lines. "Demokracia" is an explosive retro thrasher, and generally the tendency is more towards the classic school. "Szabadnak Lenni" is another "lightning", but is more melodic with a crossover flavour. The singer doesn't shine, but his hoarse semi-clean punk-ish delivery lifts up the mood.
The self-titled compilation reflects on the band's earlier period, and is a collection of unpretentious optimistic power/semi-thrashers which develop in a predictable mid-pace with the odd more energetic crossover touch. This is very feelgood stuff with not many merits to the thrash metal movement.

Animal Metal Full-length, 1991
Bun és bunhodés Full-length, 1993
Bunkó vagy ! Full-length, 1994
Még, még Full-length, 1994
Ne várd a csodát Full-length, 1998
Diktátor Best of/Compilation, 2004
Vigyázz, Jön A Vadász! Full-length, 2005
Három Királyok Full-length, 2007
A Hét Vezér Full-length, 2009

DIKTATURA (LITHUANIA)

Based on "Baltai", this band plays modernized thrashcore with heavy abrasive guitar work which tries to stay fast for most of the time, albeit with an obvious effort put. Still, pieces like "Kilt" and "Velniop" are brisk headbangers with a crossover shade, although their number is less than the one of the heavy groovers.

Zeme Full-Length, 2003
Baltai Full-Length, 2004

DIMELESS (GERMANY)

Based on the full-length, this band provide playful modern post-thrash with stoner influences, but don't shy away from it immediately since the faster cuts ("Sticks & Stones") are just around the corner and the heavy riffage is not that bad. The singer is an attached semi-shouter who acquires gruffer tones here and there to match the seismic values of the musical delivery.

The Pill To Swallow EP, 2007
Taste of the Upper Class Full-length, 2012

DIMENSION 34 (SWEDEN)

This band plays excellent dark power/thrash metal with doomy overtones, with very heavy crushing riffs and good forceful emotional clean vocals; a sparce, but quite appropriate, participation of very cool mid-ranged female ones can be heard as well. The music seldom leaves the mid-pace, but the guitars twist and turn bringing the sound close to progressive, in a way not dissimilar to the last Hexenhaus album, their compatriots Pathos, and Nevermore; on the few mellower passages another Swedish act may come to mind: Evergrey. This will be no paradise for the headbangers, since there are no fast moments, except on a few isolated sections mostly used as finishing touches ("The Other Place" contains a very short furious black metal blasting passage), and the balladic interludes are inevitable, especially on the colossal 11-min opus "As The Light Is Fading". Still "Something Not Sunlight" is the only number staying more on a doom metal ground, also offering a fine balladic moment where the singer helps a lot with his tember quite close to Dave Gahan (Depeche Mode). The guys are also involved in the thrash metal act Paincraze (also reviewed here).

The Release of Me Full-length, 2007

DIMENSION F3H (NORWAY)

Industrial/gothic/thrash/power metal; a very ambitious project which doesn't sound like anything else. Maybe the avantgarde metallers Arcturus with a pinch of thrash would be still a distant reference point. The music ranges from fast, blast-beat numbers to epic power/gothic metal ones and everything in-between. Their 2007 album "Does The Pain Excite You?" is an even better work than the debut which preserves the thrash and industrial elements, but leaves almost everything else aside, introducing a darker metal sound ala Samael's "Passage" as an additional touch.

A Presentation of Armageddon EP, 2002
Reaping The World Winds Full-length, 2003
Does The Pain Excite You? Full-length, 2007

DIMENSION ZERO (SWEDEN)

One of the stalwarts of the melodic Swedish thrash/death metal sub-genre, these guys are one of its most distinguished representatives. The music bears no surprises for those well familiar with the style, as the guys do not betray their true to the genre approach, so don't expect any deviations ala Dark Tranquillity ("Projector") or In Flames- this is basic, unadulterated modern thrash/death metal.

Penetrations from the Lost World EP, 1997
Silent Night Fever Full-length, 2002
This is Hell Full-length, 2003
He Who Shall Not Bleed Full-length, 2007

DIMENTIA (CANADA)

Heavy mid-tempo thrash of the modern type, calling to mind 90's Flotsam & Jetsam and Metallica's Black Album at times.

Affliction Full-length, 1996

DIMERA (SPAIN)

Dynamic post-thrash mixed with hardcore and a few merrier moments which are both crossover and metalcore-tinged. The riffage becomes kind of intriguing at times and the melodic licks are not totally inappropriate, albeit too contrasting to the unpleasant shouty death metal vocals. This is a jumpy affair which would hardly please the die-hard fans of the style, but those who favour the more modern trends will find quite a bit to like here.

La Ley Del Poder Full-Length, 2012

DINKUMOIL (CHINA)

A young Chinese trio who specialize in classic speed/thrash with melodic guitar harmonies recalling the British heroes Iron Maiden. The approach is melodic, and the overall approach recalls the US underground legends Holy Terror, with the same penchant for soaring speed metal antics, some of which are purely instrumental ("Stimulant"). The musicianship is on a decent level, but the guys don't take themselves too seriously at this stage, as evident from some of the song-titles ("Hit the Road", "Miss P Do Dirty", etc.). The singer has a clean high-strung voice, but he misses the mark more than just now and then, not using his wider range to a good effect, singing in a mid-ranged nasal fashion with awkward adherences to the higher registers.
The demo, as the title suggests, is a tribute to the early British scene and as such doesn't contain much thrash being more oriented towards power/speed metal. Still, this remains cool stuff with numerous infectious melodies, and a stylish choice for a cover version, of the obscure NWOBHM act Crucifixion ("On the Run"), done in a light-hearted, carefree manner (probably faithful to the original?), the even dispassionate performance of the vocalist being the only minor drawback.

Metal Weld Full-length, 2010
Underground NWOBHM Bands Demo, 2010

DINOSAUR (PORTUGAL)

Based on the 1st demo, this is good classic thrash reminiscent of the Germans Darkness with nice guitar work brought to its culmination on the excellent instrumental closer "Life Is For The Living"; that same track was voted the best Portuguese metal track by the readers of the Rock Power Magazine. The same year the band was also nominated in 5 other categories: best band, best drummer, best singer, best demo, and best bass player: a really good start to what should have been a successful career.
The last demo stays true to the classic sound, thrashing intensely although the melodic guitar hooks are here again, culminating on the cool semi-ballad "I Dont Mind (Bad Feelings)". "The Blues" at the end is, like the title says, an attempt at blues, done well, but lasting for just 1-min.

Demo Demo, 1991
Promo Tape Demo, 1992
K7 Promotion of the 7”Ep Demo, 1993

DIOS HASTIO (PERU)

Based on the band debut, this is fast, hardcore-ish thrash with brutal, almost grindcore elements and longer semi-industrial tracks with strange surreal riffs, and occasionally very twisted raspy vocals (on these, longer tracks) which could make Burzum sound like a children show's host. A very mixed bag, would not appeal to the average thrash metal fan.

Advenimiento De Lo Inevitable Full-length, 2000
A Medio Camino De Ur EP, 2001
Cervix Inferno Full-length, 2003
Morfologia Del Desastre EP, 2003

DIOXINE (FRANCE)

This 3-song demo offers a classic blend of thrash and death metal with a strong technical edge not too far from Suffocation and Morbid Angel. So this is mostly death metal stuff spiced with more laid-back thrashy breaks which work well alongside the raging blast-beating sections.

Happy Birthdead Demo, 2008

DIPNOI (BRAZIL)

Based on the "Torn" single, this band offers modern post-thrash of the soft variety: think a more aggressive Helmet with shades of both hardcore and stoner; cool throaty semi-angry vocals, though, and a few nice dynamic sections on "Melting". Some of the musicians also play much more brutal stuff in the brutal death metal/drindcore "freaks" Are You God?.

A Good Moonza / A Better Moonza Demo, 1995
FKDDD EP, 1999
Torn Single, 2002

DIRGE (USA)

Good thrash/crossover which nicely stays more on the thrashy side most of the time managing to sound quite fast and intense at times ("Superficial"), at times heavy and stomping ("Dirge"), and occasionally even technical ("Bug Bite").

Soulstorm Full-length, 1988
Fleshcrawler EP, 1990

DIRGE WITHIN (USA)

Based on "There Will Be Blood", this act specializes in dynamic modern thrash with both crossover and alternative shades. The approach is laid-back with a few cool melodic insertions and pretty good lead guitar work. Otherwise the delivery is not very original, the guitars move in mid-pace supported by a sparce more aggressive deathy sections ("There Will Be Blood") here and there. The vocals are of the angry shouty type, sometimes semi-clean, sometimes more brutal with a death metal flavour. At the end the Entombed fans will be delighted to hear a groovy/stoner cover of the Swedes' "Wolverine Blues".

Force Fed Lies Full-length, 2009
Dirge Within EP, 2010
There Will Be Blood Full-length, 2012

DIRGES (COLOMBIA)

This is vintage Germanic thrash metal in the vein of Destruction, Darkness and Necronomicon with black metal vocals; at times you might find them annoying especially when they go for the higher tones. The guys thrash with full force from the beginning also adding more aggression ala "Pleasure to Kill" at times. The music is fairly fast and relentles, and the singer "croaks" quite scarily, also attempting the odd screechy shout here and there. After 8 explosive tracks comes the break in the form of "Vestigios De Guerra" which is a calm heavy/power metal anthem, and the intensity is gradually restored offering first vintage 80's speed metal ala early Helloween on "Dirges", before "Morir O Matar" smashes everything in its way with merciless brutal riffage. More moderate speed/thrash comes with the final "Cruzada De Muerte" which includes a few nice melodic tunes among the fast-paced rhythms. To these ears this effort recalls another one released under the name "After the Devastation" (which is actually the English translation of the album reviewed here) in 2006 by the same band (?) which surprisingly is missing from their discography (!); could there be two acts with the same name from the same country playing very similar music?! Some of the guys have also released an album the same year with the classic heavy metal act Runner Hell.
"Altares De Sacrificio" is in a similar vein speed/thrashing confidently in the good old Germanic way with more intense, almost proto-death laced, pieces coming on board ("Gorgona"). The tempo seldom goes down, and the guitar work is really good all over, both in the lead and riff department (check out "Campos De Guerra" for both, or the ultimate thrashfest "Triunfo Macabro"). "Luto Eterno" is the only deviation into purer speed metal, but run for cover right after that since "Atrapados En El Fuego" is raging thrash to the bone which will leave you exhausted with barely 4-min of play. The closer "Sacrificio" is just a minor flaw being a laid-back power/thrash metal number in a doomy brooding pace not really matching the vicious husky vocals which are an otherwise good fit for the rest of the music.

Despues de la Devastacion Full-Length, 2006
Altares De Sacrificio Full-length, 2010

DIRT CHURCH (USA)

Based on the "Stripped Down" EP, these guys offer nice retro Bay-Area thrash ala Testament and Exodus, with vicious semi-clean vocals and brisk sharp riffs. The songs are cool mixtures of fast (mostly) and slower sections. Those same musicians had operated under another name at the same time: Soundstorm, and had reportedly recorded a 5-track demo of stylish technical thrash.

Stripped Down EP, 1994
Dirt Church EP, 1996

DIRTY DAMAGE (FINLAND)

A pretty average speed/thrash metal band with just a few good moments from the full-length debut, recalling bands from the Bay Area scene. However, kudos should be paid to the guys for the original, lengthy album/song titles.

I want to be a President / Fire Extinguisher Executioner EP, 1988
It's Amazing How Stupid Some People Can Sometimes Be Full-length, 1988

DIRTY THIRTY (JAPAN)

despite the presence of the guitar guru Tomohiro Hagi (Manipulated Slaves, Spellbound) this is nothing than a modern twist on the power/thrash metal genre with a relevant addition of some post-thrashisms. The guitar sound is too abrasive at times, and other elements come introduced later to overpack this effort with influences, more or less appropriate. The singer is suitable to the wide musical amalgam with his inebriate semi-clean mid-ranged voice.

Unconscious Violent Behavior Full-Length, 2012

DISABUSE (HOLLAND)

Based on "Sorrow And Perdition", this is a good band playing aggressive technical thrash similar to the Italians Necrodeath. The vocals also have the same black-ish blend; excellent, but very short (only 6 songs). "Personal Path", which appeared almost 10 years later, has changed the course a bit, into still fast and intense thrash, but there is nothing technical here, and some hardcore has sneaked into the sound. This is by all means good stuff again, and the guys thrash with power and conviction most of the time, providing the listener with awesome numbers ("Survive", "Every Second", the latter coming with superb melodic guitars). The second half softens a bit, containing shorter and less hard-hitting songs, some of them sheer exercises in hardcore.
"Down in Disgrace" is mostly pure hardcore, with few "remnants" from their thrashy past; at least half of the songs are not fast, but mid-paced to slow-ish, and the guitar work is very simplistic, recalling early Prong and Sick of It All on the more intense moments.

Sorrow And Perdition Full-length, 1989
Personal Path Full-length, 1998
Down in Disgrace Full-length, 2002

DISAFFECTION (BRAZIL)

A 4-song demo of good retro speed/thrash, not far from the eponymous Forbidden debut, with vocals also recalling the Americans; the sound quality is very clear, and the music delivers in all aspects boasting nice fast-paced riffs and stylish bass decorations. Both the more straight-forward ("Mystery Of God", "Metal Kombat") and the more complex ("Disaffection") compositions are handled with professionalism and confidence; there is a lot of talent at display here. Hopefully the inertia will not be lost in wait for an interested label...
"Begin the Revolution" bears the same title as the demo from 3 years before, so music-wise there are no surprises: this is well-executed retro Bay-Area thrash with all the 4 songs from the demo included, and they carry the bigger load here since the rest sounds more restrained and not as speedy even clinging towards power metal ("Mortuary Man") at times. The expectations for this album were bigger based on the high quality music displayed on the demo, but fans of the good old school thrash should not be disappointed.

Begin The Revolution Demo, 2007
Begin the Revolution Full-Length, 2010

DISARM (USA)

A 2-song demo of fast, energetic thrash sounding quite close to the Pestilence debut with occasional more intense proto-death parts.

After the Dead Demo, 1988

DISARRAY (USA)

Based on "In the Face of the Enemy", this band carries the groovy heritage of Pantera, mixing it with a certain doze of the southern doom style of, say, Corrosion of Conformity (think "Blind", above all), or Down. This is really heavy music, but has its cool thrashy moments. The vocals are the typical Phil Anselmo-like angry shouts, but more aggressive, and angrier.

Widespread Human Disaster EP, 1995
Bleed EP, 1996
Spreading the Death Plague EP, 1997
Lesson in Respect Full-length, 1999
In the Face of the Enemy Full-length, 2002
Edge Of My Demise Full-length, 2007

DISASTER (CHILE)

Based on the full-length: furious German old school thrash calling to mind all the "usual suspects"- Kreator, Sodom, Destruction, etc; might sound derivative, but is done with enthusiasm and taste. The guys start thrashing from the get-go with the vigorous instrumental headbanger "Almas Negras", seldom slowing down later on grabbing the speed metal movement for the throat as well: "Violencia Natural". "Thrash Metal" is the hymn of the new thrash metal generation, although it loses the "battle" with the faster and more intense "Perversion" which follows after, and with the sweeping mosher at the end "Morbosidad", a speed/thrashfest at its most shining best.
The promo rehearsal is another 3 tracks of the good old German thrash, fast enjoyable music probably the closest to early Destruction ("Infernal Overkill") of the aforementioned acts with lashing biting guitars and not very intelligible forced death metal vocals.
"Pestilencia" would be another no-brainer for the classic thrash lovers startign with the ambitious energizer "Fosa Común" which is 7-min of non-stop thrashing mosh. The guys mix "thrash and alcohol" on the following "Thrash y Alcohol" which is another ripper. "Holocausto Infernal" is a great tribute to early Destruction, a composition worthy of "Infernal Overkill" on any day. The other material is equally as vicious and intense making this act one of the hottest propositions from South America at the moment. The album comes with a very clear sound quality which gives a particularly sharp edge to the lashing guitars, and the singer this time delivers the whole time with his mean semi-shouty tember not far from the one of Schmier with a heightened death metal-ish note at times.

Criaturas del Mal Full-length, 2006
Promo Rehearsal Demo, 2009
Pestilencia Full-Length, 2012

DISASTER (COLOMBIA)

Classic sing-along speed/thrash with echoes from the 90's and sincere references to power metal ("Demential World") and a final result closer to speed/power metal the combination becoming even more diverse with the addition of wild blast-beats on "Burning Alive". Nevertheless, this remains soft mellow stuff the aggression mostly coming from the vocals which semi-shout in a drunken black/deathy way. So this effort is hardly an "attack" let alone a "blasphemy" one.

Blasphemy Attack Full-Length, 2013

DISASTER (POLAND)

Pretty cool dark retro thrash metal quite close to the Brits Deathwish and the Infernal Majesty debut on the more intense sections. The approach has interesting, albeit undeveloped, progressive and technical qualities which could have taken a more complete shape on a prospective full-length. Otherwise the songs are capable blends of fast and slow rhythms, with "Story" and the final "Heavy Metal" (well deserving its title) being the odd digressions into more laid-back heavy/power metal the latter just an instrumental "deprived of" the gruff semi-death metal vocals which could have ruined it quite a bit.

The Way of Disaster Demo, 1994

DISASTER AREA (BULGARIA)

This unknown Bulgarian act play good Bay-Area thrash along the lines of Testament and Exodus, at least in the beginning. The music rips with passion on the opening energizer "Disaster Area", but right after it the situation becomes more technical and not as speedy with the clever "Wonderland". The bad news is that after those two promising pieces the guys start mixing things up too much later on by adding modern groove and even classic heavy/power metal. "Time to respect" is a direct nod to the Black Album, a hypnotic heavy cut, which finds a match in the 2nd half on afew rhythms from some songs, but the diversity is too big there for one to enjoy this mish-mash fully. The vocalist is gruff with a comprehensive semi-clean tember trying to sound like Chuck Billy, but fails to achieve the American's emotional depth and dramatism.
-

Life, Universe & Everything Full-Length, 1993

DISCARD (FINLAND)

Modern thrash/death metal with a lot of groove present on the first demo, and a much better musicianship on the second one, albeit with a certain metalcore feeling.

Demo 2004 Demo, 2004
Bury the Sun Demo, 2006

DISCERN (USA)

This act has one constant member, the name Billy Frazer, and specialize in abrasive modern groovy thrash/death not miles away from later-period Massacra if we exclude several impulsive temptations at a faster performance ("Your Choice"). The lead guitarist shows his consummate sklls on the short instrumental "The Anointing", but there are no other highlights on this playful effort which wil also remind you of the fist 2 Six Feet Under albums with its laid-back frolic approach.

Revive And Rebuke EP, 1998
To Praise With Persecution Full-length, 2007

DISCHORD (CANADA)

The EP contains an energetic mix of modern and classic thrash with a very strong bass-bottom and technical guitar work, and very brutal death metal vocals, which sometimes unpleasantly screech. Apart from the straight up-tempo thrashing, more complex peaceful arrangements can be caught ("AK-47"), as well as very cool "technicality-meets-melody" variations ("Nuke Face", which is a really nice turn to a more thoughtout song-writing). More clever riffage comes with "Siege Of Darkness", which is more aggressive, but the hectic delivery, involving death metal blasts for a while as well, and the constant time changes will keep you quite concentrated. "Angels’ Inferno" is another pleasant surprise, a 10-min progressive opus, blending fairly complex passages, slower sections, virtuoso lead performance, and more intense death metal moments. This is quite a stylish and original effort, which could serve as a solid base for a full-length, and these guys have no reasons to worry that they would get lost in the sea of technical acts coming from their homeland.
"Casualties of War" is masterful display of the guys' technical skills, which will require quite a concentration on the side of the listener, since the compositions are varied affairs, two of which are gigantic, over 10-min, opuses. "Casualties Of War" already promises a lot, opening the album with a seamless blend of brutal, relentless and complex, head-scratching riffs. "Silent Genocide" is more engaging and elaborate, thrashing in a carefree manner as well at some stage with steel galloping riffs, accompanied by fine soulful leads. "Shadow Demons" is a symphony of progressive thrash/death, a dramatic puzzling composition with loads of various nuances and moods. The complexity eventually goes down a bit for a string of shorter, less elaborate tracks, "R.C.M.P." even blasting out for a while, in an eclectic off-beat manner, before the coming of the two monstrous songs at the end: the instrumental "Les Tenebres", which is more melodic and more diverse, emitting plenty of addictive melodic tunes; and "Solitary Confinement", which is faster and more intense, with sharper and more dynamic guitars which mix nicely with the several surreal progressive sections. the singer is a brutal low-tuner, and a few higher-pitched growls would have been appropriate. Regardless, this is a first-rate offering which would shine even on a over-saturated technical scene as the one in their motherland.

Demo Demo, 2006
Siege of Darkness EP, 2007
Casualties of War Full-length, 2011

DISCIPLE (USA)

Pretty capable entry into the retro speed/thrash metal genre; very cool energetic music which begins with the macabre orchestral intro "An Analogy Of Terror", followed by the merciless thrasher "Reign Of Violence", its bridled fury replaced by a more technical galloping approach on the excellent "Shattered", which will remind you of Attacker's "Second Coming" and the Anthrax debut. "The Right To Be" switches back to full-on thrash, but the real revelation is the last "Grave Of Memories", a fine balladic piece with great leads and dark heavy guitars, where even the unemotional low-tuned semi-clean singer produces a more attached performance ably assisted by a slight keyboard background. Later in the 90's the guys became more famous under the name Big Iron where they had to adapt to the modern trends playing goovy heavy/power metal with no shades of thrash, and also released one demo as Gravity of more intense 90's post-thrash.

Disciple Demo, 1989

DISCIPLES OF POWER (CANADA)

One of the most enduring, and best Canadian thrash metal bands; they began their career in the late 80's with a very good debut of energetic, semi-technical speed/thrash metal with hardcore tendencies. Having waited patiently for three years to see where the winds of change would blow, the band hammered down an exquisite technical thrash/death metal release- one of the best albums of the 90's. The music is heavy, not very fast, with smashing technical riffs which change all the time without sounding awkward or misplaced. "Invincible Enemy" was another very impressive work, but the style has become even more complex and harder to grasp.
Another three-year pause followed before the band struck with "Mechanikill": this is music for a restricted group of fans simply because there wouldn't be many people out there who would appreciate this very complex and technical album. If you think that the guys have reached the absolute top of technical death/thrash, wait till you hear their last offering, which is for sure the final stop on the road to "madness"; "In Dust We Trust" is not too distant from the previous album, but the music has become even more mechanic and clinical. In spite of the increased level of complexity, Disciples Of Power are still able to pull out really cool thrashy riffs whenever necessary: a proof that they remember very well where they had started quite a few years ago.

Powertrap Full-length, 1989
Ominous Prophecy Full-length, 1992
Invincible Enemy Full-length, 1993
Mechanikill Full-length, 1996
In Dust We Trust Full-length, 2002

Vibrations of Doom

DISCORD (IRELAND)

Modern thrash deeply immersed in the Irish musical folklore. The folk motives bring the band close to Bifrost, but here the approach is not as diverse the band moving onward with not very eventful mid-paced riffs. The singer is a brutal low-tuned death metal growler who doesn't quite fit the mellower musical background.

101 Damnations Demo, 2003

DISCREATE (USA)

Your average modern power/thrash metal with dual vocals, not very aggressive, clinging more towards the power metal side. memmbers of this band do a much better job in the progressive death metal outfit Frozen, with whom they have two full-lengths released; and the guitarist Alex Baldman was once a member of the talented thrash metal act Blistered Earth.

Absent Of Light Full-length, 2007

DISCREPANCY (RUSSIA)

Modern thrash/death metal with dry mechanical guitars, still thrashing wildly ("All That Inside") on demand, but the groove and the metalcore leanings are all here, accompanied by dispassionate semi-shouty vocals, and the obligatory clean vocal insertions.

Fluctuations Of Consciousness Full-Length, 2008

DISEASE (ITALY)

Based on "5th Wave, Endless", this band plays interesting, albeit overdone, semi-technical/semi-progressive thrash with both classic and modern influences. "Empowering From Chaos" is a weird opener which begins in a very soft heavy metal fashion before it turns into a potent technical thrash crescendo with many twists and turns, including a few excellent melodic guitar duels ala Iron Maiden. The diversity is pretty big again on the next "After" which is milder and not as hectic. "Your Venom Through My Veins" calms down even more, and later on the mixture of aggressive, even proto-death metal, riffs and more quiet heavy/power metal ones is not brought about as good, the switches being too sudden, with touches of Swedish death as well, and an awkward transition in the vocal department, too, between clean mid-ranged and semi-shrieky death metal ones. "1000 Scars (By Time)" hits the top at the end being a 10-min progressive opus in the power/thrash metal mould, not very fast, but containing enough clever riffage to pull it through. As a whole there is a constant movement from one style to another here, for better or worse, which kind of detracts the guys from showing their best trying to expand as much as possible to a not very coherent effect. Some of the musicians are also part of the brutal death metal outfit C.L.G.

5th Wave, Endless Full-length, 2005
A Circular Decade in Motion Full-length, 2008

DISEASED (POLAND)

One of the Polish underground metal gurus of recent years Tomasz "Hal" Halicki comes up with excellent atmospheric thrash/death metal which is quite melodic to a good effect, without speeding up too much. This is intriguing stuff, with edgy guitars, nice leads, a few interesting technical decisions ("The Game"), and a few capable nods to the Gothenburg school ("Alternative Emotions", which contains several brutal blasting moments; "Unconscious", which is prime melo-thrash/death metal with addictive melodic hooks).

Alternative Emotions Demo 2001

DISEKSA (MALAYSIA)

3 guys are responsible for this violent chaotic mix of thrash and grindcore which is not completely unlistenable, by the way, finding a good balance between the blast-beating sections and the direct thrashy/hardcore ones. The songs, however, are seldom longer than 1-min so don't expect any idea to develop beyond the spontaneous vigorous outburst assisted by apocalyptic devilish semi-shouts.

Greed Humanity Demo, 2008

DISEPTIC (GREECE)

An act who play aggressive speedy thrashcore, one-dimensional and pretty basic with very brutal death growling vocals.

Diseptic / Wormrot Split, 2008

DISFLESH (SPAIN)

Heavy abrasive black/thrash metal with strong crusty overtones; the music moves around with more aggressive proto-death moments ("Make Your Grave") jumping up at the most appropriate times. The guys play at respectable speed adding the odd stomping break before branching out into merry crossover on the final "Doomsday". The guitars become really noisy at times, and the singer is a brutal death metal growler contrasting a bit to the more laid-back musical delivery.
The demo comes with a very buzzy guitar sound to the point of annoyance at times, but the listener will have no problems distinguishing one-dimensional crusty hardcore-ish thrash, with 2 covers at the end: Anti Cimex's "When The Innocent Die", and Amebix's "Chain Reaction", both done pretty faithfully, with the surreal leads on the Amebix song well executed.

Long Live the New Flesh Demo 2007
Disflesh / Slugfeast Split, 2009

DISGRACE (FINLAND)

Based on "Superhuman Dome", this act offers modern 90's post-thrash with an alternative edge, more on the noisy side of the spectre with industrial implements. The music acquires certain doom shades at times ("The Earth Silence", "Dome") of the playful semi-stoner type, and this is where the sound gets clearer and less noisy.

Debts of God EP, 1991
Grey Misery Full-length, 1992
Vacuum Horror, Horror Vacuum EP, 1994
Superhuman Dome Full-length, 1996
If You're Looking for Trouble Full-length, 1998
Turku Full-length, 2001
Born Tired Full-length, 2004

DISGRACE (JAPAN)

Based on the "Torture to Death" demo, this act offers 3 tracks o f aggressive Slayer-esque thrash with abrasive hardcore vocals.

Torture to Death Demo, 1987
Break Confusion Demo, 1987

DISGRACE (MEXICO)

A new Mexican act which specializes in classic thrash of the up-tempo type with slightly hysterical black-ish vocals. This is unpretentious stuff with clear elements of crossover, fast tight delivery which slows down in the middle where the music becomes a tad more technical culminating on the excellent moshing technical instrumental "Arsenal Of Disgrace", its positive impression lightly ruined by the sleepy semi-balladic clumser "Line Of Time". Still, the immediate speedster "You're My Bitch", and the other exercise in stomping technicality "Beliefs In War", which is the closer, are more than welcome at the end to lift up the listener's mood.

Mental Disorder Full-length, 2010

DISGRACE (TURKEY)

Energetic speed//thrash coming from these obscure Turks who entertain themselves with merry simplistic music, mor eon the melodic side, with cool attached semi-clean vocals. The more straight-forward character of the first couple of tracks has been replaced by more relaxed heavy/power metal rhythms later on, but the guitar mastery goes a few levels up at the same time, especially the stylish melodic leads on a few purely instrumental pieces. The vocals return near the end for the intense speedster "Judgement Day", a really attractive piece with ripping guitars, strong bass support and memorable choruses. This should have been the end, though, since the last string of songs is another laid-back melodic portion of heavy rock without too many thrash merits. Still, this is varied feelgood effort which at its most inspired moments even touches the legends Cultus' (also from Turkey) debut. Som eof the band members gave themselves another chance in the new millennium with the thrash/death metal formation Metafor which unfortunately only lasted for one solitary demo released in 2004.

Discrazy Demo, 1993

DISGRACE AND TERROR (BRAZIL)

A mix of classic and modern thrash metal reminiscent of another Brazilian band- Executer, but more modern-sounding and not as good.

Shadows Of Violence Full-length, 2005

DISHAMMER (SPAIN)

Hardcore/thrash with brutal death-tinged vocals; the music is mellower, though, but is jolly and energetic consisting mostly of short 1-1.5min tracks, except for the 4-min "Pain In The Ass", which is indeed a "pain in the ass" since it's not that vigorous, and kind of spoils the roller-coaster mood. There is a lot of carefree Motorhead attitude involved as well so expect optimistic stuff played just for the fun of it.
"Under the Sign of the D-Beat Mark", despite its obvious reference to Bathory's landmark 1987 album with the title, is again in the thrash/crossover mode with slightly longer tracks this time, and with a more abrasive guitar sound. Motorhead are again the main influence, except in the vocal department: the singer is a husky semi-death metal whisperer, at times not very audible stifled by the buzzy guitars. Several other projects circle around the guys, all starting with "M": the death/grindcore "freaks" Machetazo; the sludge outfit Moho; and the curious eccentric mixture of the two other acts' styles Matarife.

Vintage Addiction Full-length, 2008
Under the Sign of the D-Beat Mark EP, 2010

DISHONOUR THE CROWN (UK)

Cool ripping modern thrash with a few classic overtones thrown over the crisp modern production and the angry shouty vocals. The band thrash on with little remorse shown preferring to stay within the up-parametres and as such this effort would be quite an entertainment to those who love their Pantera-worship fused with more speedy aesthetics ala early The Haunted.

Gone To The Dogs EP, 2012

DISIDENTE AGRESOR (MEXICO)

Based on "Latinoamerica", these guys offer heavy, but energetic thrash, which hesitates between the modern and the classic school, but keeps good pace, although the guitar sound is quite heavy and abrasive, and the drums are put too much upfront, stifling the other instruments. The vocals are angry, semi-death metal-ish. There are times when the guitars lose their thrashy edge, and come up with a softer heavy/power metal sound which creates a stark contrast to the harsh style of the singer.

Latinoamerica Full-Length, 2006
Migración Full-length, 2006

DISINTEGRATE (HOLLAND)

Based on the EP, these Dutch offer prototypical modern thrash/death metal of the fast intense variety. The tempo is up with a couple of songs sharing a more atmospheric delivery (the semi-balladic "Casus Belli"; the haunting orchestral inclusions on the otherwise merciless shredder "Within the Pain"), but the riffs cut like a knife all over topped by aggressive semi-shouty death metal vocals.

Destructive Capacity EP, 2009
Parasites of a Shifting Future Full-length, 2010

DISINTEGRATOR (Germany)

Prepare for another tribute to the German school (Kreator, above all) here done with a pinch of proto-death metal ("Judgement Day") and longer numbers where generally fast-paced riffs rule intercepted by more stylish lead guitar work. This is thrash to the bone also coming with a good sound quality and not very appropriate shouty hardcore vocals.

Demo Demo, 2010

DISINTERMENT (USA)

This is cool retro thrash with a heavy seismic sound akin to Slammer and Xentrix, featuring the excellent semi-ballad "In the Midst Of The Story". Tere is a certain doom undercurrent going through the EP, expressed in the atmospheric proto-doomsters "Morning Star", and the formidable pounding closer "Grave Undertow". The singer is not completely bad, although his semi-declamatory antics cold hardly be called singing, but sound attached and authoritative.

Disinterment EP, 1997

DISLOYAL (SLOVAKIA)

Based on "Fear of Death", this act offers an interesting, pretty technical mixture of thrash, death and black metal. The music is quite varied ranging from uncontrolled blasts to puzzling riff decisions, both ably assisted by the solid keyboard background, which echoes Nocturnus. There are some impressive exercises in atmopsheric, technical music: the hallucinogenic "Extermination of the Population", technical death/black at its best; "Carnage Vision", a little tight death/thrasher; the stylish nod to Coroner "Pure Terror". "Human Wreckage" is a very cool melodic instrumental, beautiful music for the soul, despite its guitar-driven nature. The closing "Seeking For Paradise" is a great mix of haunting keyboard tunes and furious riffs creating sweeping dramatic landscapes, recalling Dissection's "Storm of the Light's Bane". The guitars sound a bit thin and dirty, though, and the singer is a not very impressive low-tuned death metal growler. With these flaws aside, this is a really capable effort, which had reportedly paved the way for even more technical "exploits" later, on the next 2 albums, but both works focus on the death and black metal side, abandoning the thrash to an extent.

Fear of Death Full-length, 1997
March or Die Full-length, 2000
Resting Evil Full-length, 2004

DISMANTLE (USA)

Based on the "Vanished into the Unknown" demo: one of the more promising speed/thrash metal acts from the States of recent years, having appeared out of the ashes of the retro speed/thrash metal act Maraud, Dismantle offers classic thrash which is quite varied: the German school ("Crucify" and most of the songs), thrash/crossover ("Apocalyptic Chaos"), speed/thrash/black ("Satanic Metal"). "Vanished into the Unknown" comes with a better production and a thicker, even technical guitar sound, bringing to mind Destruction.
"Satanic Force" is glorious speed/thrash in the best tradition of Paradox, Toxic Shock and Rigor Mortis. The band start thrashing from the get-go lashing speedy sharp riffs with no mercy adding the odd acoustic melodic break in the middle ("Exorcistic Rites") ala Paradox. "Satanic Metal" and "Crucify" are here again, almost unchanged, but this is hardly necessary, both being awesome headbanging pieces. "7th Storm" introduces more mid-paced thrash, which is completely cancelled by the speed/thrash monster "Demonic Funeral", where the singer tries to unleash hellish falcetto screams to mixed impressions. The guitar work nicely acquires more technical tendencies ("Tales of the Wicked", "Crypt Sacrifice"), without losing the aggression, which reaches the peak on the fierce "Ritual of the Dead", which comes death-decorated, in the spirit of early Death. The closer "Dismantle(Satanic Force)" is a cool mix of heavy stomping riffs ala Celtic Frost and the staple speed/thrashy ones. As a whole this is a worthy addition to the 2009 metal scene: a strong effort full of vitality, enthusiasm and respect towards the old school.
"Enter The Forbidden" is another old school offering, but the approach is not as intense the band adding slower passages quite often and generally not aiming at the fast parametres too much consequnetly producing something not nearly as striking as their eponymous debut. There is a focus on atmosphere ("Illusions"; the balladic deviations on "Dwelling (In Darkness)"), but this new direction is not very well polished, neither are the sparce death metal inclusions ("The Lost Dimension"). "Gateways" near the end is a more aggressive cut, but the guitar sound is too thin to create a very positive impression. The guys have tried to diversify from their blitzkrieg style, but this effort just lacks soul and vitality and also shows a strong deficiency in the memorable riff-department. The guys may have to give it a more serious thought before hitting again: if they vote to continue this trend here, they'll have to really come up with more interesting ideas and a more inspired musical approach.
The productivity of these guys knows no boundaries and here they are again with a 6-piece EP which comprises acceptable tracks in an expected speed/thrash metal fashion showing a better face than the one the band displayed a few months earlier on their sophomore effort. This is fast inspired music which is also rich in melody and as such sounds closer to the debut with its sharp and tight execution the final "Black Widow O.G." both leading and closing the pack with its fast merciless delivery. Those numbers could have been leftovers from the preceding album where they wouldn't have quite fitted due to the other material's softer nature; and hopefully are a sign for what would befall us on the eventual follow-up...

Satanic Metal Demo, 2006
7th Storm From Hell Split album, 2007
Vanished into the Unknown Demo, 2007
Satanic Force Full-Length, 2009
Enter The Forbidden Full-length, 2012
Welcome To L.A. EP, 2012

DISMATA (CANADA)

An apt modern mix of technical death metal and Meshuggah; both trends take turns the whole time making even short tracks like the 2.5-min opener "Deadhorse" intense tiring listens. The time changes are numerous, but quite coherent, and to these ears the mechanical robotic sections ala Meshuggah seem to work better, since the death metal passages at times lose the technicality, without sounding too aggressive ("Primrose Path", the Gorefest-like moments on "Endless Noose", the senseless bashing on "The Man Who Smacked God" in the beginning). Later on the shorter material again packs more punch: the labyrinthine Coroner-influenced "Dying Since October"; the abstractly progressively raging "Stop the Bleeding"; the "Morbid Angel-meets-Meshuggah" ball of fury "Leech".

Understand Full-Length, 2008

DISMEMBERMENT (USA)

These Americans pull out energetic old school thrash in the vein of early Kreator and Destruction, eventually complicating the approach with longer, more thought-out compositions (the diverse instrumental "Triumph of Death (Plague)") which shift from the established fast-paced pattern. The guitars lash fiery riffs to no end, topped by vicious semi-deathy vocals ala early Tom Angelripper.
The "Denied Salvation" EP is another ripping offering boasting a clearer guitar sound and some clever technical arrangements. The approach now has shades of black and death metal, by all means as casual insertions, and they do their job to make this effort a nice, diverse listen. Tracks like "Reap What You Sow" and "Gateways To The Past" are invigorating speedsters which will make you mosh till you drop, and the final "System To Rise" will bring you a portion of stylish technical sections among the raging ones exiting this small work in a fairly promising manner.

The Condemned EP, 2011
Denied Salvation EP, 2012

DISORDER (POLAND)

Dark, slightly depressing thrash/death metal with elements of doom; the sound is monotonous, with a few aggressive, faster parts. The style is similar to early Messiah, especially in the vocal department, but music-wise as well, maybe not as brutal and chaotic.

Unforgiven For Ever Demo, 1993

DISORDER (GERMANY)

Based on the full-length: first-rate black/thrash metal with a seamless switch between styles without losing the constantly speedy guitars, and the vicious, but good black metal snarls. The music is more faithful to thrash, and deceptively starts in an open aggressive fashion with the first couple of tracks. Later on heavy stomping sections come up on the scene for a change, and stay there until the end: parts of "Lunatic Rites", the excellent dark slightly industrialized "M.A.R.S.", which also shows the lead guitarist in fine form. Later things get more interesting with the more technical creepy "Casting The Runes" which mixes gloomy, doomy atmosphere with great twisted riffs. "Key To The Kingdom Of The Dead" follows the same disturbing pattern, and is a really sinister slab of mid-paced heavy black/thrash ala Barathrum, with a pinch of Thorns. "Crypt Of The Illuminati" is a total Bathory's "Hammerheart" worship, with a faster technical twist. The closing "Wolvenstein" offers a potent blend of doom-laden riffs and more energetic technical ones.

Mike Browning vs. Disörder EP, 2006
Wolvenstein Full-length, 2007

DISORDER (MEXICO)

This may be your worst "thrashin' nightmare": kidding, of course, since the guys offer energetic fast-paced take on the old school thrash idea, not far from early Tankard ("Demonic Attack" an obvious nod to the Germans's "Zombie Attack"). The approach becomes serious on the longer "Eternal Suffering", which thrashes with complexity, expressed in the several slower, semi-balladic insertions, the latter not harming the generally speedy tempo. The singer is not very close to Gerre (Tankard): his delivery is in the semi-death metal camp, with a touch of the shouty hardcore one.

Thrashin' Nightmare Demo 2009

DISPLACED PERSON (JAPAN)

Based on "Growl", these three Japanese samurai play fairly ordinary and trite modern post-thrash which is overwhelmed by groove to the point that it could be viewed as a template as to how groove should be played to the maximum. The longer compositions near the end turn to pure blues/doom and kind of better suit the harsh shouty semi-death metal singer.

Growl Full-length, 1994
Motive Full-length, 1996
Hurry Up And Appear Outside EP, 1999

DISPREZZO (ITALY)

Modern thrashcore with a few classic leanings, with buzzy guitars and shouty quarrelsome vocals; the guys bash in up-tempo for most of the time, with the odd deviation ("Esistenzia") into proto-groovy industrial territories.

Nel Mio Mondo Il Sole Non Sorge Mai Full-Length, 2004

DISQUIET (POLAND)

Heavy modern thrash metal of the laid-back variety, still hitting hard at times with heavy groovy riffs trying to stay close to mid-period In Flames on the best moments which are not that many, and it all wears thin at some point since nothing new is offered, including the prototypical alternation between melodic and more aggressive vocals. Some of the band members pull out similar stuff in another act: Trinity.

The Truth Full-length, 2009

DISRUPTION (SWEDEN)

Modern thrash/death metal still rooted in the Gothenburg sound, also featuring heavy groovy pounding riffs last heard on Sepultura's "Chaos AD" and Pantera's early efforts.

Face The Wall Full-length, 2005

DISSATISFIED (COLOMBIA)

This Colombian outfit indulge in a mix of modern and classic thrash which is mostly heavy and thunderous the intense music assisted by good, albeit a bit thin, leads and gruff low-tuned death metal vocals which are the downside. "Ritual De Sangre" is a nice varied speed/thrasher with furious riffs of the suggestive proto-death type, and is the best composition here around which the guys should start building material for the eventual full-length.

Ritual De Sangre EP, 2011

DISSECTION (CANADA)

This band came into existence after early members from Outbreak left that other band. Despite its slightly messy and raw character, the final result is satisfying: intense speed/thrash metal with direct short tracks, except for the monstrous 11-min long opener "Final Genocide", which is a small album in itself, with the huge variety of tempos and riffs. The guitar work is genuinely technical at times, and it shouldn't be a surprise, coming out of the hands of Antisocial Zap (Outbreak). Some songs are great examples of pure speed metal madness: "Escape of the Apocalypse", "Viking Sword", others concentrate on a more technical, but still intense delivery: "Nails on Leather". The vocals are the flaw here, being hoarse, drunken-sounding, quite unrehearsed. This is one of the most uncompromising, and best, recordings from the Canadian metal underground, a good example how aggressive and more technical riffs could be put together.

Final Genocide Full-length, 1988

Vibrations of Doom

DISSECTOR (CROATIA)

Based on the "Emerge From Profundity" demo, this act offers classic-sounding thrash metal of the fast Rigor Mortis-type with cool melodic leads and forceful hoarse semi-clean vocals which at times just recite in an attached speechy fashion. "Global Death" is an ambitious, almost progressive, take on the style introducing clever more elaborate passages amid the traditionally speedy approach the exit being a fine balladic lead-riven tune. "Confronted to the Chemical Confusion/Mourning For the Promised Land" is also worth mentioning being a dark atmospheric number in a slower pace, not far from the Greeks Nightfall, teasing the listener with nice intriguing semi-technical riffs and again a few stylish leads.

Emerge From Profundity Demo, 1993
Encircled Demo, 1994

DISSECTOR (RUSSIA)

This is a modern take on thrash metal with death metal and crossover throw-ins; a mish-mash as a whole with bad unrehearsed death metal vocals and with an awful fuzzy guitar sound. The guys also have another project, the more gothic-based Lust Embrace.

Cry For Me EP, 2007

DISSEKTOR (COLOMBIA)

A promising demo of intense classic death/thrash metal which effortlessly switches from more moderate thrashy sections to aggressive blasting death metal ones; ironically, the softest track here is called "Brutal Sex", which hardly has anything to do with thrash, let alone death metal (let alone sex) . "Wickedness in Their Maximum Expression" is a nice mix of quite a few styles: death, thrash, speed, gothic, and more.
"Ritual" is a different "animal" now offering a more modern sound, also a bit slower, but when the guys mosh, they do it like noone else: the hectic proto-blaster "Ritual". "Eyes On Fire" is a cool more dynamic thrasher, but before the end only "Across The Line Of Death" matches it in terms of speed, and partially the cool varied closing isntrumental "Winds Of War" which also shows some technical prowess, plus a nice atmospheric acoustic balladic passage as a finishing touch.

Supremacy Demo, 2008
thrash death fucking metal EP 2010
Ritual Full-length 2011

DISSENT (USA)

Based on the EP, this band lashes out aggressive classic thrash akin to Slayer and Attomica, not shying away from hard, and even grindcore on a few times. This is fast brutal stuff with no "pauses" along the way.

By Any Means Necessary Full-length, 2007
Strength Through Chaos EP, 2009

DISSENTER (USA)

An excellent 4-track demo of solid power/thrash metal similar to the Heathen debut and early Meliah Rage; the singer is quite good, bringing to mind Katon W. De Pena from Hirax. "Blood Under Heaven" is a mighty speed/thrashing killer, followed by the heavy, mid-paced power/thrasher "On The Wings of a Demon". "The Calling" and "Razor's Edge" together form an atmospheric doom/thrash outro.

Wings of a Demon Demo, 1989

DISSIAN (MEXICO)

A 4-song demo of retro thrash with a few more intense death metal moments; the style recalls Holy Moses mixed with a couple of more modern Swedish insertions. The guitar work is good, especially the leads, and there is a good alternation between melodic and sharp hooks both contrasting to the brutal low-tuned vocals.

Pale Awakening EP, 2008

DISSIDENT (CHILE)

Based on the 2011 demo, this act specialize in capable retro thrash reminiscent of Anthrax including in the clean vocal department where the man is probably a bit lower-pitched and not as dramatic as Joey Belladonna. There is quite a bit of melody involved ("Mosg Aggainst Reasons") which goes well with the generally fast pace the demo very well supported by the excellent sound quality.

Rehearsal Marzo Demo, 2002
En Vivo en la Universidad Catolica Demo, 2003
Demo Demo, 2011

DISSIDENT (RUSSIA)

4 songs of intense retro thrash/death, mid to up-tempo, with very brutal low death metal vocals; the riffs are sharp with attempts at more technical performance, but more adherence to faster more brutal sections in the future would definitely make both the singer and the fans happier.

Demo Demo, 2009

DISSIDENT AGGRESSOR (USA)

Having taken their name from an early Judas Priest song (or from the Slayer cover?), this band offers excellent heavy technical thrash bringing to mind quite a few bands from the genre's peak period: Metallica, Forbidden, Nasty Savage ("Penetration Point" on the more technical moments), etc. The lead guitar work is striking and quite stylish, but the rest is by no means worse. The riffs are crunchy, frequently changing, as well as the pace which is never too fast and brutal, with many interesting ideas thrown in, and this increased complexity at times might come as a bit too much to some, but the songs are no longer than 4-min, with a very few exceptions, and in the long run anyone will definitely find a lot to like here, especially when the last two superb technical, jumpy and twisting, instrumentals ("Collage" (this piece actually steals some riffs from Riot's "Privilege of Power", which in their turn have been borrowed from an early King Crimson instrumental, but this is hardly a complaint) and "LBS") hit you.

Dissident Aggressor Demo, 1989

DISSIMULATION (LITHUANIA)

Black/thrash metal of the old school, reminiscent of early Kreator (this band is honoured with a cover on the debut of "Tormentor"), Venom and Bathory; the black metal elements are slightly increased on their sophomore release, aggravated by nice technical riffs, suggesting at the band's higher potential.
"Atiduokit Mirusius" tones down the aggression, and could be viewed a disappointment by their die-hard fans. It actually begins in a mild mid-paced power metal manner with "Bilietas i Cirkŕ", but immediately after picks more speed, although the sound remains in more temperate waters. The razor-sharp guitars from previous works are almost nowhere to be heard, neither are the more black metal-inclined moments. This is melodic thrash metal with nods to power, with very few displays of technicality (the closing "Atiduokit Mirusius") which, judging by the previous recording, should have taken the upper hand here.
The "Iškelk Ir Išniekink" EP is another more laid-back affair not speeding too much anywhere, crossing more recent Amorphis with more aggressive thrashy rhythms with the casual psychedelic sections ("Sutverimas") ala Satyricon included. The resultant music is not bad and would definitely find its audience, although for the thrash metal lovers it may not come as too intense and energetic.

Miglose EP, 2000
Maras Full-length, 2002
Prakeikimas Full-length, 2005
Atiduokit Mirusius Full-length, 2008
Iškelk Ir Išniekink EP, 2012

DISSIPATE (USA)

Based on "The Realization", this band plays heavy groovy thrash/death metal which switches tempos all the time, sounding quite intriguing, especially on the intense technical death metal sections, which could rival even masters like Cryptopsy or Decapitated. However, the music safely returns to the established groovy patterns not long after, but it's far from boring: there are progressive melodic passages as well, which sound as though at any moment would go into Opeth waters, like the short acoustic interlude "Zeta", or the atmospheric balladic exit on "December 21st" (what happened on that day? Anyone?). Hats down to the guys for the aggressive mechanical technical death/thrasher near the end "Sixteen", and for the even more impressive frantic closer "Deception" (don't worry about the clean vocals there; they are only slightly hinted at). One may want to track the debut down, just to check whether those genuine technical moments were prevalent there...

Dissipate Full-length, 2006
The Realization Full-length, 2009

DISSOLUTION (NEW ZEALAND)

Based on the full-length, this band offers energetic thrash metal with early Whiplash and the early 80's German scene the major influences. The guys thrash with gusto sticking to the fast parametres which at times come "decorated" with a more extreme black/death metal "colouring" ("Plague of Violence", the beautifully-melodied proto-deathster "Necrowitch") to which the gruff husky death metal vocals suit better. The guitars carry a big doze of melody which is not something very typical for this particular kind of music giving the sound a cool individual character which at its best even comes close to the legendary Iron Maiden guitar "duels".

Southern Invasion EP, 2008
Thrash Hammer EP, 2008
Plague of Violence Full-length, 2010

DISTANT SUN (RUSSIA)

This band offer retro speed/power/thrash ala early Iced Earth and Manticora with good guitar "duels" and catchy choruses. Near the end the sound becomes too melodic (the semi-ballad "True Friendship Never Dies"), and the last track is a cover version of the Russian heavy metal legends Black Obelisk's "Ia Ostaius". The singer has a cool attached clean voice, which sounds both authoritative and emotional.

Sunless Citadel EP, 2011

DISTEMPER (USA)

Jim Gorman and Chris Abbamonte from Hallows Eve (check also Lestregus Nosferatus) fame are involved here, to help in the recording of this fast intense thrasherism which is served with a certain doze of crossover, and allusions to the proto-death metal side ("Altar Of Evil") of the spectre. The singer (Gorman again) declamates authoritatively trying to overtake the furious musical approach, and supports the fiery riffs well with his intellgible, albeit pretty aggressive, delivery.

Pure Ugliness Demo 1990

DISTILLERY (POLAND)

A band who cross the 90's thrash of Pantera and Machine Head with the classic sharp riffage of Anthrax and Testament; the mix works well, especially on the faster, more aggressive tracks ("On the Line", "Sicktime"). Some numbers are pure groove ("Smutnia"), but are not bad, and even the Motley Crue cover of "Kicksart My Heart" is adapted to the heavy sound of the rest. The album closer "No One" is a very sudden departure from thrash metal: this is gothic/dark wave with progressive overtones, quite effective, but having nothing to do with metal. Too good/bad the band never developed this tendency...

Don't Try to Lie Full-length, 1994

DISTIMIJA (RUSSIA)

This is the early incarnation of the band now known as Dissector. The music presented here is better settling for a classic thrash/death metal blend, again with not a very clear sound, but engaging enough, especially on the faster more brutal numbers (the nice nod to the Floridian school "Bloody Roads", the early Pestilence-sque "Life Will Fly Away"). The vocals here are better, still pretty brutal, but more comprehensible and forceful.

A Little Fun Demo, 1993

DISTINCT CULT (GERMANY)

Based on "Tyrants in Disguise", this act pull out aggressive retro black/thrash/death which relies on long eventful compositions which are all attractive rifforamas with loads of tempos and moods without offering anything too technical. The leads are quite good and the Oriental motifs ("Constant Vigilance") provide the requisite amount of melody which alternates with the sudden blasting extremes. "Greed" is an admirable achievement shredding thrash for about 8.5-min in a solid mid-pace with the obligatory "excursions" into blasting territories. The vocalist is quite a cool scary black metal screamer, but nicely fits into the dramatic larger-than-life picture. Some of the musicians are also involved in the black metal formation Vidargängr.
The debut is roughly produced the abrasive guitar sound not a very pleasant constant "companion". The numbers are shorter and are mostly sustained in the pounding mid-tempo which becomes particularly monotonous towards the end. As a whole this is a much weaker effort the guys just enthusiastically rehearsing for better things to come.

Blood Stained Lies Full-length, 2008
Tyrants in Disguise Full-length, 2013

DISTORTED (BELGIUM)

Classic thrash (Bay Area-influenced), modern thrash (think Dew-Scented) and hardcore (early Pro-Pain) shake hands on this debut resulting in good headbanging music.

Demon Inside Full-length, 2006

DISTORZE (CZECH)

The style varies throughout the demos from crossover/thrash, to heavy thrash ala Nasty Savage and even to some Destruction-like riffs; a mixed bag as a whole.

Distorze/Zrcadlo Single, 1990
Generation From Trash Demo, 1990
Fuck Off War Single, 1991
Mozková kastrace Demo, 1991
I Think So... Demo, 1993

DISTRAUGHT (BRAZIL)

Another fine addition to the evergrowing legion of Brazilian thrash metal bands; based on "Behind The Veil": apart from the German school-worship typical for this part of the world in recent years, Distraught add a Slayer-like intensity on some tracks and genuine technical riffs without completely leaving the German influences behind. The music is quite intense at times being replaced by choppy technical passages and great heavy numbers ("The Middle Ages").
Their debut is another fine effort, but is more diverse. It opens in a fine way with the technical number "New Crime", featuring a nice Oriental guitar near the end which is misleading since the rest of the album is not as technical, but is by no means worse. The Slayer influences are there, but there are modern groovy sections, too, and the tempo frequently changes from fast, bringing to mind the more extreme side of the Brazilian metal scene of the 80's ("Death Road"- and again, a brilliant Oriental passage here), to mid-paced to slow.
"Infinite Abyssal" is another commendable work, thrashing with passion from the very beginning with the raging title-track coming somewhere between Rigor Mortis and mid-period Death, even sharing some of the technical leanings of the latter. "Removing The Rubbish" is another fine mix of speedy riffs and more technical ones, before "Umbral" enters with really aggressive proto-death sections, sounding quite close to the Swiss Messiah (their mid-period). The madness gets just a bit under control on "Antibiotic Tendence", which is quite fast, too, but boasts some of the finest technical hooks. "Spiritual Reward" is jumpy and hectic, reducing the speed, but is high on technicality, with again Death and Messiah very close soundalikes. After the short quiet instrumental "The Cut" comes the magnum opus "Science, Philosophy And Religion", which is an excellent display of the guys' technical skills, offering an impressive array of riffs and tempo changes. "Tufăo" is a short, more immediate thrasher of the less intense type, and "Dusty Land" takes it easy as well, coming with a slower heavy Bolt Thrower-like delivery, except for the furious super-fast ending. "Slaves of Creed" speeds up, and jumps straight on the death metal wagon: a vintage late-period Death number, going a bit beyond that with some of the most complex riffage on the album, plus the atmospheric cosmic ending: eerie ambient sounds, accompanied by an abstract dissonant guitar tune: quite a stylish exit from this very good effort, which could be considered the band's finest hour.
"Unnatural Display of Art" shows the guys alive and well, following faithfully on the sound epitomized on "Behind the Veil" relying more on the Bay-Area (on the faster moments) to pull it through; the problem is that this time they have also decided to add a few modern elements to "update" their delivery, and as a result the album suffers from the lack of more speed which was an essential element on each of their older works. It offers a couple of faster songs, but the mid-paced ones in he spirit of Slayer's late-80's period are clearly the dominant material here, and these heavy pounding rhythms wear thin before long being repeated on most compositions with little deviation, leaving the brisk opener "The End of Times" hanging awkwardly without much decent support later. Technicality is nowhere to be found, and overall the band have failed to find the perfect balance between the classic sound and the more modern elements.

Nervous System Full-length, 1998
Infinite Abyssal Full-length, 2001
Behind the Veil Full-length, 2004
Unnatural Display of Art Full-length, 2009

DISTRUST (GERMANY)

Based on the debut: this is moody gothic thrash which is long on atmosphere in a way similar to mid-period Rotting Christ ("A Dead Poem", "Sleep of the Angels"), using the casual keyboard tune. The guitar sound is edgy, though, and will also remind you of Cemetary's "Godless Beauty"; the subdued deathy vocals will also take you in the Swedes' direction, as well as the pensive doomy moments. Some speedy sections nicely spring up near the end ("Hour Of Sadness, "Doubt Of Belief") where the guys really start thrashing with passion in their own, atmospheric way, producing the most interesting minutes from this dark, gloomy affair. The guys also keep themselves busy with the black metal formations Cabals Brut and Tyr von Eich.

Scar in My Heart Full-length, 1996
Cursed by Destiny Full-length, 2000
Nevalim EP, 2002

DISTRUST (VENEZUELA)

Based on "Cloned Messiah": modern 90's Pantera-influenced thrash metal, based on the full-length and the EP before it; "Walk This World Alone" is a more interesting listen, now more dynamic modern headbanging thrash, crossing Trivium with The Haunted ("Bleeding Mistakes", "Walk This World Alone"), with the Pantera references still present ("Lost Inside") as well as cool semi-clean vocals.

Distrust EP, 2003
Cloned Messiah Full-length, 2004
Walk This World Alone EP, 2007

DISTURBED (USA)

Cool crossover/thrash metal; the music takes off on quite a few times, especially when it comes up with contrasting mixtures, like "Comatose", which blends heavy doomy riffage with brutal death-tinged outbursts; there are also undeveloped, but intriguing attempts at more technical thrash (the instrumental "Brain Deth", the sophisticated technical "Productive Intercourse Serial Killer"), spiced with jolly rock'n roll hooks. The shorter numbers are pure unbridled hardcore ("Kill 'Em"), but here come the laid-back, soft moments ("Bought & Sold", "Die Die Die"), and things are well balanced. "Evil Sensations" is a pleasant surprise near the end being energetic thrash/crossover with a nice technical twist, followed by the melodic, but interesting instrumental "Astronomically", leaving a very good impression, partially ruined by the aggressive hardcore closer "What the Fuck".
One of the band guitar players: Earl "The Root of All Evil" Root, passed away in 2008 after a long battle with cancer.

Disturbing The Peace Full-length, 1988

DISTURWATIO (SPAIN)

This Spanish outfit play calm, not very eventful, modern power/post-thrash. The delivery is quiet in the mid-paced confines seldom acquiring more dynamic tones ("Disparo"). The singer pulls out a slightly inebriate semi-clean performance which is particularly suitable for the longer, lightly stoned-decorated, "La Gripe del Pollo" near the end.

Disparo Full-Length, 2009

DISZTRAKTOR (HUNGARY)

Based on the "Trú Agrár Metál Forevör" demo: a blend of modern and classic thrash with certain crossover tendencies; the guys keep it up-tempo adding nice melodic hooks at the appropriate time probably taken from the Hungarian folklore. Otherwise the music is unpretentious and jolly, and flows effortlessly not requiring too many musical skills. The singer ruins the picture quite a bit with his very gruff unrehearsed delivery.

Élet a Tanyán Demo, 2003
Fertraktorztathatatlanul Demo, 2004
Paraszt Demo, 2005
Trakkenroll Demo, 2006
Nagy Disznóság Demo, 2007
Trú Agrár Metál Forevör Demo, 2009

DISÖRDER (GERMANY)

Based on the demo, this band plays aggressive black/thrash with early Kreator the main influence, although the guys pull out clever tricks out of their sleeves quite often by inserting cool atmospheric blacky passages, both sides present on every track. This is an interesting, appealing approach which should find a fuller realisation on official releases. Some of the musicians are also involved in the thrash/death metal outfit Pounding Demise.
"Sin For Salvation (The Lucifer Chronicles)" shifts from the sound heard on the demos, into an avantgarde mix of thrash, black, death and gothic/industrial. The focus is strictly on mood, but the band's more aggressive past can be felt on more immediate tracks like "Warsoul" and the closing "Hail Hail Phosphorous". The rest is more on the moody side with doomy and semi-balladic passages added to aggravate the depressing atmosphere, which is also aptly helped by the raspy sinister black metal vocals. The more intense earlier approach has been sacrificed here, replaced by more serious arrangements with a more formal, epic colouring.

Mike Browning vs. Disörder EP, 2006
Wolvenstein Full-length, 2007
Beyond the Walls of Sleep Demo, 2009
Sin For Salvation (The Lucifer Chronicles) Full-length, 2011

DIVE IN MINDS (ARGENTINA)

This band comes up with good progressive/technical thrash/death metal along the lines of Scenery from the Czech Republic and later period Death. The guys are not fans of very speedy tempos, and keep the music within the mid-pace, although on quite a few times it slows down. The album is full of dreamy, atmospheric moments, created mostly by the very stylish guitar work (the leads, in particular) which meanders, alternating sharper more intense parts with more melodic ones. On the longer songs ("Under the Power of Men") the band inserts numerous time changes and guitar riffs, creating a very multi-layered picture, which is really original, but the lack of speed makes it sound a bit tedious. This is probably the only complaint: if this high level of musicianship could be mixed with a few faster sections, the music would have a wider appeal. Now these complex, beautiful, but peaceful song-structures would be of a bigger interest to the progressive metal fans.

Innocent Victims Full-Length, 2001

DIVIDED SKIES (USA)

This formation indulges in energetic, a bit elaborate at times, modern thrash which is varied even introducing the odd heavy/power metal note from time to time. There is not a lot of intensity the guys preferring to "hit" with more melody and finesse which give the compositions a pleasant feelgood atmosphere, and some more emphasis on the technical side (the clever hooks on "Blood Dead Warrior") for the future would only be beneficial. The singer doesn't quite shine although his clean mid-ranged antics are not a detraction despite their lack of dramatism and diversity.

Skies Divided EP, 2009

DIVIDER (SWEDEN)

Modern thrash mixed with hardcore; nothing new, if we exclude the nice melodic, gothic number "At Twilight", and some timid attempts at a more aggressive, death-tinged play: "Questions Everything".

Serves You Right Demo, 2006
Carrying The Cross Demo, 2007

DIVINE (FINLAND)

These Finns pull out radio-friendly power/post-thrash which owes a lot to mid-period Megadeth ("Cryptic Writings", "The World Needs a Hero") using the same infatuation with melody which works at times, but there is not enough edge for this effort to survive a regular thrash test, especially in the 2nd hald where one will come across the soft pleasant ballad "We" and the groovy dynamizer "Rail of Lies" which surprisingly speeds up near the end recalling Skid Row's "Slave to te Grind" the relation to the Americans further consolidated with the help of the good clean hoarse Sebastian bach-like vocals.

Crystal Night Full-Length, 2012

DIVINE CHAOS (UK)

4 songs of modern thrash/death metal, brisk but predictable, with cool melodic licks; there is an attempt at a more serious delivery, on the long diverse "Path To War", which ends up being a fairly satisfying slab of semi-technical thrash with frequently changing tempos and moods, and again, a couple of more intriguing melodic tunes. "The Infernal End" at the "infernal end" is another joy with its more classic riffs, good short leads and energetic pace.

Every Empire Shall Fall EP, 2007

DIVINE DECAY (FINLAND)

A Testament-influenced band, but not from the heydays of the mighty Americans; the style clings between "Souls Of Black" and "The Ritual". At times the music becomes too melodic exiting the thrash metal realm, drawing comparisons to Metallica's Black Album (the second album).

Songs of the Damned Full-length, 2001
Maximize the Misery Full-length, 2003

DIVINE SIN (SWEDEN)

This band includes the future Morgana Lefay (and also Lefay) singer Freddie Lundberg. This is power/thrash metal with rough vocals recalling Gorefest at times (seriously!), which makes it hard to believe that this is the guy who later did such a good job in the aforementioned bands. He tries to adjust his voice, but the result is not very satisfying. The music, on the other hand, works fine, mixing power with thrash metal in a good way. The sound on "Winterland" is heavier with a somewhat epic feeling featuring slow, doomy numbers ("Endless Sleep", "Winterland"), which nicely contrast to the more up-tempo material: the smashing track "A Twilight Dream" and the nice galloping "All Alone".

"Thirteen Souls" is the lesser achievement, from a thrash metal point of view, opened with the intense "Primal Fear", which thrashes with full force, before giving way to more technical riffage, arriving with the slower, but quite good "The Final Lie". "Thirteen Souls" recalls the debut, with the more melodic approach, the pleasant guitar lines, obviously "courting" the power/speed metal scene at the time. "Among The Shades" sounds even softer, not too far from a semi-ballad, and when "A Postcard From Hell" follows in the same path, the listener might start losing his concentration. "My Kingdom Come" comes on time to put him back on track, with its sharper, faster riffs. Instead of nailing one more thrasher of the same intensity, the guys go to the other extreme, with the tender, but very good ballad "Dreams Of Oblivion". Then it's time for more thrashing, of the heavier, stomping variety, with "Crimson Chameleon", and later things get more interesting, with the short technical "Matricide", and the more direct energetic "Emotionless". This is where the album should have ended, since the closer "No Faith No Hope No Love" is nothing more than an ordinary melodic modern power metal number.

Winterland Full-length, 1995
Thirteen Souls Full-length, 1997

DIVINER (IRAN)

A lengthy 10-song demo coming from the Middle East to offer us varied thrash/death metal which starts with a string of fast energetic retro thrashers before switching onto less impressive modern post-thrash which occupies the bigger part losing the energy and the appeal replaced by very heavy tedious riffage. The singer is a gruff angry semi-shouter who tries to put more emotion into the pedestrian musical approach.

Words Of Mania Demo, 2008

DIVINITY (CANADA)

Another quality technical metal band from Canada: this country should be given a medal for what it does to the metal world. Based on the "Modern Prophecy" demo, Divinity is a rising star in the technical thrash metal genre with a sound similar to late 80's Metallica with heavy, pounding riffs. Another reference point would be late 80's Slayer, but with more technical guitar work and much better executed solos. There are more aggressive death metal-like sections reminding of Death, showing that the band hasn't forgotten about the more technical part of the more extreme side of metal as well.
"Allegory" would be a surprise to those who expect something heavy and pounding ala the demo, but will easily learn to enjoy this good technical thrash/death effort which further delves into the Death style which was just barely hinted at previously, and comes up with intriguing, vortex-like riffs. The opener "Induce" is a great number, coming as a nice fusion of Death and the Canadians Quo Vadis, combining very fast raging sections with superb swirling technical ones. "Power Control" and "Plasma" repeat the same formula, by adding melodic clean vocals and heavier, slower parts. "Methodic" is a short technical thrasher with nice melodic leads, but at this point the melodic vocals start to annoy a bit, coming as a not very necessary addition, at least on this song. "Modern Prophecy" abandons them, but the guitars are more ordinary, slower, and this track is your average modern thrash/death one. The guys, however, don't drop the ball, and the very next "Strain" brings back the technical speed from the beginning, but in a more controlled manner. "The Unending" welcomes back the clean vocals, which again cause the technical play to disappear, resulting in another a little above average death/thrasher, saved by the stylish hooks near the end. "Chasm" is a fine exercise in technical thrash metal with even echoes of Coroner, and also Opeth at the end. "The Diarist" is a more conventional headbanger, but the closing "Neuro Tyrant" compensates with its twisted fast guitars also infused with some of the finest melodic tunes on the album.
"The Singularity" has a mechanical drier sound without leaving completely the previous more melodic elements. Still the opening short "Abiogenesis" would be a surprise with its heavy groovy industrialized rhythm. "Beg To Consume" speeds up ending up sounding like more mechanical Death. "Lay In The Bed You've Made" is excellent modern technical thrash, jumpy and twisted the cleaner vocals added at times being the only drawback. "Emergent" is another great exercise in complex technical thrash, and up to this point one could be quite content with this very capable mixture of the modern and the classic styles of the more technical side of the genre; sparce blasts can be heard here as well. "Transformation" begins as a black metal explosion, but the quirky elaborate riffage is just around the corner although this song remains the most dynamic and the most varied one constantly switching from hectic jumpy to more direct headbanging parts. "Monsters Are Real" is not too far behind having a pretty brutal death metal beginning remaining quite speedy later on, but one will also hear standout abstract twisted riffs and great leads, which by the way are on a very high level the whole time. "Embrace the Uncertain" is a kind of a filler being straight fast-paced Swedish melo-death/thrash with a slight technical twist reminding of Darkane. "Formless Dimension" remains in the fast perimeters, but the technical performance is more widely covered accompanied by superb melodic hooks as well. Just when one starts to complain that the more modern mechanical sound has disappeared a bit, comes the final "Approaching The Singularity" which is a fine up-tempo progressive number with drier riffs, a cool peaceful mid-section and a stylish exiting piano tune. You don't have to "approach" "The Singularity" with caution: it's a sure pick for fans of technical/progressive metal seamlessly crossing the two trends in the style apparently having no problems reaching the high standards set by their compatriots from Quebec.

Intensify EP, 2002
The Infinite Cycle Demo, 2002
Modern Prophecy Demo, 2004
Allegory Full-length, 2007
The Singularity Full-length, 2009

DIVISION (USA)

Based on "Control Issues", this act plays melodic power/thrash metal of the modern school which doesn't lack an edge, and changes pace often although there are no any real speedsters here. The dominant tempo is mid "calling" groove for help whenever appropriate as well as the odd classic riff (the heavy/power metal hymn "Burning Bright"). The vocalist is not bad at all singing in an attached clean manner seldom hitting the high registers, but delivering nonetheless suiting the music well.

"Ascension To Eternity" is a dark power metal affair with just hints at thrash coming as a fairly appealing cross between the two Sanctuary albums sharing quite a bit of the energy of the latter's debut as well. Despite its brooding qualities the album is not completely missing in the more energetic department, and here comes the vivid galloping "Departed" to make you saddle your horses, since the "ride" will continue on the next "Risen", but will stop on the very good cover of Black Sabbath's "Heaven and Hell", made a bit faster than the original, still pretty doomy, with a nice individual touch, both in the music and vocal department. After that the music takes more melodic dimensions for a string of mid-paced semi-progressive songs "ornated" by nice melodic tunes. "Eraser" breaks the "idyll" with rough edgy riffs and jumpy rhythms, a tendency gracefully continued by the faster thrasher "Veiled", which in its turn is followed by the nice technical semi-speedster "Remembrance", and the more melodic power/thrash on "Winter's Rain" which is another "horse rider". The end features a live version of a song from their debut ("Time Between Times").
"Paradise Lost" is a commendable debut setting the dominant tendencies in the band's delivery: heavy, mostly mid-tempo, power metal with references to thrash wherever necessary; the sound here is really dark boldly bordering on doom very well supported by the nice emotional clean mid-ranged vocals, reaching out for progressive on the longer tracks (the excellent atmospheric semi-ballad "In The Name Of Honour"). "Ultra-Sane" is a great thrashy stomper, a heavy steam-roller "relieved" by the fine melodic leads. "Paradise Lost" is an unexpected, but very welcome, speed/thrashy break, although the positive impression from it may be taken away a bit by the following "Beginnings", which is a full-blooded ballad, and the mellow Iron Maiden-influenced heavy metal anthems "Time Between Times" and "My Life" which sound as though having been recorded earlier, including the mellow acoustic ballad at the end "Break Down (The Walls)". Those 4 songs pull the album a bit down in the 2nd half sounding somewhat off-context as though at this early stage the guys were not sure which path to take yet trying to give an equal share to several styles.

Paradise Lost Full-length, 1996
Ascension To Eternity Full-length, 1998
Trinity Full-length, 2004
Control Issues Full-length, 2010

DIVISION SPEED (GERMANY)

Based on the 5-song debut demo, this band offers cool fast simplistic old school speed/thrash metal ala early Whiplash, the main difference coming from the vocal department: the singer is a very gruff death metal growler contrasting with the merry-go-round music. The band members are also involved in the black metal outfit No Empathy.

Division Speed Demo, 2009
Antichrist Warfare Split, 2009
Promo Demo, 2010

DIVISIONS (USA)

Based on the "Fin" EP, these guys pull out brutal industrialized thrash/death which is not too far from the "cyber" monstrosities of the Australians The Berserker. The guitar sound is very buzzy, and the singer plainly shouts in an annoying hysterical manner the whole time. No leads, no melodic gimmicks, but there is one surprise at the end, although it comes very well disguised under the noise: a Bathory cover of "War".
The self-titled EP is an even wilder affair the band lashing intensely producing fast raging music with both a hardcore and an industrial flavour which souns closer to thrash this time around, and it could have been better if there wasn't so much artificial noise in the background.

Divisions EP, 2008
Fin EP, 2009

DIVULGENCE (USA)

This new act specializes in modern semi-technical thrash with very good bass work and various paces more sticking to the hallucinogenic mid-paced one with shades of both Meshuggah and Gojira. The dynamic side of the album is the more attractive one, though, well expressed on the energetic "Forlorn in Distance" which is followed by the 10-min opus "The Great Deception", a diverse eventful composition with numerous nuances. The closing "Rustic Skies" is a dreamy eclectic all-instrumental closer accentuating on the bass work sustained in a sleepy semi-balladic fashion with echoes of both Behold the Arctopus and Canvas Solaris. The vocalist is an expected semi-shouter with an authoritative comprehensive tember.

Future Seed Full-length, 2012

DIVUS KIRIUS (VENEZUELA)

Heavy retro thrash/death metal, mostly in mid-tempo, in a playful attitude recalling the first two Six Feet Under efforts. "Mundografia" is more than welcome with its edgy faster riffs, a cool headbanger overshadowing the rest by a long shot. "No te Rindas" is not a complete waste, either, trying to mix the heavy dominant sound with a couple of more energetic moments. The vocals are brutal, down-tuned, but more intelligible than the ones of Chris Barnes.

Demo Demo, 2008

DIZORDERZ (CZECH)

Excellent debut featuring heavy brutal thrash metal in the vein of Paul Speckman's Abomination and Death Strike, and early Celtic Frost, spiced up with nice melodic touches probably borrowed from the Swedish death metal scene. If the same year's Abomination release has disappointed you (and I'm sure it has), this one will make your days for quite awhile.

Machinery Full-length, 1999

DJINN (UK)

These are the same guys who had started their musical career a long time ago in Croatia under the name of Evil Blood. Then apparently looking for a wider exposure to the metal world, they moved to London where they changed their name to Lord of Darkness. The place of action now is Scotland, and the band's style has little to do with the ones from their previous incarnations. What we have here is heavy, doom-laden thrash reminding of Celtic Frost, and modern-day Venom. The present line-up actually includes one of the three legendary Venom members: Tony "Abaddon" Bray.

Nemesis Full-length, 2005
Second Coming Full-length, 2006

DO OR DIE (BELGIUM)

Based on "Pray for Them": this band plays modern thrash with elements of groove- quite typical for the time style, with the expected shouty vocals, crunchy riffs, and melodic hooks. On one of the tracks ("B.F.") you can hear Roger Miret (Agnostic Front) guesting on vocals.

Heart Full of Pain Full-length, 2001
The Meaning of Honor Full-length, 2002
Trinarcia Full-length, 2003
Tradition Full-length, 2005
Pray For Them Full-length, 2008

DOCTOR DEATH (UK)

"Weapons of Mass Distraction": these guys offer 2 songs of first-rate old school speed/thrash along the lines of Agent Steel, Deadly Blessing, and the Angel Dust debut, with great high-pitched clean vocals, and smashing guitar performance, both in the lead and the riff department.
The "Boobzilla" EP is thrice as long, and is another blistering display of forceful speed/thrash, pretty much courting the aforementioned acts again. The style is pure speed metal at times, even reaching early Helloween with ease ("The Legion"). "Toxic Dead" has a cool crossover tinge, which doesn't make it less furious. Only "Illuminazi" shows mercy for a while, offering a stomping thrash break in the middle, but the very fast, almost grinding section which follows suit immediately, cancels it. The closing number "Bishop Assault" is a brutal hardcore joke. Hopefully the guys are gathering material for the eventual full-length debut...

Weapons of Mass Distraction EP, 2005
Boobzilla EP, 2007

DOCTRINE X (POLAND)

Members of more (Sceptic, Turbo, Totem, etc.) and less (Chainsaw, Midnight Dream) eminent Polish formations have gotten together to give us this pretty pedestrian modern thrash/death metal affair which offers very little outside repetitive mid-paced riffs and gothic-infused melodic hooks sounding like a more aggressive mid-period Cemetary.

Mind Control Full-length, 2009

DOFKA (USA)

Guitar driven power/thrash metal courtesy of the guitar wizard Jim Dofka; his pyrotechnics pretty much overshadow the rest, and the overall sound comes close to the last Hexenhaus album, but more thrashy. Another reference point would be early Savatage in the milder numbers. "Toxic Wasteland" is the better, and more thrashy effort, whereas "Bow To Thee" is inferior from a thrash metal point of view, being in the heavy/power metal mould, with Dofka sounding too controlled and more conventional.
"Humanity Bleak" is mostly classic power metal with both progressive and thrashy tendencies; very well done. "Tragedy Remains" is the prototypical 80's American power metal warmer-up, but "Evocation" already rocks harder recalling the razor-sharp biting guitar style of Glenn Drover (Eidolon), and is quite a nice uplifting power/thrasher with outstanding lead performance; the very cool clean dramatic vocals are mixed with brutal death growls at the end, a "marriage" which makes this track even more sinister. Dark brooding guitars will welcome you on the next "The Bitter End" which is a solemn doomy sleeper with very vivid lead guitars; Dofka shines very bright in this department all over. "World On Fire" refuses to break the morose atmosphere, compensation again offered by the great leads. Things don't change much on the next "Humanity Bleak", but "Second God" is a wonderful technical Oriental power/thrasher with loads of mighty riffs, both heavy and complex. However, high-octane doom is finally hit after a few attempts with the seismic "Blood Runs Black". Then comes more intense power/thrash with "Immaculate Lie", a heavy pounding number with jumpy steam-rolling guitars. "This Sacred Flame" is more standard American power metal, but the last "23 Pine Avenue" crushes hard again with stomping heavy riffage, more low-tuned death growling, and contrasting melodic hooks. Dofka was viewed one of the most promising guitarits of the 90's after his early "exploits", but his spreading all over the music scene taking part in numerous acts, distracted him from his main occupation, thus preventing him from fulfilling those promises. Well, he seems well-equiped to do this now, and this excellent new effort is the testimony for that.

Toxic Wasteland Full-length, 1990
Bow To Thee Demo, 1992
Wrecking Ball Full-length, 2008
Humanity Bleak Full-length, 2010

DOGMA (CHILE)

Based on the debut: modern power/thrash strongly influenced by Metallica's Black Album; the band has a more aggressive side as well: the fast thrasher "Crisis Center", which seldom shows up, and a heavier, groovier one: "Demadness", which is better covered, but is quite bad. Some non-typical for the style touches could be heard, like the use of female vocals on "The Essence", which is the best song of the album, with good guitar work.
"Manifesto" shows more balls in the beginning, thrashing like crazy on the first 2 songs in a cool classic manner, and the pace only lightly goes down for the rest providing nice headbanging atmosphere. The groove sneaks in the middle, but never streches into a whole song, the dynamic riffage present all over. Even the semi-balladic instrumental "Aguas Negras" is quite compelling and edgy. Near the end the speed returns with the more speed metal-based "Alfa Omega", and with the crushing modern thrasher "Manifesto". With the wave of retro thrash metal acts swarming the scene nowadays, it's good to hear someone offering a more modern approach to the genre nicely reminding of the early, and best, stages of the style (the debuts of The Haunted, Dew-Scented, Corporation 187, etc.).

Improve the Silence Full-length, 1997
$uper Fix Full-length, 2000
D15C-O-1NF3RNO Full-length, 2001
Manifesto Full-length, 2004

DOGMA (POLAND)

Based on the "Testimony" demo, these Poles pull out heavy dark thrash metal of the old school; the music has certain doomy overtones which nicely intertwine with the more vigorous moments ("I Am Screaming", which is a nice Oriental piece). "Testimony" is a pure traditional doomster suiting the deep clean tember of the singer pretty well.

Testimony Demo 1998
Symptom of Dementia Demo 1999

DOGMAT (POLAND)

Dark brooding modern post-thrash with subdued semi-declamatory death metal vocals; there is a pinch of industrial flowing through this short effort which sits somewhere between Soulstorm and Mindrot, but is more vivid than both and some musicianship is at display, like the effective bassisms on "Liar". Otherwise this is peaceful pensive music which would also satisfy the doom metal lovers.

Parasite Demo, 2012

DOGS WITH JOBS (CANADA)

One of the many Gord Kirchin's (Pile Driver, etc.) projects; the style, compared to Pile Driver, is more melodic power/thrash metal-based, but is still enjoyable. Kirchin acquires a more melodic approach, but his blend is unmistakable. The debut is the better achievement with at least half of the songs carrying the energetic thrashy spirit of the second Pile Driver effort, and sounded like a very promising start.
"Payday" introduces more proficient guitar work, but the sound is softer, and the ties to thrash are very few (the cool speedy thrasher "So Sue Me", and the slower, but cool "See If I Care"). "Terminal Velocity" is worth mentioning as well attempting something which recalls, but distantly, the sophisticated thrash of Megadeth. The other moment where the listener could concentrate a bit more, would be the semi-technical instrumental "Bad Heart".

Shock Full-length, 1990
Payday Full-length, 1991

DOKTOR BITCH (USA)

Based on the split with Billy Crystal Meth, this band pulls out thrash/crossover with a weird, but enjoyable mix between brutal death metal growls and hysterical screeches in the vocal department; the music is alco contrasting blending merry punk tunes with violent grinding outbreaks.

Speek To Me Toothless Demo, 2005
Speak To Me Toothless/Bolster The Gnaps Best of/Compilation, 2007
Doktor Bitch / Billy Crystal Meth Split, 2007
To Hell With Cleveland Split album, 2007

DOLMEN (USA)

Members of this act later went onto bigger glories under the name Absu. The music on offer here is furious retro thrash ala Kreator's "Pleasure to Kill" and Morbid Saint's "Spectrum of Death". Calmer stuff comes on the slower almost epic-sounding "Dolmen (Living in Fear)", but "Denigration" on the other hand is pure death metal madness. The singer pulls the demo down with his undeveloped raspy black-ish semi-screams.

On the Eve of War Demo, 1994

DOMINAGE (COSTA RICA)

Straight-ahead classic power/thrash metal with very good clean high-strung vocals; the band lash with force, but not much speed, sticking to cutting mid-tempo riffs which still get the message through the overall approach reminiscent of early Vicious Rumours and Meliah Rage. Cool melodic tunes have been added on almost every song to take away some of the sharpness of the riffage, but the excellent vocal performance overshadows pretty much everything else: this guy is really a big asset coming as the perfect mix between the soaring falcetto of Messiah Marcolin and the authoritative emotional delivery of John Arch.

Take Off Your Mask Full-length, 2010

DOMINANCE (USA)

This band is actually Anvil Bitch who for some reason decided to change their name at some stage. The style is pretty much the same- generic, ordinary 80's speed/thrash marked by the very characteristic for the other band high-pitched vocals.

Demo Demo, 1989
Look Where We Worship Demo, 1990
All Fear One Demo, 1992

DOMINATION (CROATIA)

An over-long 2.5-min intro opens this 3 (minus the intro)-track demo of good speedy retro thrash which nicely crosses early Angel Dust with the best, from both the past and present, speed metal scene (early Helloween, Solitaire). "Carnage" slows down offering very heavy, almost doomy riffage, and kind of suits better the very brutal low-tuned vocals.

Demo Demo, 1999

DOMINATION (GREECE)

3 songs of good energetic classic thrash with heavy Xentrix-esque riffage and a few nice atmospheric breaks. Headbangers like "Strike, Fight, Fall... and Rise!" are more than welcome to stir the feelings, but all will fall on the smashing closer "World War III" which is furious speed/thrash to the bone spitting fiery riffs to no end maing this short effort a promising beginning for this young act who also boast good forceful shouty semi-death metal vocals.

Realm Of Crisis EP, 2012

DOMINATION (USA)

A heavy angry steam-roller affair choke full of groovy rhythms which will wear thin very quickly due to the one-dimensional approach which only gets "broken" for a bit on the more dynamic seismer "Reborn". The rest is one big fist in your face sitting somewhere between Puncture and Pro-Pain, but not as heavy as the formar and not as vivid as the latter.

Reality Is Hell Full-Length, 2011

DOMINATION BLACK (FINLAND)

A good young band who play thrash of the modern type mixed with power metal. A big plus are the nice vocals in the Halford-mould, but lower-pitched and less adventurous. There are touches of doom ("The Cemetary" from "Dark Legacy") and the general tempo is not very fast, but the music is interesting nonetheless.
"Dimension: Death" is a milder offering, still thrashing more intensely here and there, but generally the tone is more towards the power/gothic field with certain symphonic elements embedded. The guys play in mid-pace with an almost constant keyboard background. "The Final Sigh" is a dramatic thrasher with dark, forceful riffs and a sombre gothic atmopshere, the latter well sustained all over reaching the culmination on the cool operatic ballad "Angel Dark". The last two compositions bring back the more thrashy delivery which is surrounded by great lead guitar work, which is the highlight on this otherwise good atmospheric album.

Fearbringer Full-length, 2005
Dark Legacy Full-length, 2006
Haunting EP, 2008
Dimension: Death Full-length, 2012

DOMINION (HOLLAND)

Based on the debut, this Dutch band provide cool classic speed/thrash which boasts a really seismic rhythm-section, but the fast moments are also quite a few (the shredding "madness" "Insanity"). "Shut Up!" is an appetizing cross between the ballad and the Bay-Area headbanging tendencies, but "Reality Kills" is a spoiler with the raging blast-beats inserted to a not very positive effect. The vocals are of the angry hardcore-ish variety, but contain some warm tones which even carry a subtle sense of melody.

...Of Hate Full-length, 2004
Psychotic Full-length, 2007

DOMINIUM (SPAIN)

Based on "Yersinia Pestis", this band pulls out classic thrash metal of the intense fast type ala Devastation and Slayer with very cool melodic lead guitar work. The riffs take a slight mechanic turn at times which kind of better suit the brutal low-tuned death metal vocals. Death metal is almost reached on the aggressive "My Final", but the guys acquit themselves with a couple of interesting slower longer compositions (the nice closer "Pesadilla") where they offer a cool alternation between edgy thrash and more intriguing melodic tunes.
"Mundo Oculto" is a more varied effort, but in this case probably for the worse, since at this stage the guys are still not sure which path to take mixing thrash, death and hardcore accompanied by soaring speed/power metal-styled leads. The thrash metal is of the not very exciting, modern variety, though, and death metal seems to work the best, producing the most intense and the most memorable moments on the album (check out the splashing opener "Alucinacion", "La Guerra", the more technical ripping closer "Dentro De Mi" etc.). This is not a total waste, and there are numerous moments which will make you listen with care, the dispassionate shouty hardcore-ish vocals being the only major flaw.
The debut is almost exclusively built around the thrash metal idea with a few shades of more intense proto-death bringing this effort close to Merciless' debut and again, Devastation. The guys thrash on with no remorse playing fast'n tight with short blazing solos coming out of nowhere. It's a kind of pity that the whole album is barely 6 tracks, and just when one starts to enjoy this aggressive barrage, comes the end. The vocalist has already settled for his characteristic shouty hardcore-ish tember which is more fitting here having in mind the more coherent nature of the music.

Odio y Violencia Full-length, 2001
Mundo Oculto Full-length, 2003
Yersinia Pestis Full-length, 2010

DOMINUS (DENMARK)

Based on "Godfallos", this band plays modern thrash metal with faster and groovy sections taking turns, the latter clearly predominating. Fans of the 90's fashions will by all means rejoice, but they will get scared on the more aggressive moments ("Manipulated Destiny") where the guys swtich onto full-ahead retro thrash for a while. Most of the 2nd half is a full tribute to the Black Album with another very cool faster surprise: the excellent thrasher "The Face That Wouldn't Show". The singer tries to adjust his tember to the one of James Hetfield, but is not very convincing trying to also preserve his rougher death-ish semi-shout.

View to the Dim Full-length, 1994
The First 9 Full-length, 1996
Vol.Beat Full-length, 1997
Godfallos Full-length, 2000

DON'T PET HATCHET (USA)

This is melodic progressive power/speed with touches of proto-thrash; the tempo is energetic, but without many fast digressions, and relies on melody both in the vocal and music department. Things ger more serious on the more edgy speedster "Electric Shadows", where the sound moves close to Manticora and early Blind Guardian. "Night of the Witch" at the end is another sweeping composition which speeds up with steel galloping riffs which mix with equally as impressive leads. The singer possesses both emotion and attachment in a way not too far from Jeoff Tate (Queensryche) even, but his clean mid-ranged tone could have tried something higher-pitched from time to time.

Night Of The Witch EP, 2012

DONNYBROOK (USA)

Capable thrash/crossover with boldly ventures into hardcore in a way not too dissimilar to Madball and early Pro-Pain. The tracks are both fast and raging, and stomping and heavy, with slight shades of proto-alternative ala Rage Against the Machine ("Concrete Speech"). Certainly, more straight exercises in thrash metal can be found ("See Me No More", "Prime Evil"), as well as pure outbursts of hardcore outrage ("No Love Here").

The Beast Inside Full-Length, 2010

DONOR (HOLLAND)

Donor's demos of the late 80's are fine speed/thrashers along the lines of Agent Steel, at times showing a lot of promise. By the time the band signed a full-length record deal a few years later, things have changed, but for the better: "Triangle Of The Lost" is quite good progressive power/thrash, calling to mind the great Watchtower on the best moments. "Relatives Of The Dreamtime" is an ambitious beginning, a very good progressive thrasher. There are more accessible, shorter tracks later ("Cimmerian Darkness"), but the majority are in the more complex vein, mixing more direct thrashy riffs with really elaborate passages, and softer, peaceful sections; those same sections the thrash metal fan might not like too much, since they are quite frequent, but he will be delighted to hear the intense, sharp riffage on the excellent "The Pendulum", which brings back some of the speed/thrash flair of the demos; this flair remains for the following "An Invasion Somewhere": a fine technical speed/thrasher, the most aggressive one here. "Siren Voices" is the highlight of the album: a brilliant multi-layered progressive song, reminding of Watchtower again, still thrashing hard on some parts. "In The Hours Of Tragedy" is not too far behind, combining complex passages with more intense guitar work, closing this album with style. Ard Van Bers- the singer, whose melodic high-strung, slightly unfocused, delivery might not be to everyone's taste, left after this one, and later founded the fine progressive thrash metal act Rhadamantys.
However, the guys were quick to disappoint with their sophomore release, taking a direct turn towards modern 90's post-thrash. The music preserves its progressive tendencies, but the songs are clumsy and plodding with boring repetitive riffs.

Triangle of the Lost Full-length, 1992
Release Full-length, 1994

DONPHEEBIN (THAILAND)

Thrash metal from Thailand- sounds exotic, and a bit suspicious (having in mind the dubious nature of the men/women there), but the guys thrash with conviction and skill (based on "Way of Death"), and at times go into death metal territory. Hallows Eve would be a good reference point.
"Dark World" is the much more melodic effort with not many ties to thrash, and with clear nods towards the 90's power/speed metal scene (which at that stage was just beginning to take shape, as a matter of fact), including a couple of nice galloping power/thrashers as well, recalling the 80's American field. There are numerous quiet, peaceful moments, including several full-blooded ballads and instrumentals, one of which is simply breathtaking ("When The Sun Is Going Down"; no references to the Scorpions' "When the Smoke Is Going Down" music ot lyric-wise), although having nothing to do with metal. The thrash metal fan might lose his patience a bit, among the sea of calm, atmospheric melodies, while waiting to hear more aggresive riffage, but this is not bad music at all.

Dark World Full-length, 1992
Way of Death Full-length, 1994

DOOM (JAPAN)

One of the most avantgarde bands to ever grace the thrash metal genre; the band's music could be very hard-hitting at quite a few times, but it's spiced up with many weird tempo-changes, surreal tunes and somewhat illogical, at first listen, guitar work. Their style could be appreciated by the more open-minded fans. The band's first EP is pretty conventional speed/thrash, cool and energetic, and their initiation into the more progressive side of thrash metal starts with their first full-length "No More Pain" which is a really impressive combination of intense riffs and an unusual non-standard song-writing. The band achieves the non-conventional through offbeat implements and sudden hectic turns of the tempo; there are no twisted guitars and swirling leads, except on a few occasions. Some moments might get on the nerves of the listener, like the 8-min mild acoustic ballad "No More Pain", which contributes nothing to the fairly interesting style till that point. The rest is pretty much on track, even finding room for cool aggressive riffs: "Till Death".

"Complicated Mind" takes a much more eclectic turn, and decreases the sharp riffage from the previous one; as a result we have a work which sounds very close to Voivod"s "Killing Technology" and "Dimension Hatross" (clinging more towards the latter, and it was released before it). The compositions are wonderfully technical and abstract, some even surpassing those on the Voivod efforts: "Painted Face", "Complicated Mind"; some are just combinations of offbeat melodies and rhythms, quite impressive as well: "Poor Boy Condition", without losing their thrashy appeal. Some are just a wonder to listen to, with their "out there", surreal riffs: "The Boy's Dog", creating an atmosphere seldom achieved by much more prominent names on the progressive music scene. This is all effortlessly played, without any traces of show-off or overdoing. The avantgarde side of metal simply was born with this album, making future works like Voivod's "Nothingface" just a decent shadow of it.

"Incompetent" goes into a more abstract territory, including some pure rock songs, which are all of a sudden replaced by aggressive thrashy riffage; it certainly creates a very disjointed and chaotic feeling. Needless to add, some numbers have no traces of thrash, even carrying the early industrial spirit within them: "Killing Time", "Death of False Rock", etc. There is also a very tender acousitc ballad ("I Will Be With You..."), as well as a heavy, interesting cover version of the Rolling Stones' "Sympathy for the Devil".
Contrary to the expectations, "Human Noise" is a much better effort than its predecessor, leaving the eclectism and experimentations a bit behind, bringing back the more aggressive, guitar-driven sound. At that point industrial has already settled into the band's sound, and this album is one of the early examples of the co-existence of thrash and industrial metal. "Naked Lunatic" is a pure industrial, noisy track, and if you don't turn your player off after this one, you will later hear nice abstract, surreal thrashers: the brilliant "Mekong Delta-meets-Voivod" "Stupid Man"; the heavy brooding "No Way Out"; the intense more straight headbanger "To...Gray People", but you have to watch out for the last minute, where the music turns into discordant jazz; the varied technical "No Free", which, again, ends up in a chaotic jazzy manner. A pleasant surprise for those who have already crossed the band off the thrash metal lists, this work will take time to be fully appreciated by even the progressive music fans, but will be well worth the time spent on it. The same can't be said about their future works (not included here), which took a turn towards industrial post-rock, similar to Killing Joke and the likes.

Go Mad Yourself! EP, 1986
No More Pain Full-length, 1987
Killing Field EP, 1988
Complicated Mind Full-length, 1988
Incompetent... Full-length, 1989
Human Noise Full-length, 1991

Vibrations of Doom

DOOMED DAY (THAILAND)

This band is actually only one man: Somsak Kaewthit, who is also the drummer of the most celebrated Thai thrash metal outfit Donpheebin (check the review a few lines above). The music on the debut is a mix of doom, gothic and thrash metal. The thrash is of the slower atmospheric variety, and is often spiced with melodic hooks and balladic sections. There are sudden intense speed/thrashing passages, but they never develop into whole tracks, and are quickly "disguised" by heavy doomy riffs.
"The Good & The Bad" (I hope "the ugly" is joining one of these days, too) is peaceful power/semi-thrash of the modern type clinging sometimes towards pure heavy metal with alternative overtones. In other words, the hard-core thrash metal fan will not find much to like here, if anything at all, but fans of the more romantic tender side of the genre will be dancing into oblivion...

?????????? Full-length, 1998
????? ?? ?????????? Full-length, 2003
The Good & The Bad Full-length, 2006

DOOMHAMMER (USA)

Based on the debut, this outfit provide manic modern thrashcore which is not constantly fast, but offers a considerable amount of heavy pounding passages where groove reigns supreme without too many obstructions. This is very simplistic barrage without many musical merits the singer shouting in an angry quarrelsome manner the whole time. Some of the band members keep themselves busier with the death/black hybriders Blasphemous Noise Torment.

Cutting The Dead Weight Full-Length, 2009
Beyond the Pale Full-Length, 2012

DOOMSAYER (ITALY)

These obscure Italians pull out atmospheric thrash/death metal reminiscent of the early efforts of the Greeks Nightfall, with a few surprises along the way: the fierce hyper-blackish "Witch"; the fine keyboard-driven interlude on the final "Awake In Darkness". The guitar work is pretty melodic, and the vocalist is a scary low-tuned growler.

Awake in Darkness Demo, 1992

DOOMSAYER (USA)

A typical for its time aggressive blend of thrash and death metal with a heavy, dark sound, excellent lead guitar and an even more striking bass bottom; the tempo is very fast most of the time, with a few pounding breaks.

Ominous Demise Demo, 1991

DOOMSDAY (CZECH)

Two Czech extremists are behind this modern/classic thrash affair which is appealing and all, but it suffers quite a bit in the vocal department where the guy has an ultimately low-tuned guttural growl. The rifs are fast'n tight whenever they can since the sound is too fuzzy dissipating the edgy rhythmic patterns. Still, the guys carry on unperturbed producing impressive speedy delights along the way (the melodic instrumental opus "When the Candle Burns"; the intense headbanger at the end "Deep in Hell"), and generally entertaining the listener reducing the negative impact of the annoying hindrances in the production and vocal sector.

Maleficium Demo, 2001

DOOMSDAY (SPAIN)

These Spaniards offer a cool mix of thrash and death metal with a strong technical edge, more on the modern side. The music has this dreamy abstract 90's Coroner atmosphere (check out "Defiled", "Stalkers", "Wallow In Distress"), but is more dynamic, also shaking hands with Pestilence's "Testimony of the Ancients" and the Americans Degradation on the faster material ("Your Kill"), although the guys here like switching tempos and times more often. The leads are quite stylish, overshadowing the other instruments, and the guitar work generally is choppy and hectic. "Repent" is a nice technical thrasher, in a good up-tempo with interesting decisions, and "Ant’s Quartet Tales" is a brilliant 2-min lead-driven instrumental. The closing "Aimless Paths" is another hit: a meandering progressive thrash opus with surreal riffs and quite twisting Oriental-tinged sections.

Cultures Full-length, 1995

DOOMSDAY (USA)

This EP offers great headbanging retro thrash, not without the help of one of the later Celtic Frost members: the guitar player Curt Victor Bryant. "Blood From Blood" is vintage Bay-Area thrash of the heavier type, which thrashes with full force, mixing slower with faster passages. "New Vision" weighs a lot, but the main reason for this is the groovy riffs, which are abandoned towards the end for the sake of a straight classic headbanging section. "The Less I Am" is another 10-ton steam-roller, which bears no faster surprises, which come handy on the next "Same Deep Water As You", flowing in the best tradition of late 80's Metallica, and is the best song here. "Third From The Sun" finally comes with all the guns blazing to provide more energetic riffs for the thrashers, a nice worthy exit to this short, but pleasant deviation from the 90's trends.

Doomsday EP, 1994

DOOMWATCH (USA)

Fast hardcore-ish thrash metal along the lines of S.O.D. and Crucial Unit.

Final Hour EP, 1986
A Symphony of Decadence Full-length, 1989

DOOMZDAY (USA)

90's post-thrash with shades of hardcore and a couple of heavy riffs in the stoner/doom department; nothing worth hearing, unless you're a total 90's metal maniac.

Doomzday Full-Length, 1995

DORAID (JAPAN)

Noisy punky proto-thrash/crossover which may be a compilation of some sort since there are a couple of influences: pure punk/hardcore in the beginning, elaborating later adding speed/thrash metal to the proceedings resembling Motorhead and Tank at some stage as well, all this done in a carefree unpretentious manner with very simplistic guitars and gruff shouty punk vocals.
The EP is 2 songs of energetic punky crossover with "Satanic Rites" nicely nodding towards the classic heavy metal scene as well.
"Death Line City" is a more intense offering now speed/thrashing in a relaxed mid-period Exciter-esque manner adding crossover and heavy metal to the mix. Still, the majority are invigorating pieces "Mortal Night" being a glorious speed metal anthem in the best tradition of Not Fragile and Killers (France), with the short furious "Vengeance" a very close second. "Broken Warriors" is a confident closer sustaining the roller-coaster speed/thrashing boogie to ensure the positive impression from this effort which only annoys in the noisy synthesized shouty vocal department.

The Early Inferno Tapes Full-Length, 2010
Devil\'s Highway/Satanic Rites EP, 2010
Fight Against Oneself Full-length, 2010
Death Line City Full-length, 2011

DORSAL ATLANTICA (BRAZIL)

This band is one of the oldest ones in Brazil, having started virtually the whole scene back in 1985 together with Sepultura and Overdose, and their early output remains one of the highest achievements of the whole South American scene. However, for some reason they are seldom mentioned beside their more famous contemporaries (Sepultura, Vulcano, Sarcofago, Chakal, Sextrash) which is a shame since their debut was every bit as good as the early efforts of the aforementioned acts, and is actually more faithful to thrash, without any death or black metal leanings; it's a pure thrash metal attack, fast-paced with touches of hardcore, which also brings them close to another Brazilian act: Ratos de Porao. The brutality goes up on a few tracks, even recalling same year's Slayer's "Reign in Blood" & Dark Angel's "Darkness Descends" ("Vorkuta", "Guerrilha"). There is only one loose "cannon" to be witnessed: the mid-paced power metal "Inveja"; for the rest you must have a strong heart to endure.

"Dividir & Conquistar" begins in the same stripped-down manner with "Tortura", but later on the music gets more complex and much better, and completely abandons the hardcore elements, concentrating on forceful intense thrash with longer compositions which manage to combine the furious nature of the debut with heavy stomping sections ala early Celtic Frost. Death metal is touched on the most aggressive material ("Metal Desunido", which boasts stylish semi-technical sections), and the technical side of metal shows up clearly on the raging "Metal Desunido", a true masterpiece of both fast & complex thrash. A very wise step after such a climactic number is to change the pace, and this is exactly what happens on "Morador das Ruas", which is a nice heavy stomper, at least for the most part, since at some stage the guys lose patience and start bashing with no mercy. "Velhice" is volcanic forceful thrash with riffs which rise spiral-like without getting very fast, mixed with crushing Celtic Frost-like moments. "Preso ao Passado" is the best possible closer: furious speed/thrash, a non-stop headbanging delight, featuring brilliant elaborate technical, but also melodic riffage as well as swirling screaming leads. This great effort gave a more meaningful serious direction to Brazilian thrash metal along with MX's same year's "Mental Slavery", before Sepultura took over a year later with "Beneath the Remains".
"Searching for the Light" sees the guys continuing to move up being another stellar work, a faithful follow-up to the excellent predecessor. "Hierarchic Democracy" starts in an explosive manner offering technically-charged fast-paced proto-death/thrash metal which may remind you of same year's Death's "Spiritual Healing" and Messiah's "Choir of Horrors". "Fighting in Gangs" is a sinister mid-paced smasher with not much technical musicianship involved, but "Misery Spreads" will shatter you, being another standout technical speedster with a couple of puzzling riffs within. "Not to Leave the Power" is another no-brainer for the technical lovers: a short brisk speedy number pouring steel technical riffs galore. "Only One of Them (Must be Left)" carries on in the same vein, excellent technical thrash with a great bass-bottom, losing it a bit near the end with a laid-back hardcore outro. The "jokes" continue, with the half-min "Gathered Prisoners": brutal Slayer-esque thrash, but on "Childish Boots and Steps" things get serious once again with the next portion of vortex technical riffage amid the raging fast-paced guitars. "The Ones Left Scream" abandons the speed, but crushes skulls with heavy 10-ton hammer riffs and creepy technical decisions. "History Starts (To Take a Route)" finishes in an encompassing manner, thrashing with force and technicality for 6-min, also including a long lead section and stellar bass performance. With this album the band started a conceptual trilogy lyrics-wise.
"Musical Guide From Stellium" begins in an aggressive fast-paced fashion, not offering too much technicality, with the first 2 songs sounding like a direct follow-up to Sepultura's "Beneath the Remains". "The Hidden and Unexpected" slows down, but is again too straight, followed by the awkward doom metal track "Kali Yuga (from Vishnu Purana)"; so far there's not much to connect this effort to the first part of the trilogy, at least music-wise. "Seven Races" delivers, being a short brisk thrasher, as well as the next "Rock is Dead" (thank god, thrash is not dead here!) which thrashes with force. All this disappears on the mild power/thrash number "Warrior" which serves boring repetitive riffs for more than 7-min. The closer "My Generation" is probably the biggest embarrassment: a clumsy proto-modern affair ending this shaky album in the worst possible way. After 2 striking releases the band dropped the ball almost to the point of losing it, not raising the expectations very high for the eventual follow-up.
"Alea Jacta Est" is quite a diverse affair, and the least consistent of the three parts of the trilogy. This contrasting mixture of fast brutal and slow songs hasn't aged as well, and one can barely hear anything technical here, although some of the atmosphere from the previous releases has been preserved: the atmospheric moody "Straitgate", which is like an "oasis" among the raging surrounding it numbers, which don't shy away from hardcore, death metal and even grindcore. "Last Act" is another "distraction": a doomy sleepy number, which will only further frustrate the listener, especially after a final group of pure hardcore tracks follows suit. This album wasn't a worthy closer to the trilogy (well, the 2nd one wasn't anything special, either), seeing the guys unexplainedly leaving the seriousness of their older style behind for the sake of an unconvincing more aggressive mish-mashy one.
Then the guys completely lost it on "Straight", which was an extreme senseless blend of hard and grindcore, a degrading ending to once a very fruitful career. The re-release of their debut in 2005 may be a sign of a comeback, although there hasn't been much noise heard from their camp since then, for better or worse.
This once great act continues to churn out listless rockish/hardcore-ish efforts and "2012" is exactly that, merry fast rhythms seldom growing into something more substantial (the speed metal joy "A Invasăo Do Brasil"). It's really sad listening to this unimpressive unpretentious uplifting barrage which has no purpose, no direction, nothing. It's sad, sad... Cause once upon a time...

Antes do Fim Full-length, 1986
Cheap Tapes From Divide and Conquer EP, 1988
Dividir & Conquistar Full-length, 1988
Searching for the Light Full-length, 1990
Musical Guide From Stellium Full-length, 1992
Alea Jacta Est Full-length, 1994
Straight Full-length, 1997
Antes do Fim, Depois do Fim Full-length, 2005
2012 Full-Length, 2012

DORSO (CHILE)

This band could be regarded as one of the finest metal bands that Chile ever had. At least they had more than a few albums unlike most of the bands who started in the late 80's and then disappeared. On the debut the guys play an interesting mix of power, thrash and doom metal. Then "Romance" took a very sudden shift into progressive rock/metal with a dream-like quality not too far from Pink Floyd! Of course, it was hard now to predict what the band's next step would be, but they have decided to go back to the same extravagant mixture of the debut, this time with even more styles "courted". The last two albums are the best period of the band's career- excellent technical thrash with interesting, non-standard decisions and weird, but completely logical song structures.

"Espacium" arrives after 10 years, and certainly there would be quite a few who would approach this work with a certain amount of skepticism. Well, this should be exactly the case, because this is a pale shadow of the last two band's efforts, offering similar, but not even half as impressive, eclectic music, mixing straight headbanging moments with very abstract complex ones, where the guys adhere to a couple of other instruments (keyboards, etc.). The eclectism goes over the top, like on the heavy groovy "Cadaveria" or the semi-ambient "Gran Ameba", but elaborate technical pieces, like "Revelaciones en la Nebulosa" partially compensate for that. As usual, the guys rely on creating atmosphere, but this time they have forgotten about the more energetic side of the music, and most songs are mid-paced affairs, merging into one another. "A Las Puertas del Planeta Purpura" is the awkward electronic piece, which is another dull moment, lasting for nearly 7-min. "Sangre Eterna" at the end is a cool attempt to add some technicality to the groovy 90's sound, but is hardly the best try in this direction. As a whole the band failed to bring the best from such diverse amalgams, like they used to do so well in the past; having been on top of the game 10 years ago, now they will have hard time competing with the finest acts of the day.
The interest in the band greatly diminished after the unconvincing "Esacium", but one would still be interested in giving a listen to any eventual new material. And one wouldn't make any mistake by doing that since "Recolecciones Macabras del Campo Chileno" is a really stylish, albeit very diverse, offering which again works as separate displays of genius rather than one coherent whole. Still, in this particular case this is even a plus "Vacalaca" opening this extravaganza with surreal twisted riffage surrounded by a dreamy quasi-balladic background. "Recolecciones Macabras" is a formidable technical thrasher with dramatic crescendos and puzzling riff-patterns, truly a gem with its sudden speedy breaks, abstract exits from them, and illogical blends including a curious jazzism in the middle. The next "El Vampiro del Cogollo" is no flop, either, being a short avantgrade proto-headbanger with choppy modern "interruptions". The "flop" comes eventually: the 11-min oddity "Garrafa Cuesta Arriba", an atmospheric moody balladic composition with saxophones, keyboards and what not added on top of each other to a pretty overwhelming effect. Things get back on track with the progressive death/thrasher "Cuero" which is an encyclopaedia of twisted technical riffs and strange time-changes and signatures including several peaceful passages; by no means an entertainment for the standard thrash fans. "La Resurrección de Don Westancio" is a more relaxed number combining balladic jazzy moments with fast, almost corey, sections. More progressive thrash avantgardisms with "Visión Chilenoide" which clings more on the dreamy, semi-baladic side, but when another such song comes almost immediately ("El Culebrón", that is) the listener may start thinking back about the band's reputation for awkwardness and offbeat attitude which takes the upper hand near the end. Still, this is quite an engaging listen with not too many pitfalls, but the more conventional side of the thrash metal fraternity would not be able to stand through the numerous digressions which show an act full of creativity and originality, but without any certain target audience in mind.

Bajo una Luna Cámbrica Full-length, 1989
Romance Full-length, 1991
El Espanto Surge de la Tumba Full-length, 1993
Disco Blood Full-length, 1998
Espacium Full-length, 2008
Recolecciones Macabras del Campo Chileno Full-length, 2012

DOSEL (CHILE)

3 songs of modern semi-technical thrash, which sounds better when the guys try to play directly, without any gimmicks, like on "Ciudad Sangrienta", whereas on the other compositions the speed is sacrificed for the sake of more complex structures, which lack clear ideas, ending up sounding somewhere between Lamb of God and more recent The Haunted.

Sociedad en Metastasis EP, 2009

DOUBLE-WIDE (UK)

A decent mix of post-thrash and doom giving a bigger share to the latter, and consequently the thrashy riffs end up being just a support to the heavy arrangements. The end is preserved for an interesting doomy cover of Dio (R.I.P.)'s early hit "Holy Diver".

18 Wheels Of Misery Full-Length, 2010

DOUBLEFACE (KAZAKHSTAN)

3 songs of energetic modern thrash/death metal ala early In Flames and Dark Tranquillity; professionally executed music with emphasis on the melodic lead guitars, with rough semi-shouty vocals and a frequent switch of tempos from mid to up and vice versa.
The full-length is another competently executed affair boasting tight riffage and a few interesting melodic decorations the latter having a strong Oriental tinge. The guys rip with passion often interspersing their delivery with quiet balladic interludes. The leads are also on quite a high level especially on the more elaborate moments (the soulful progressive mourner "Forevermore"). More concrete death/thrash comes forward with the short instrumental shredder "Suffering Mind", but the melancholic side of the band's style takes the upper hand again on the semi-balladic "Visions". This is a capable blend of tenderness and aggression which should find fans from all walks of metal.

Burning Retaliation Demo, 2010
Falls and Decline Full-length, 2012

DOVE (PORTUGAL)

Based on the "Reborn To Return" 2-song demo, this act pulls out fast abrasive thrash/proto-death not far from Rigor Mortis, but with more simplistic guitar work and with a heavier bass bottom.

Deadly Human Race Demo, 1992
Reborn To Return Demo, 1993
Dum Spiro Spero Demo, 1994
Dove Demo, 1995

DOVER TRENCH (USA)

This band manages to sound both aggressive and technical at the same time; this is especially obvious on the longer tracks ("The Immortal Few", "Acid Test"), where there is a wide display of riffs and stylish solos which will even remind you of Kai Hansen from the early Helloween days. On the other hand we have ultra-fast, short, grinding pieces ("Trench Death Gestapo") and a few very heavy, slower ones ("Face Plate Removal"). The overall tempo is actually quite fast, and this album will be a great headbanging fest for every thrash metal fan; a true "exhibition of speed" this is, by all means...

Exhibition of Speed Full-length, 1991

DOWNFIRE (USA)

Based on "Damnation", this band provides modern heavy/power/post-thrash metal which is more on the melodic side, but heavy proto-doomy crushers ("Damnation") or energetic up-tempo pounders ("L.D.K.") are just around the corner. Thrash metal doesn't play the upper role here, but the music delivers assisted by good soulful clean vocals ala Gene Adam (the first Iced Earth singer).

Redemption Full-length, 2006
Damnation Full-length, 2010

DOWN FACTOR (USA)

Based on "Murder The World": modern thrash/death metal with cleaner, more comprehensible vocals which give the music a catchier tone; the band's style sticks to the norms of the genre with heavy, crushing songs and very few speed outbursts.

Pure Full-length, 2001
Murder the World Full-length, 2005

DOWNFALL (MEXICO)

Rehashed modern groovy post-thrash which is at times intruigingly lyrical (the nice balladic moments on "Better Than You"), but this is not enoough for the listener to fully enjoy this soft melodrama which later adds metalcore to the "fuel" again of the painfully predictable variety.

Demo Demo, 2012

DOWNFALL HUMANITY (PAKISTAN)

Ex-members of the death/thrashers Cauldron Born and Depletion have joined forces for the release of this short 2-song effort which sees them pulling decent retro thrash without too many deathy borrowings except fot the throaty forceful vocals. The pace varies as the dominant rhythm is crushing sticking to the moderate up-tempo the riffage a bit clouded by the buzzy sound quality.

Annihilation of Reality Demo, 2010

DOWNRIGHT MALICE (FRANCE)

Based on "The Final Disaster", this act pull out modern abrasive thrash with a haunting industrial blend also coming from the clever keyboard insertions which grace every song. The band sound like a more aggressive version of Rammstein, but are more atmospheric touching Front Line Assembly's Hard Wired" with ease on the best moments. More hard-hitting thrash can be caught on "The Final Disaster" which is a vigorous headbanger, followed by the very cool cover of A-Ha's great hit "Take on Me", turned into a frolic industrial crossover, where the very brutal death metal singer tries something more tender to a pretty positive effect. Near the end the style becomes more serious the band elongating the compositions a bit to create more dramatism which is rudely "broken" by a brutal deathy section on the closing "Shot". This is a cool effort from the more eclectic, diverse side of the genre, and as such may not satisfy the hard-core thrash metal fans.

In Doctrine Nation Full-length, 1995
Spit Your Hate Out EP, 2001
Perpetual Return Full-length, 2005
The Final Disaster Full-length, 2011

DOWNSTROY (SERBIA)

Modern post-thrash with metalcore breaks; soft stuff as a whole with mellow guitars, the typical vocal duels, and all the rest.

I Scream Every Day EP, 2007

DOWNTIME (GERMANY)

After the marvellous haunting intro "Dystopia" what follows is your average modern thrash/death metal of the stomping mid-paced variety with rare "excursions" into a more aggressive territory ("Raising the Ashes").

Dystopia EP, 2005

DOYKOD (BRAZIL)

A decent mix of modern and classic thrash metal producing something which comes as a blend of Slayer and Sepultura's "Chaos AD". Fast and slow songs take turns, but near the end the guys tone it down a bit, but come with the excellent atmospheric brooding closer "Drought". The singer is intelligible and forceful in a way not too dissimilar to Phil Rind (Sacred Reich).

Accept the New Order Full-length, 2002

DOZIC (USA)

Modern thrash crossed with heavier doomy elements; the mixture is not so expertly achieved, though, the guys trying to give a fair share to both sides the more dynamic one clearly being the superior one. When the band mix the two styles into one song things things become really awkward ("Fetal Demon Harvest") the compositions losing coherence. The singer shouts in a scary deathy fashion, but matches the steam-roller intensity of the musical background.

Blasphemy Full-Length, 2012

DOZËR (GERMANY)

Modern thrash metal of the more energetic variety with touches of hardcore; at times the music is pure crossover happiness assisted by rough semi-shouty vocals.

Demo Demo, 2009

DR. BRAINDEAD (GERMANY)

Hardcore-tinged thrash with a cool classic sound reminiscent of D.R.I. and DBC's debut, with fast speedy numbers taking turns with slower, heavier ones.

The Brain Full-length, 2002

DR. BUTCHER (UK)

Reportedly these guys, who have no relations to the John Oliva fronted power metal one-album-wonder Doctor Butcher, were more of a death metal act in the early stages of their career, but based on the "Above Top Secret" demo which is made by just two musicians, the style is fairly well-constructed classic power/thrash and starts convincingly with the energetic instrumental "The Last V8". Then the vocals interfere on "Forever Submerged" to show another attractive side of the guys' repertoire with their forceful clean tember reminiscent of the one of Lee Dorian on the Cathedral albums. The energy from the opener gets lost bit by bit with each passing song reaching doom-laden prorportions on the cool early Sabbath reminder "Ring Of Roses". "Blue Room" is 7-min of power and thrash mixed together on a heavy thundering base recalling the 80's American scene which by that time had completely extinguished. This is a cool leftover from the glorious 80's and a realy well kept secret from the UK underground movement all these years.

Seven Doors of Death Demo, 1990
Above Top Secret Demo, 1993

DR. KNOW (USA)

Dr. Know was a punk/hardcore band who decided to play some thrash for a change. "Wreckage In Flesh" is a hardcore-tinged thrash album, surprisingly good despite its raw nature, featuring an excellent cover of Black Sabbath's "Into The Void".
"Killing for God" is a direct return to the band's very roots ofering fast, blitzkrieg hardcore of a very stripped-down nature, except for the few stylish leads which betray a more serious song-writing involved in the not so distant past, from which the heavy semi-technical instrumental "2012" is an apparent leftover. "Mean Machine" is a cool speed metal cover version of the Motorhead hit from "Orgasmatron", which is surrounded by 3 other covers of obscure old punk acts.

"This Island Earth" is laid-back proto-thrash/crossover with a strong Motorhead-vibe, which gets a bit more intense on a few tracks in a way similar to early Broken Bones, but to talk about full-fledged thrash here is too early. The guys prefer to lash in mid-pace for most of the time, and the forceful semi-declamatory vocals are a good addition to the enjoyable, albeit one-dimensional, music.

Plug-in Jesus EP, 1984
Burn EP, 1985
This Island Earth Full-length, 1986
The Original Group Full-length, 1987
The Original Group EP, 1988
Wreckage In Flesh Full-length, 1988
Habily (What Was Old Is New) Full-length, 2001
Father, Son And Holy Shit!!! Full-length, 2003
Killing for God Full-length 2008

DR. LIVING DEAD (SWEDEN)

The full-length is a pleasant surprise: a great speed/thrash metal attack with short songs, recalling Hirax and the Swedes F.K.U. The demo is not a very distant departure, but the sound rather recalls Suicidal Tendencies' more thrashy works of the late 80's, including the good, Mike Muir-like vocals, and is another very entertaining offering, thrashing both with melody and intensity.
The 4 "doctors" are finally ready with their full-length with the majority of the tracks from the two demos present. So expect not many surprises, if any at all: the band march forward with their staple carefree thrash/crossover delivery which doesn't stray from the chosen path, maybe getting a bit more aggressive on occasion ("My Brain Is For Sale") or acquiring this less serious hardcore tinge ("Feeding The Cyco") at times.
"Radioactive Intervention" is another "intervention" of a similar, no-bars-held retro type the "doctors" lashing direct bashing riffs intent on curing everyone around. The delivery is more brutal this time with Slayer coming to mind ("Radioactive Intervention", "You're Lost") more than just now and then. Expect a few galloping delights ("Signs from the Other Side"; the imposing closer "Dead New World" which ends in an intriguing keyboards-driven fashion, hopefully not suggesting at any not desirable genre transitions; those arriving just after a maddening headbanging passage) along the way with a strong Suicidal Tendencies flavour also coming from the good attached clean vocals. The thrashing fun never stops here the band only serving twp slower "presents": the jumpy "Bringer of Truth" and the more crossover-laced "Life Sucks" which still brings some speedy moments towards the end.

Thrash After Death Full Length,2007
Thrashing The Law Demo, 2008
Dr. Living Dead Full-length, 2011
Radioactive Intervention Full-Length, 2012

DR. SKULL (TURKEY)

Based on "Wory Zover", this is a heavy-handed mixture of thrash and classic heavy metal. The music is mostly on the melodic side, and might not be of interest to the more hard-boiled thrash metal fans.

Wory Zover Full-length, 1990
Rools 4 Fools Full-length, 1992
Hershey Yolunda Full-length, 1994

DRAGGING THE CASKET (SWEDEN)

This is a good effort of fast intense retro thrash metal, in the 1st half at least, which comes with a slightly sterile mechanical guitar sound, and vocals which kind of semi-whisper for most of the time, but in a convincing comprehensive way. After a trio of speedy blitzkrieg thrashers comes "Empty Casket" which is a heavy steam-roller with a nice doom/death touch. The slower mid-paced delivery overtakes the rest of the songs till the end reaching epic proportions on the Amon Amarth-esque closer "Cease To Exist" which is graced by a fine speedy exit.

The Undead Full-Length, 2011

DRAGON (POLAND)

Representatives of the more brutal side of the Polish thrash metal scene; "Horda Goga" is quite a decent slab of aggressive speed/thrash boasting fast-tempos, cool, but not great guitar work, often overshadowed by the strong bass performance. Still, awesome speed/thrashers, like "Armageddon" and the Destruction-like "Hordes of Gog" are hard to be ignored. "Innocent Blood" even itroduces more stylish, technical riffs along with the fast ones.

"Fallen Angel" hardens the course and brings death metal to the scene; the style is already pretty much brutal death metal with several more thrashy moments, often featuring brutal bashing with deviations into the other extreme: the funereal doomy "Tears Of Satan" which sounds quite close to the Morbid Angel compositions in this vein.

"Scream of Death" is a very stylish work, the band's finest achievement. This is expertly executed technical thrash/death metal with clever choppy riffs, sudden time changes, which never last for too long, and are replaced by more accessible passages. The music has lost its initial aggression, and the really fast sections are much fewer compared to the first two albums: "Scream of Death" is the only more brutal frantic song, but it's served with a whirlwind of technical riffage, pretty much in the spirit of the Quebec technical school which at this stage had barely showed its teeth. The guys have clearly concentrated on the technical play, and the best tracks could rival even technical wizards like the Belgians Chemical Breath: the more aggressive, but very technical "Altars of Doom", and the Mekong Delta vortex-like "Gallery of Void" (check the leads on this one, too). The songs are not long, mostly within the 4-5min range except for the very complex opus "Forgotten By Death" which still sounds quite compelling with its sudden, effortless jumps from slower to faster parts which alternate all the time and create a chaotic, but very interesting landscape. "Prisoner" starts and finishes with very twisted surreal guitars, but what comes in-between is a great combination of technical and aggressive riffage, maybe a bit disjointed at times. After such an intense technical delivery, the guys take a short break with the heavy doomy "Song of Darkness" (no traces of technical play here except for a nice bass section) before nailing down two more exquisite technical death/thrashers.

"Sacrifice" is much inferior to its great predecessor with a decidedly modern sound, and with a much more conventional guitar work. The music is less dynamic and is actually quite heavy; sparkles of genius could still be felt, though: the fast semi-technical "Looking for The Death". The gruff death metal vocals are interrupted by equally as gruff semi-clean ones which sound a bit laughable, and can't hide the effort put by the singer to stay put when using them. On top of that, every song is preceded by a short intro; there are two ballads, and the rest clings towards the slower pounding side with timid attempts at a more interesting play.

Horda Goga Full-length, 1989
Fallen Angel Full-length, 1990
Scream of Death Full-length, 1991
Sacrifice Full-length, 1994
Twarze Full-length, 1999

DRAGONKNIGHT (JAPAN)

An epic mixture of power, speed and thrash metal with a strong orchestral background; this is melodic stuff which suddenly, towards the middle, acquires pretty brutal proto-death tendencies for two tracks. The singer is very impotent, and is hardly audible often completely stifled by the instruments which are all played by one guy only (not the singer). He still has a long way to go, though, in the composing department: the songs sound like casual exercises taken from the thesis of a musical college student, sounding more like drafts for something bigger, with quite a few ideas left unfinished. There are too many melodies thrown in, but the musicianship is not on a very high level, either, neither is the sound quality which gives too much boost to the orchestral arrangements.

Chronicle Of The DragonKnight Full-length, 2010

DRAGONLORD (USA)

Eric Peterson from Testament joins efforts with two former members of the same band, plus, but of course, the almighty Steve DiGiorgio. So do we get another Testament album without Chuck Billy (now if this isn't a sacrilege!)? The answer is no; what we have here is another good extreme band playing black/thrash metal with a sound not too far from Dimmu Borgir, mixed with cool classic thrash shredding. The music, unfortunately, stays closer to the Norwegians, and DiGiorgio sounds surprisingly restrained. Apparently Dimmu Borgir had been taking notes while listening to Dragonlord, since their recent releases owe quite a bit to the thrashy black metal style offered here.

Rapture Full-length, 2001
Black Wings of Destiny Full-length, 2005

DRAGONS' TEETH (USA)

This talented outfit indulge in stylish heavy modern thrash with dark progressive shades. The guiatr approach is very heavy, but the elads are top-notch being both technical and sureally melodic. The shred is pure thrash most of the time and although it never leaves the mid-parametres, would fascinate the listener with the wise time-changes and the cold mechanical atmosphere. "Dark Matter" richly deserves its tile being a really "dark" piece with a lot of atmospheric touches the latter overtaking the next "Mars" almost completely also helped by some of the finest leads around. "Thermoplastic Egress" is an ultra-heavy thrasher which pounds forward with several more quiet passages inside. Meshuggah's heritage is ably touched on the sprawling robotic opus "Syllabaries Vacuum" which is some of the most dispassionate tracks one can encounter nowadays releived by the few abstract melodic decisions at the end. The final "Ear Eater" is classy heavy shred which overwhelms you with its consistent steam-roller quality which suddenly rises out of nowhere before it disappears in the same unobtrusive way after 4 eventful min. This is really good, clevery concocted, stuff which has no precedent on the scene although the connoiseurs would inevitably distinguish echoes of Altered Aeon, Nevermore, Chaoswave, Electro Quarterstaff, Meshuggah again, etc.

Furnace Full-Length, 2012

DRAGONWYCK (USA)

Excellent power/thrash metal rooted in the 80's sounding like a less thrashy early Iced Earth and Morgana Lefay; the music is quite heavy, mid-paced, with great dark, doomy atmosphere, and the guys never bother to speed up, except on some songs' parts for a while. The riffs are interesting, without being technical, and sometimes the leads smell Iron Maiden quite a bit, fused with more technical passages. The singer has a powerful mid-ranged voice recalling Iced Earth's first singer Gene Adam. The EP only hints at the more thrashy nature of the full-length, being a lot more power metal-based, with quite a few balladic moments, but is still a worthy listen.
The guys are back after a long 9-year break with "Born Into Madness", and show that they haven't forgotten to forge good classic power/thrash metal. The guitar work is sharper here, and the sound has acquired more modern tendencies, despite the awesome start with the first two classic galloping songs. Later the music sounds closer to the more recent works of Annihilator and Overkill, than to their previous efforts. There is groove involved as well, but in a cool, not annoying way, and the guitar work remains on a high level, without offering anything more technical.

The Gathering EP, 1996
Whisper In Darkness Full-length, 1998
Born Into Madness Full-length, 2007

DRAGSTER (BRAZIL)

A cool 4-song EP of classic Bay Area thrash metal recalling Exodus, early Metallica, etc; later the band changed their name to Mad (I hope this wasn't caused by a change in the band members' mental state) Dragzter, but the style remained unchanged.

New Times EP, 2002

DRAHCKO (VENEZUELA)

These guys, who were formerly known as Anti-Régimen, offer a mild mix of power, speed and thrash metal which suffers from the abrasive guitar sound and the awkward vocal duel comprising bad semi-death metal and better clean soulful vocals. The balance between the faster and slower numbers is not achieved, the band giving preferences to the less impressive slower side leaving the more intense material for the end, in the form of bonus tracks.

Preludio de Muerte Full-length, 2006

DRAIN-LIFE (HOLLAND)

Based on the EP, this band plays prototypical modern post-thrash the main difference coming from the more aggressive death metal vocals. The riffage jumps here and there, but hardly offers anything more original.

A Plague Called Society EP, 2005
Prospect of Despair Full-length, 2009

DRAIN THE DRAGON (ITALY)

Energetic, fast-paced, At The Gates-influenced modern thrash/death metal; there are slower, bordering on metalcore, moments ("Awake The Vengeance"), but the more intense numbers are also around ("Decay").

Demon of My Nights Full-length, 2008

DRAKAR (CZECH)

Based on "Let Draka", this is atmospheric thrash with touches of doom metal; a very dark, but also eclectic affair featuring unusual time signatures and chaotic, but interesting song structures. Back in 1990 there was noone to play something similar to those guys. There are melodic solos, too, taken from classic heavy metal. With its avantgarde approach, this album reminds me of Celtic Frost's "Into The Pandemonium" (this one here sounds even better- seriously!). The Italian band Glacial Fear (their early efforts) is another close soundalike, but Drakar don't use death metal elements in their music. This is a very interesting unconventional listen.

Let Draka (Dragon Music Of Prague - Mystical Metal) Full-length, 1990
Když se láme čas Full-length, 1996

DRAKEN (CANADA)

Atmospheric modern post-thrash with references to metalcore, and not only because of the clean vocals interrupting the shouty tirades of the main death metal vocalist. The band vary things around adding the casual more intense passage ("Torrential Rain", the energetic headbanging instrumental "Sharktopus"), but there is a lot of melodic ground covered as well as rare, but quite intriguing, "excursions" into a progressive/technical territory ("Osiris:I. Reanimation,II. Chaos,III. Afterlife") which take quite a bit of space, but are seldom boring or dragging. The band are capable musicians the lead guitarist particularly impressive his feats culminating on the short instrumental piece "Rapture".

In Sheep's Clothing Full-Length, 2013

DRAKKAR (BELGIUM)

This obscure act unleashes first-rate speed/thrash metal combining the more aggressive edge of the German scene (Angel Dust, Warrant) with the more laid-back one of the American field. Except for the heavy metal filler "Highlander" (could have been influenced by the cult film with Christoph Lambert and Sean Connery, which was released two years earlier) and the very cool heavy ballad "King of Shade", the rest is fast and intense, ranging from galloping speed metal numbers ("Lords of the North") to pure all-out speed/thrash attacks ("Rise and Fight", "Forgotten Heroes", "X Rated") in the best tradition of Angel Dust's "Into the Dark Past". Both the bass and the guitar work are on a high level, and the singer is quite a find as well with his very versatile voice covering with ease all possible ranges excelling in all departments, especially in the high one, where he comes close to Kai Hansen and Dirk Schröder (Iron Angel), but this guy surely breaks glasses on the highest tones. This album is probably the finest effort to walk in "Walls of Jericho"'s shoes produced outside Germany, and is a very strong rival to the similar output from that same country at that same year (the works of Blind Guardian, Not Fragile, Mephisto).

X-Rated Full-length, 1988

DRAKONA (USA)

This US trio play classic power/speed/thrash expressed in lengthy compositions where the thrashing goes on without too many unnecessary complications with a speed metal boost added to "Steel Force" which by all means deserves its title being a vigorous bursting number. The singer is not bad with his attached mid-ranged clean tember although he should try something in the higher registers next time around; it would fit the energetic musical delivery.

Frontline Massacre Demo, 2012

DRAKSEN (MEXICO)

Based on the "From Beyond" demo: speed/thrash metal close to Paradox's debut; the intro is a very cool melodic instrumental with haunting acoustic guitars spiced with more aggressive lines. Then the band starts thrashing uncompromisingly, even affording blast-beating moments, which could have been spared, as the good speedy riffs hardly needed any additional push. Fortunately this happens on only one song, and the rest provides good headbanging atmosphere, elaborating things a bit on the closer, which is more than 7-min long, and is a really worthy speed/thrashing opus.

From Beyond Demo, 1989
Draksen Full-length, 1993

DRASTIC GUNSMITH (JAPAN)

A melodic laid-back form of thrash/crossover which "entertains" the listener in a jolly Motorhead-ish manner with the Scotts The Almighty a very close soundalike as well. The music has at times the spacey vibe similar to mid-period Voivod ("Nothingface", "The Outer Limits"), but the guys are quick to revert back to the simplistic crossover patterns pretty soon after which descend to pure punk on the softer moments for which the mid-ranged indifferent semi-clean vocals are a perfect match.

Shake you Lifeblood EP, 1990

DRAUGGARD (RUSSIA)

Based on the "Nidgedichte" EP, this band is mostly a black metal act of the semi-epic early Burzum variety with similar raven-like vocals, adhering to thrash here and there, the latter not bad, coming with nice melodic hooks, but also fast and relentless, like the approach on the whole EP.
The "The Way of Russian Black Metal" EP is expectedly more on the black metal side, and shows Russian black metal in a bright light producing something quite close to mid-period Dimmu Borgir and early Emperor. The guitars are sharp, but the melodies on the other hand are sweeping and beautiful creating a majestic atmosphere even on the more brutal hyper-blasting sections ("Noch Dlia Sinfletli", which also features a catchy clean chorus). This is good stuff which sees the gusy running away from any other influences listening solely to their black metal heart.

Wodan id est Furor Demo, 2004
The Baldr's Dreams Single, 2006
Live in Saint Petersburg EP, 2007
Nidgedichte EP, 2008
Drauggard / Criptum Split, 2009
The Way of Russian Black Metal EP, 2012

DRAUGR (ITALY)

A very good blend of brutal black metal ala Impaled Nazarene and classic thrash with very high-pitched unholy screeches; the tempo is quite fast most of the time, and there are also touches of the symphonic black metal department ala Dimmu Borgir and Cradle Of Filth. The absolute highlight of the album is the 2-part song "Land Of Warriors" which brings forward nice epic/folk passages.

Nocturnal Pagan Supremacy Full-length, 2006

DRAXXIS (USA)

This is good dark, slightly progressive power/thrash metal which has its more melodic balladic and atmospheric moments, but contains enough sharp thrashy riffs, more of the mid-paced stomping type. The style resembles Sanctuary quite a bit, including the singer's voice, which on the best moments may remind you of Warrel Dane, but his lower vocals, used on the Nevermore albums. Early Queensryche could also be cited as an influence ("Dream Demon"), but these guys are more aggressive.

Demo Demo, 1989

DREAD (USA, New Mexico)

Capable retro thrash sustained in a speedy intense tempo, and longer compositions (the opening "When Dreams Lie") where the guys shred in a furious manner assisted by screamy, intolerably high at times, vocals which fortunately do not go into that register too much, but resemble Bruce Dickinson quite a bit, and should have stuck to this approach more. "The Pharaoh's Ceremony" is a nice mix between heavy pounding rhythms and very fast raging ones, but "Brace for Destruction" beats everything in terms of speed thrashing far and wide easily reaching a Slayer-esque aggression on the more extreme moments. The "slaying" continues with full force on "Slay the Kings", another brutal thrasher followed by an even bigger "bomb": "A Crack in the World" (which could indeed cause a "crack in the world"), and later on very little mercy is shown the guys moshing hard to the death seldom slowing down turning to pure speed metal at the end, on the closing hymn "Nuclear Rain". The band will hardly cause a revolution on the scene, but this frank outpour of speed and rage would hardly pass completely unnoticed.

Brace for Destruction Full-length, 2010

DREAD (USA, Texas)

This is a somewhat interesting band: there is definitely an effort to sound technical and original, and although some moments really pack a punch, there are times when the music loses speed and intensity, and slides down to heavy-handed mid-paced riffage, which ruins the positive impression made by the preceding technical passage. If you manage to enjoy the separate genuinely good sections (which are quite a few, as a matter of fact) rather than the demo as a whole, you would surely come across a winner.

Dread Dread Dread Demo, 1988

DREADFIRE (PORTUGAL)

This is right as rain modern thrash which hesitates between heavy groovy parts and more energetic Terror 2000-esque ones both sides presented on almost every song creating the necessary dynamics with the assistance of rough semi-shouted deathy vocals.

Face the Storm EP, 2012

DREADNAUGHT (AUSTRALIA)

Based on "Dreadnaught", these guys play modern melodic gothic-tinged power/thrash metal sounding like a more edgy later-period Sentenced and To Die For. There is a lot of melody present as well, also reflected in a couple of short acoustic instrumentals, and one may be surprised to find out that behind the drums sits the famous drum guru Matt Racovalis (The Berzerker, Alarum), whose performance is quite subdued, except on the more intense "Agony/Ecstasy", the closing explosion "Buried", and the faster "10x The Pain", which also boasts a fine soft dreamy passage. Reportedly on previous recordings the band have pulled out much more aggressive modern thrash/death metal, and apparently the self-title of this album is a sign for a change of direction.
The debut has not many shades of gothic, except for a couple of calmer sections which come accompanied by weak listless clean vocals, and could be considered the slightly better effort with its heavy guitars mixing heavy groove with faster sections. The bad news is that too often do the guys get distracted with dreamy semi-balladic passages which stretch into whole short ballads/semi-ballads. On top of that the groovy passages are too harsh and unmelodic with loads of chugga-chugga riffage and rough angry semi-death metal vocals.
"Idiosyncrasy" is 5 songs of dreamy modern gothic post-thrash again relying mostly on peaceful arrangements which pretend to be on the progressive metal side, but there is simply no hard riffage to be witnessed, and quite a few of the passages here will make you yawn if not even fall asleep completely.

Body.Blood.Skin.Mind Full-length, 1996
Idiosyncrasy EP, 1998
Down to Zero Full-length, 2000
One Piece Missing EP, 2001
Dirty Music Full-length, 2005
Dreadnaught Full-length, 2009

DREADNAUGHT (USA)

A 3-songer which offers good intense sounds topped by impressive bassisms and good forceful versatile semi-clean vocals ala Nasty Ronnie (Nasty Savage). The guys change tempos in a way not too far from the Infernal Majesty debut and the guitars have a characteristic dark edgy sound which favours from the slightly sloppy, muddy sound quality which doesn't boost them a lot, and gives its fair share to the talented bassist.

Meditation of Annihilation Demo, 1989

DREAM DEATH (USA)

This is a unique album which could have been the first doom/death metal release, or at least a big influence on this genre. Thrash and doom metal have seldom been mixed better than here; the style is close to early Celtic Frost with a darker gloomier atmosphere. Apparently doom metal has said its final word at some stage, and later members of Dream Death formed the doom metal heroes Penance.
The compilation is a collection of all their demo material, which sees their very early days (the self-titled debut demo, released in 1986) dedicated to rough, brutal thrash/doom, with the latter given more room, also reflected in long gloomy tracks which cross early Celtic Frost/Hellhammer with Saint Vitus in a rough, but strangely compelling way. Still, there are seldom pure doom metal cuts (the short instrumental "Wolves Bane"), but to talk about many headbanging moments would be too farfetched.
The "More Graveyard Delving" demo (1987) starts with the definitive doom metal hymn ("Journey Into Mysteryback From The Dead"), but very soon after picks speed, to reach the "maddening" Dark Angel-esque thrashiness on "Method To Madness", before the more moderate Celtic Frost-like delivey settles in.
The "Ode to Sorrow" demo (1988) is full-throttled doom, all the three songs later featured on the Penance albums, and the vocalist Brian Lawrence toning down his rough, deathy tember to pull out some forceful semi-clean antics.
"Somnium Excessum": the masters of doom and darkness are back from the "dark ages" and the corrosive macabre riffage of the opener "Feast" suggests numerous classic delightful moments. And this is what follows suit, naturally, only that most of the delights have been thrown towards the doom metal side of things, and as such this album would be of a very little interest for the thrash metal fanbase. As a whole this effort sounds like a slightly slower, sludgier and dirgier version of the Penance catalogue without any faster surprises.

Journey Into Mystery Full-length, 1987
Back From the Dead Compilation, 2005
Somnium Excessum Full-Length, 2013

DREAMING DEAD (USA)

This band, previously known as Manslaughter, plays competent, but derivative thrash/death metal which is at times technical ala Death, at times goes into more extreme blasting territories. "Putrid Is The Sky" is the highlight being a marvellous progressive composition with haunting melodies, super-fast breaks, and genuine technical passages, all this topped by very proficient lead guitars. "Manslaughter" tries to reach it at the end, but the dreamy peaceful moments come too much to make it a really pleasing progressively-prone death/thrasher.

Within One Full-length, 2009

DREAMKILLERS (AUSTRALIA)

Both demos see a band treading the semi-modern, proto-groovy waters adding "remnants" from the past in the form of a few more nergetic crossover rhythms, but without ever speeding up beyond the mid-pace. This is laid-back feelgood stuff with pleasant clean vocals, also flirting with funk and alternative at times.

Poison In The Soup Demo, 1992
Carnival of Skin Demo, 1993

DREAMLORD (GREECE)

Cool retro power/thrash metal which starts in a promising headbanging manner with "Out For Blood", but later the band settles for a less intense galloping pace which gets lost on the cool atmospheric ballad "Cry Of Innocence". The balladic tendencies stay around for "Leather Dance", but run for cover on the closing "Aggressive Denial" which tries to justify the "aggressive" part of its title with moshing energetic riffs, and succeeds. The singer is just a normal gruff semi-cleaner with a slight hardcore shade.

Dreamlord Full-length, 2007

DREAMS OF DAMNATION (USA)

This band has given shelter to a certain number of musicians from other thrash metal acts (Dark Angel, Heretic, Hirax, Abbattoir). This is pretty good thrash, with a female singer on the later releases who gives the sound a touch of death metal. "Let The Violence" is a nice little EP, containing 3 songs of very cool intense retro thrash with more stylish guitars. "Vengeance: Chapter-I" will catch you unprepared with the vicious, brutal, proto-death opener "New Flesh", which again comes with great technical riffs ala Hellwitch. The other two songs continue in the same merciless vein, sounding even more aggressive ("Women of Sodom"): this was another great offering, but in a different way.

"Epic Tales Of Vengeance" is not an epic album, like the title might suggest, but shows the band returning to the more laid-back thrash from the debut EP. The sound slows down for dark heavy numbers ("Beyond Salvation"), but quickly picks up speed for the new, more peaceful version of "New Flesh", and especially for the furious "Eaters of The Dead", which also features explosive blast-beats.

Let The Violence Begin EP, 2000
Vengeance: Chapter-I EP, 2003
Epic Tales Of Vengeance Full-length, 2006

DREAMSFEAR (IRELAND)

This band showed a lot of promise with this 4-track EP which mixes power metal with thrash of the classic school. At times the music gets quite heavy calling to mind late 80's Metallica ("Burning Bridges"). "Ruins" even contains more brutal death metal riffs, but "Bleak Horizons", on the other hand, is an atmospheric ballad, a tendency which also spreads over other songs. So don't expect any headbanging moments: this is serious stuff, for the thinking thrashers who prefer their music with a pinch of progressive. The guys have first tried their hands on metal with a solitary death metal demo in 1992 under the name Xenophobia.

Prelude to Destiny EP, 1998

DRECKSAU (GERMANY)

Based on "Kältekammer", this act pulls out a heavy brooding mix of modern 90's thrash and doom/sludge with very fast almost death metal-laced tracks taking turns with slow depressive tunes all this thrown on an abrasive hardcore/crust base with the very brutal death metal vocals doing a further damage. Both sides are equally covered, with the heavy doomy riffs slightly taking over towards the end which is not bad at all since this is when the sound comes close to Crowbar at their best and doomiest.

Brecher Full-length, 1998
Schmerz Full-length, 1999
Winter EP, 2001
Kältekammer Full-length, 2003

DRED (AUSTRALIA)

This 4-track EP is a pure delight: brilliant technical thrash which will remind you of Helstar's crowning achievement "Nosferatu": superb guitar work which would definitely impress even the more renowned guitar heroes, with great solos and smashing technical riffing. The vocals are kind of distracting being death metal-lish, but this is, of course, a very minor complaint. Such great technical thrash metal hasn't come out of Australia since the one-album wonder Bezerker; with this side of the genre not being represented very well in recent years, it's great to see another rising star in the field.
The whole EP can be downloaded from the band's official website.
The guys operate now under another name: Ouroboros, and their full-length (released in 2011) is a logical continuation of the Dred style. The only member who is not a part of the new act, is the guitar virtuoso Denis Vlachiotis who has focused on his solo career, and has one 4-track EP released in 2007 so far.

A Path To Extinction EP, 2006

DREDD (SPAIN)

Based on "Visceris", this band play modern thrash/death metal which has both energy and melody served in almost equal dozes throughout. Some groovy sections come forward on some tracks ("La Impaciente"), but this effort doesn't lack a lot in the speed department especially in the 2nd half where a few really intense shredders "lie in wait" (the technical semi-puzzler "La Pulga", the lashing closer "Pandemia" which boasts an imposing doomy exit). The vocals are of the semi-shouty death metal type and are not annoying even trying some actual singing from time to time.

La Cripta del Horror Full-Length, 2009
Archivos del Crimen Full-Length, 2009
Visceris Full-Length, 2012

DRESDEN (USA)

An enjoyable minor entry into the thrash metal genre with touches of hardcore and even punk, mostly in mid-tempo, with a few faster tracks; there is also an interesting, speedy version of Paul Simon And Art Garfunkel's "The Sound Of Silence".

Too Many Skeletons Full-length, 1986

DRESDEN 45 (USA)

Intense aggressive thrash/crossover which bashes most of the time reaching proto-death heights as well, but all is done professionally, without going over the edge. Even a couple of stylish melodic leads are thrown in on some tracks, but those moments can not possibly be very long, the longest number barely going over 2-min. Most of the time the music develops in a headbanging thrashy manner, with the casual appearance of the softer punk-ish composition.

Paradise Lost Full-length

DRIFTER (SWITZERLAND)

A fine member of the Swiss metal scene, Drifter offers potent power/thrash metal with nice semi-technical riffs and a somewhat epic/pagan feeling on the longer songs which would recall Sabbat. There are also nods to the NWOBHM-movement in the more melodic passages, but overall the band doesn't stray too much from the thrash metal formula, staying true to the genre most of the time. The guys rely on heavy mid-paced tiffs accompanied by cool melodic guitars with a distinctive folk/pagan touch- something quite original and unusual in those days, and they should have used them more frequently. The singer has a good mid-ranged, semi-clean tember, sounding like a rougher James Rivera. Not as distinctive and inventive as other major Swiss bands, like Celtic Frost or Coroner, Drifter were more than worthy followers.
The guys operated under the name Mana Prime early in the new millennium releasing one traditional heavy metal album in 2002. The 2010 demo looks like testing the soil for an upcoming full-length containing 3 songs of really good classic power/speed/thrash metal starting with the excellent speedster "The Clown": a vigorous uplifting piece with a nice memorable chorus, something which the band have already epitomized so well in the distant past. "Dream Eagle" is the staple for the band epic mid-paced thrasher, followed by another steam-rolling piece: "Tortured Brain" which is more aggressive riff-wise, with speed metal touches in the 2nd half, and a great doomy exit. Nothing has been changed, by all means for the better, and the guys seem well equipped to hit with another slab of their unique epic-tinged brand of metal.

Reality Turns to Dust Full-length, 1988
Nowhere to Hide Full-length, 1989
Demo Demo, 2010

DRIFTING BREED (FRANCE)

Modern groovy thrash with fast, aggressive parts reminding of the 80's (Gammacide) and nice Oriental touches ("Hope Hereafter", the stylish tribal "Intro").

Hope Hereafter EP, 2005

DRINKING SKULL (CROATIA)

The most famous and probably best Croatian thrash metal band; despite the rough production, their works of the early 90's are recommended fine pieces of classic thrash with a dark, almost gothic atmosphere. The debut is quite intense and energetic thrash metal with somewhat unsuitable low-tuned death metal vocals. The sound is heavy, although the music seldom slows down, and even moves towards more aggressive death metal riffage ("Apocalypse War"), drawing comparisons to later period Protector and Messiah. "Last Game" is a sudden turn into doomy gothic, well appropriate, considering the dark and gloomy atmosphere of the whole album, but is sprawling and slow.

"People That Make You Feel Small" offers the same intense sound, but the guitar work is more refined and technical. Some slower, gothic-tinged tracks can be found more often: "I'm Going Away", "People That Make You Feel Small", as well as an S.O.D. cover of "Milk".
"Amalgamation" is 5 new songs, which are not too far sound-wise from those on the debut, some of them even more brutal, with a proto-death character ("Retaliation From The Underground", "Amalgamation Into The End"). Two songs are heavy and mid-paced, and there is one very cool melodic gothic instrumental: "Freedom". Then come 3 live tracks from the debut, plus a vicious Slayer medley at the end, including "Hell Awaits", "Postmortem", and "Raining Blood".
The gothic tendencies have taken the upper hand on "Evil Or Divine", making it sound more like gothic metal with elements of thrash than the other way around. Apart from the gruff, death metal vocals clean operatic ones take part, as well as occasional female ones. There are keyboards, atmospheric passages; of course, the speed has been decreased drastically; there are a few headbanging delights: "Walls", which also slows down in the middle, calling to mind Crematory and the likes. "War Skeletons" comes crushing featuring furious blast-beats, and strongly reminds of the past days. But the 2nd half is gothic all the way, despite the tasteful guitar work on the intriguing "Endless Madness", which also ends with brutal blast-beats.

Our Faith, Our Life...Our Death Full-length, 1990
Amalgamation Full-length, 1992
People That Make You Feel Small Full-length, 1993
Evil Or Divine Full-length, 1999

DRIVE-BY BUKKAKE (USA)

Based on the debut: very heavy industrialized modern thrash metal which will nail you down like a hammer, the way acts like Grope and Puncture did a while ago. The music here is more dynamic and more crushing (seriously!), although the tempo seldom changes, and at the end one will not know which song in particular has caused him the splitting headache, since all merge together. As a whole the album is one of a fist-in-your-face-like experience, served with very vicious mean semi-whispering vocals, which one would hardly call singing, but are effective on the brutal steam roller-like background.
"Oozing Doom": the undustrial chugga-chugga saga carries on with full force the guys creating the expected from them noise moving in an ultra-heavy mid-pace and the staple husky semi-blacky vicious vocals. "Used Food" is a sudden blast with fast aggressive riffs, but after that the "idyll" is restored pulling out cool sterile doomy industrial on the closing "Gremlin Tsunami".

Midnight Manslagher Full-Length, 2008
Oozing Doom Full-length, 2011

DRONE (GERMANY)

Modern, quite typical for the time, post-thrash with metalcore tendencies, at times energetic, at times repetitive and groovy; the guys have done a much better job with their other project: Banished Reality, where they play cool thrash/death metal, again of the more modern type.
"For Torch and Crown" provides modern pounding thrash with metalcore leanings which this time are more accentuated on. Expect quite a bit of energy, though (check out the intense headbanging fests "Deepest Red" & "Burning Storybook"), which can't hold water against the repetitive groovy & Swedish death metal patterns, but may keep one just mildly interested in the proceedings.

Octane EP, 2006
Head-on Collision Full-length, 2007
Juggernaut Full-length, 2009
For Torch and Crown Full-Length, 2012

DROP DEAD (USA)

The band's line-up includes Ritchie Wilkison: the guitarist who later joined Angel Dust. Based on the "Our Forgotten Destiny" demo, this band plays heavy mid-paced thrash with a strong bass presence, recalling Exhorder's "The Law". The style precedes the groovy post-thrash genre which sprang up at around the same time. Later the guys continued their career under another name: The High Council, where the transition into worthy Pantera followers was complete.

Drop Dead Demo, 1989
March Of Empire EP, 1990
Our Forgotten Destiny Demo, 1990
Death By Fusion Compilation, 1994

Unofficial Site

DROP HAMMER (USA)

If we exclude the last track "The Sign" which has as much to do with thrash as the works of AC/DC or Kiss, the rest is a good attempt at more technical thrash ala early Megadeth. The vocals try to stay close to Mr. Dave Mustaine, but are more of a hit-and-miss affair. The riffs are interesting and follow quite close those on "Piece Sells,...": mid-tempo with cool technical guitar work without overdoing it with too many complex sections. There are times when the guys leave the thrash metal ground, and these are the moments when they try to sound more complex ("The Kindred", "Someday Rising"), but when they keep it short, like on "Pull the Plug Out", they can really thrash along with the best.

Mind and Body Full-length, 1991

DROSERA (CHILE)

An awful sound quality makes this recording barely listenable. Otherwise this is raw thrash/death of the seemingly classic type, blasting uncontrollably on quite a few times, topped by undecipherable growling vocals, which are higher-pitched than the usual death metal throat, but don't leave a very positive impression. The guitars are fairly messy often coming as one big chainsaw-like buzz.

Demo I Demo, 1989

DROSS (USA)

A really nice obscure slab of classic power/thrash metal in the best tradition of the 80's US scene; it starts with two heavy stompers very similar to early Jag Panzer and Griffin, only with a more obvious progressive edge, before switching onto more open sincere galloping thrash with a nice technical "colouring" on "Greedy To The Bone". Things get more aggressive on the shredding galloper "All in the Thought" which is vintage late 80's Helstar. "Line in the Sand" carries on in the same vein by increasing the technicality a bit; another standout number with a very cool balladic break in the middle. "Living Dead" is the guys' tribute to the epic/doom metal genre, and "Choice Is Yours" is excellent dark progressive power/thrash metal in the best tradition of Sanctuary's "Into the Mirror Black". "Kemmier Experience" is a brooding exercise in proto-doomy power/thrash, before "Terror in Your Mind" ends it all in a dramatic progressive fashion, another fine slab of elaborate power/thrash metal of the slower pensive type. The singer is truly a revelation, a great versatile performer hitting all registers with confidence providing an enormous boost to the very good music summing up all the best from Jeoff Tate, Warrel Dane, Ski (Deadly Blessing), and others.

The Oracle Demo, 1992

DROWNED (BRAZIL)

Based on "Butchery Age", these guys play mostly mid-paced thrash/death metal with a classic-vibe sounding like a thrashy Bolt Thrower or Armoured Angel. There is no much technical play here, but the smashing, steam roller-like riffs will own you within a short time.
The debut has already established the style heard on the subsequent album so expect no surprises; maybe the music here is softer with both epic and technical pretensions (both directions are displayed on the cool "Third Master"), and overall the sound is closer to thrash, and here the death metal leanings are more towards the Swedish scene: "Learn to Obey", "Wisdow Without Direction". Hats down to the guys for the nice closer "Come and Taste the Victory": death and thrash metal of the fast variety "marry" amidst nice semi-technical "decorations" and beautiful melodies.
"Belligerent-Part One: The Killing State of the Art", which suprisingly comes after the 2nd part, is a faster offering with frequent nods towards the Gothenburg legacy and several tasteful melodic hooks which contrast with the attached semi-shouty death metal vocalist. The steam-rolling nature of the earlier recordings shows up for a while on a few cuts from the 2nd half some of them acquiring more playful aesthetics: "Knocking on Hell's Door" and especially the merry-go-rounder at the end "Come and Taste the Victory" which is a remastered version of a song from their debut.

Bonegrinder Full-length, 2001
Back from Hell EP, 2002
Butchery Age Full-length, 2003
By The Grace Of Evil Full-length, 2004
By The Evil Alive EP, 2006
Bio-Violence Full-length, 2006
Belligerent-Part Two: Death and Greed are United Full-length, 2011
Belligerent-Part One: The Killing State of the Art Full-length, 2012

DROYS (FRANCE)

Arguably the finest French thrash metal band after ADX; the line-up includes members from other distinguished French metal acts: Misanthrope, No Return. Their style is more of a death/thrash metal hybrid of a very technical nature recalling Watchtower, Coroner and Chemical Breath. The music has only a few shades of death metal, and the tempo is quite intense for most of the time with sudden time changes, virtuouso leads, and amazing basswork only compared to Steve DiGiorgio even surpassing him at times (sorry, Steve!). Both the EP and the full-length are no-brainers with some of the finest puzzling riff-work ever with ultra-technical sections, but before one gets lost in them, comes the more immediate faster material to put the listener back on track. Their full-length must have completely overshadowed the same year's ADX's not very impressive comeback album.

Experience EP, 1995
And If... Full-length, 1998

DRUNK (BELGIUM)

These "Antwerp city thrashers" will split your head with blistering thrash/crossover with a steady classic root which develops in a stable consistent up-tempo teh guys shredding with force jammed in a more relaxed manner on a few slower modern-ish numbers, and generally having good fun with their stripped direct guitar approach the vocalist singing his heart out in a shouty attached semi-clean fashion.

Antwerp City Thrashers ... EP, 2010

DRUNK IN VIOLENCE (MEXICO)

This is roughly produced old school stuff which is on a fairly amateurish level both music and vocal-wise the guys' efforts hampered by the noisy background from which only the thundering omnipresent bass can be heard clearly and the bass player should either find himself another more capable band or try to inspire his comrades to elevate their musicianship somehow. The guitar cut and saw with a drilling buzzy edge and the singer grunts in a messy incomprehensive manner. The bash is endless and the few thin screamy leads only add more to the mish-mash which needs serious refinement before reaching even the average standards of the scene.

Death-Volution EP, 2012

DRUNKARD (GREECE)

The debut: German thrash-worship: enjoyable although one-dimensional thrash attack in the vein of Sodom's "Persecution Mania", with shades of Slayer's "Reign in Blood" scattered throughout. "Like Sin Explode" is by far the better effort, thrashing with force the whole time, now moving more towards the Bay-Area and Slayer. There is no speed lost on this album, all the tracks are furious displays of steel aggressive riffage topped by the gruff death metal vocals. "My Nomad Wings" calms down in the middle with nice Oriental motives in mid-pace, but the "slaughter" carries on with "Project Cancer" in the spirit of early Testament which means that the infatuation with speed has been diminished a bit, and a pinch of technicality has been added on the vigorous headbanging closer "Murder Carnage". The guys have done a good job jumping over the samey-ness which was the main "hurdle" on the debut, now managing to reach the front row of Greek thrash metal standing proud beside acts like Crucifier, Released Anger, Memorain, Spider Kickers, etc.

Hellish Metal Dominate Full-length, 2004
Like Sin Explode Full-length, 2009

DRUNKARDS (ITALY)

Based on the debut: cool speed/thrash metal: on the shorter, faster tracks the guys could compete with the best, but there are others which are slower, longer ("Don't Search For Answers") and spoil the good impression. The inclusion of a ballad -"Lost And Lonely", doesn't help things much, either. If we ignore these moments, the rest is not so bad, actually.
"No Trace of Sanity" was recorded less than two years after the debut, but saw the light of day whole 20 years later, in 2009. The delivery recalls the Bay-Area more than just now and then, and the guitars have more edge. Again we have a mix of slower longer and faster shorter numbers, but the former are more appealing this time never losing the thrash metal idea; the only disappointment would be the poppy heavy rocker "A Woman Like You". The latter, on the other hand, are crossover-laced providing a jolly optimistic atmosphere. The closer is the other downside: an overlong (7.5-min) soft ballad which considerably spoils the entertainment at the end.

Drunkards Full-length, 1987
No Trace of Sanity Full-length, 1989

DRUNKEN STATE (UK)

Cool thrash metal similar to another British band- Xentrix; these guys are perhaps more ambitious, with longer songs and more twists. The singer has a powerful voice which, when going for the higher registers, will remind you of Messiah Marcolin. The music is more effective in the shorter tracks which are nice little thrash gems of the mid-paced variety; a really good band from the British metal underground.

Bags Not Carry The Coffin EP, 1988
Kilt by Death Full-length, 1990

DRUNKILLER (MEXICO)

This Mexican trio specialize in right as rain early Germanic thrash whic is delivered in a vicious aggressive fashion and a not very good sound quallity which makes the drums put too up front. This is bashing stuff with not too many musical merits, if any at all, seeing the band on a pretty basic beginner's level, but it all sounds as though they have just gathered together to pass the time without any serious intentions.

Kill or Die Demo, 2012

Official Site
http://www.dryrot.de/

DRY ROT (RUSSIA)

Modern thrash metal mixed with hardcore of the more sensible serious type, with shifts into ballads, more conventional heavy metal patterns, and stripped-down punk. Those deviations are too many for the thrash metal fan's taste, dissipating the several more hard-hitting moments which could have turned into something more thrashy if given a chance.

Omnium Gatherum Full-length, 2003

DRYROT (GERMANY)

Based on "God(s)Eyze", these guys come up with a style which is a direct take on the groovy thrash of Machine Head (think "The More Things Change..."). When they try to break the trite formula, they speed up and then the style moves towards Pro-Pain. There is an awkward use of clean vocals which sadly recall some alternative acts.

Dryrot Full-length, 1999
God(s)Eyze Full-length, 2005

DRYSOCKET (USA)

Heavy abrasive groovy thrash which comes as a less eventful, and much less aggressive Pantera, despite the singer's efforts to sound like Phil Anselmo (he does a good job, actually). The stoner elements ala Down are also here, but they only sound good when combined with more vigorous riffs ("Shaved, Sterilized And Destroyed"). There are scattered clean vocals as well, but they are hardly anything to be worth writing about.

Individual Acts Of Violence Full-length, 2005

DRÜNKEN BASTARDS (HUNGARY)

Based on the split with the Japanese "party" thrashers Barbatos, these Hungarians pull out similar black-ish thrash of the less intense, more playful variety. The music here has crossover decorations, also recalling old heroes like The Accused and Attitude Adjustment. Black metal comes forward on some tracks ("The Perfect Girl"), mixing Bathory and Venom influences to a really nostalgic effect. On the other hand some numbers are vintage 80's speed/thrashers ("Drünken Bastards"), whereas "Prophecy of the Evening Star" is just a bland heavy rocker ala Motorhead, with the legendary Yasuyuki (Barbatos, Abigail, Cutthroat, Sigh) guesting. At the end one will hear two covers of the guys' previous formation Vorkuta where they used to play vicious old school black metal.

Posercrusher Full-length, 2007
Barbatos Hungarian Legions Split, 2008
Global Nuclearism Split, 2009
Horns of the Wasted Full-length, 2010

DUBLIN DEATH PATROL (USA)

Two of the great voices of thrash metal have joined forces here: Steve Souza (Exodus) and Chuck Billy (Testament; (so this is how Chuck is wasting his time while the whole world is waiting for a new Testament album!) These guys have also employed their brothers (Chuck-two, and Steve-one) to help them (keep it in the family- that's the spirit!) with the recording of this "played-just-for-the-fun-of-it" work; because I really hope that this is not going to turn into a full-time band. Not that it's completely bad- it just has very little to do with Exodus or Testament. The music is very melodic mixing power, thrash and speed metal, and strangely reminds of the Metal Church's failed attempt at reformation "Masterpeace". The obligatory cover versions are also here: Motorhead's "Iron Fist", Thin Lizzy's "Cold Sweat" and Ufo's "Lights Out" (the Thin Lizzy cover might confirm your doubts that the band have something to do with Ireland, but no: the band name is a reference to a small town in the Bay Area of the same name as the capital of Ireland). This is "party" metal, if nothing else.
Will there be a "death sentence" for the brothers' saga after the unimpressive debut? Well, chances are high because this new offering is not far from the careless light-hearted spirit of its predecessor. At least, there was a new Testament album released recently so Chuck Billy shouldn't be blamed for squandering his talents anymore. This effort bites more probably with sweeping speedsters ("Blood Sirens", "Death Toll Rising") unleashed here and there, and generally the Souza/Billy duet is quite striking the guys showing skill and diversity especially Billy who uses his brutal death metal throat quite often even on mild proto-groovers like "Broken". The album loses energy in the 2nd half the songs turning into bland mid-pacers without any merits finishing this new release in a fairly unconvincing manner again; but, if this is just for having a good time, why blame them?! Let live...

DDP For Life Full-Length, 2007
Death Sentence Full-length, 2012

DULLBOOZER (SPAIN)

2 tracks of energetic all-instrumental thrash, more on the classic side, with fast lashing guitars, but also with a mechanized computerized "echo" which obviously reveal a one-man show who still manages to offer a few appetizing lead sections among the speedy riffage.

Demo Demo, 2013

DUMT (USA)

Fast, aggressive thrash/crossover ala Wehrmacht, but these guys are faster, and more vicious (no kidding!), although they very seldom reach Cryptic Slaughter-like extremes. The intensity is being reduced by jolly punk-ish breaks, all that packed in 1.5-2min long tracks.

In Humor Core Galore Demo, 1993

DUNCE (FRANCE)

Good dark thrash metal with obvious reverberations from Infernal Majesty, quite energetic, with more intriguing guitar work involved occasionally, but most of the time this is pretty cool straight-forward retro thrash. The songs develop in a moderately fast pace, but the highlights are those which combine those moments with heavy crushing riffs in the best tradition of the aforementioned Canadians ("War", although here the faster parts go more towards the German speed/thrash metal movement; "Salem Witches": a brooding sinister track with excellent Oriental leads and a main steam-rolling doomy rhythm). "Pain" is the first more mid-paced number, coming in the 2nd half, thrashing hard with dark meaty riffage; and again, some really good leads here. Then the speed returns in style with the blitzkrieg "Open the Doors", and reaches higher dimensions, on the Slayer-esque "The Last Judgement". As a finishing touch comes the very cool technical "To Live or to Die", which would make you sorry for such clever riffage not being present earlier, along with the speedy sections and the nice lead guitar.

Divine Power Full-length, 2007

DUNGEON (BRAZIL)

A nice slab of classic 80's thrash, energetic, with stylish jumpy semi-technical riffs; there is a slight shade of the modern sound, recalling Flotsam & Jetsam's "Quatro", and more melodic crossover tendencies ("In the Air"). Some tracks are really impressive technical exercises: "(Funeral District Part II) Wreck", but more often does the music take a more conventional headbanging approach: "Merciful Self Mayhem"- a mighty speedy killer; the aggressive short closer "Devastation".

See The Light Full-length, 1993

DUNGEON BEAST (USA)

A curious demo coming from a very obscure band; there are 4 tracks here: one is cool, energetic power/thrash number with good lead guitar: "The Jewel"; it's followed by "Victory": a 1-min instrumental of bass and lead guitar, quite good as well; then comes "Hell/Warrior" which is a pure early Celtic Frost worship; and finally the pleasant surprise: Mercyful Fate's haunting instrumental from "Don't Break the Oath" "To One Far Away", done by the book.
The "Noxious Consecration" demo is 3 tracks of which "Secrets Within the Ice" is just an atmospheric ambient intro. "Noxious Consecration" is galloping power/thrash with vintage allusions to the 80's American heritage; and "Sworn Allegiance" is an all-instrumental power metal cut, milder and quite melodic, but with good expressive leads. The singer retains his semi-shouty/semi-clean tember and his forceful performance is at times clouded by the not very clear sound quality.

Skeletal Assailants Demo, 2005
Noxious Consecration Demo, 2012

DUNGEONBAT (USA)

Based on the full-length, these guys offer modern speed/thrash metal with rough death metal vocals. The overall style quite resembles Children of Bodom and the Swedes Brimstone, except that the mid-paced moments here are more frequent the guys seldom speeding up into oblivion, and that's why explosive blasting pieces like "Killing Tomorrow for Yesterday" would be a shock to the adjusted senses.

Planet Echo EP, 1993
Making Out EP, 1994
The Siege of Eden Full-length, 2000

DUNKELL REITER (BRAZIL)

Pretty capable retro speed/thrash with brisk sharp riffs also containing a slight playful crossover edge; the guys lash with speed and power nailing uncompromising speedsters one after another, "Nuclear Desaster" being a particularly striking super-speed piece. In a manner not far from early Destruction ("Infernal Overkill") the band keeps the songs relatively long (5-6min) preserving the high tempo throughout, tearing it loose on the vicious brutal closer "Chainsaw...Return to Slaughter" which is head-splitting thrash to the bone. The singer tries to imitate Schmier, but adds an individual blend which is higher and more hysterical, but delivers well on the lashing speedy musical background.

Death and Pain EP, 2009

DUNWICH (USA)

A cool 3-track demo (the debut one) of somewhat hardcore-ish thrash with good high, John Connelly-like vocals; the music also resembles Nuclear Assault, but is probably heavier, and the guitar sound is slightly fuzzy at times. The promo is with a very bad sound quality now moving towards the death metal field, but in a heavy slower manner, relying more on atmosphere rather than on aggression. The singer now sings lower, although his characteristic melodic blend can be recognized without problems. Still, a few faster passages could have made this short effort a more recommended listen.

Madman with a Headrush Demo, 1991
Promo Tape Demo, 1992
Ignorance Powered by Greed Demo, 1994

DURVASAG (CANADA)

Based on the "World Massacre", this Canadian trio indulges in raw primitive old school thrash which is hampered by the hollow drums and the muddy sound quality. Otherwise the band put some effort into the recordings thrashing with force constantly keeping the tempo up. The singer shouts in a rough semi-death metal-ish fashion, but his rendings are often stifled by the isntruments.

Pure Fucking Thrash! Demo, 2011
World Massacre Demo, 2012

DUSK CHAPEL (UKRAINE)

Evil black metal of the modern type with good thrashy riffs, but not too many to make the thrash metal fans "fall in love" with this kind of music ("Tears Of The Sky" is the only pure thrasher on this album).

Almost Forgotten Experience Full-length, 2003

DUSK RITUAL (AUSTRIA)

A cool combination of thrash, black and a bit of death metal akin to Witchery and Barathrum, with nice melodic guitar work ("Fleischeseis Und Seelenfeuer").

With Rum, Skull and Crossbones Demo, 2005

DUSKMACHINE (GERMANY)

This band features two former Annihilator members so it's no surprise that the sound is not too far from 90's Annihilator. But this act strays from this band's influences and opts for a darker, Nevermore-like sound on some tracks; delivers the goods, but the inclusion of one ballad and two semi-ballads is a bit too much for a thrash metal album. The unnecessary addition of groove near the end makes things even less appealing.

The Final Fall Full-length, 2005

DUST BOLT (GERMANY)

Based on the full-length, these Germans try to stray from the dominant sound of their native land looking at the American heritage finding inspiration in Sepultura, Slayer and Devastation. As a result we have aggressive music with ripping guitars and expressive semi-death metal vocals with shouty tendencies. Some melodic hooks can be caught here and there giving the album a desirable digression (the speed metal leanings and the good melodic leads on "Toxic Attack") from the merciless fast downpour which is boosted by the crystal clear sound quality.

Chaos Possession EP, 2010
Violent Demolition Full-length, 2012

DUST CLINIC (RUSSIA)

These guys entertain themselves playing jumpy hectic modern proto-groovy thrash metal with crushing riffs and industrial "decorations"; the tempos change often, but this is not very headbanging stuff: think Machine Head's "The More Things Change..." meeting Prong's "Beg to Differ" somewhere along the way, with more moderate, not as shouty, semi-clean vocals.

Brontok.32 EP, 2011

DUST COMPONENTS (MALAYSIA)

Based on the Split, this Malaysian trio offers melodic speed/thrash with a buzzy guitar sound which sounds more classic than most of the works at that time, although some modern "adjustments" have been made, both in the music and vocal department: the singer is an awful hardcore shouter, and his synthesized delivery ruins a lot. The guys seldom go out with all the guns blazing: the music is mid-tempo, with only "VICTIM OF The Holocaust" opting for a more speedy delivery, being a vicious raging thrasher.

Censorship Will Not Remain As Long as We Complain Demo, 1997
Dust Components EP, 1998
Pirouette Of The Antisocial Split, 1999

DUST FROM MISERY (BRAZIL)

This obscure act specializes in modern post-thrash spiced with references to folk, progressive, pure thrash metal at times as well, power metal and more. The overall approach comes as a more diverse "Quatro" (Flotsam & Jetsam) mixed with a pinch of The Black Album. The guitar work is both heavy and sharp, but the constant repetitive mid-tempo may tire the listener at some point, especially on the 15-min progressive extravaganzea "Cycle of Birth and Death", which tries to be made up on the closing "The End of the World" which nicely speeds up also adding good memorable choruses with a female support and haunting keyboard implements.

Dust From Misery Full-length, 1997

DUSTYNATION (GREECE)

A pleasant surprise from Greece comes during a very difficult for the country economical situation (well, heavy metal always saves, you know (not only Jesus :))), but this doesn't seem to be a problem for these guys to come up with an excellent thrashy progressive metal affair which begins with the atmospheric Opeth-esque opus "La Vie", a great track, by the way, which in the second part starts thrashing furiously supported by standout bass work and fabulous leads. This overwhelming song is followed by the shorter technical thrasher "Freak In Motion": razor-sharp riffs will pierce your mind with the final speedy passage a welcome relief assisted by forceful death-laced vocals (the main ones are very good dramatic mid-ranged clean ones). "Coma" is aggressive progressive power/thrash with the brutal death metal vocals springing up again; it's a bit marred by the overlong balladic interlude, but the super-heavy rhythm section makes up for it. Then comes "A Pleasant Space" which very energetic fast beginning will make you mosh around; this is another very ambitious larger-than-life composition with a wide variety of time and tempo changes. "Deear Me" is an extreme brutal mixture of tender ballad and spasmodic thrash/death metal which sudden switches from one style to another are a bit too harsh for the taste, a situation improved by the closing melancholic Opeth-like insertion (who are, actually, an obvious influence on the band). Peace and quiet follow on the short instrumental "Unidentified Sights", but all hats will go off for the following "Crossed We Are": standout technical thrash crossed with sprawling balladic interludes (hello again, Opeth!). The closing "Echoing Lullaby" is well beyond the lullaby patterns although it's the least dynamic composition with slower doomy guitars and several stretches towards the ballad including the haunting piano exit. This is a nice work of serious thought-out music which will satisfy both the more laid-back progressive metal fans and those who like their music both technical and aggressive at the same time.

Echoing Lullabies Full-length, 2010

DYING BREED (USA)

Based on the demo, this band pulls out brutal and at the same time technical thrash/death, not too far from Gammacide's "Victims of Science". The tracks are long, and the guys vary the tempo nicely, alternating the intense sections with more temperate semi-technical ones.
"Repressed But Not Extinct" is less intense, now introducing the fashionable at the time grooves, and although there are plenty of heavy riffs to be heard, the album suffers from the loss of speed in the first half. The second one sees the band pulling themselves together, bringing back the aggression from the demo, thrashing hard with a death metal shade, even adding the odd cover version, in this case an outrageous speedy hardcore "rape" of the The Eagles' biggest hit "Hotel California", which one would hardly be able to recognize.

Initiate to Desecrate Demo, 1990
Repressed But Not Extinct Full-length, 1994
Fleshflower Full-length, 2000

DYING CLARITY (SPAIN)

This band is another venue for the guitarist Carlos Garcia, the man responsible for the all-instrumental outfit Achokarlos. What is on offer here is again all-instrumental stuff, but more appealing than the show-offy style of Achokarlos, being competent technical/progressive thrash/death metal with late-period Death a clear influence. The riffs are given much more space here, although there is a big concentration on melody in a way quite similar to another Spanish act of more recent times: Unreal Overflows, only that the music here is not as technical. The tracks are not very long, and there are balladic moments ably compensated by the several faster sections which near the end grow into two intense technical deathsters which in their turn give way to the last two numbers the latter being major progressive achievements with a wide gamut of moods and time/tempo changes going well beyond mere Death-worship. This is a more exciting proposition from Garcia who here teams up with two other musicians who are responsible for the drums and the other guitar, and give a vital diverse edge to the music.

Conqueror Full-Length, 2009

DYING DISCIPLE (GERMANY)

Mid-tempo thrash metal of the old school; the beginning might mislead you, though, as "Mind StasisX" begins quite intensely, and even technically, before the more ordinary laid-back riffs settle down, without completely abandoning the technical elements. There is nothing wrong with the remaining 6 tracks, but the approach is pretty much the same, seldom offering any deviations: the more melodic, and more modern-sounding "Stillborn Dreams", and another misleading aggressive beginning on "City Of Gods". The closer "480" should be perhaps placed here as well, providing melodic clean vocals and really nice melodic tunes, but clings more towards the gothic metal field at times, losing the sharpness here and there.

The Hate That Feeds Us Demo, 2005

DYING MESSAGE (JAPAN)

The 1st demo is two songs of melodic modern mid to up-tempo thrash with the Swedish school the prime target for worship. The guys clearly rely more on melody to pull it through, so expect melodic breaks, both in the riff and lead department.

1st Demo Demo, 2003
2nd Demo Demo, 2005

DYINISE (UK)

The debut: a cool energetic mix of modern and classic power/thrash with good mid-levelled clean vocals which take a more vicious gruffer blend at times; fast moshing speedsters take turns with more moderate power metal-based numbers, the sound ruined by the very buzzy guitars which make the leads not very audible.
"Decompositions" is a more aggressive offering, now clearly concentrating on pure thrash, and the first 2 tracks rip majorly with fast'n furious riffs. Later the sound acquires melo-thrash/death tendencies ala the Gothnenburg school which bring more melody, without touching the intense, speedy delivery, the latter well reflected on raging numbers, like "Emergence Day" and "Raining Blood"... sorry, "Raining Fire" (you choose which kind of "rain" is better). The guitars again come with a slightly irritating noisy edge, which doesn't do justice to the more melodic sections, and the vocals now split between the basic clean ones and not very pleasant death metal shouts, the latter by all means dispensable.

... And The World Will Bleed Full-Length, 2010
Decompositions Full-length, 2011

DYKUMA (LITHUANIA)

Retro speed/thrash metal with a very thin guitar sound, purely instrumental, with moments recalling the heavy/power metal scene. Fast and slower sections alternate, but the barely audible edge of the guitars would be a hindrance for one to distinguish one track from another since the approach is pretty samey all over with sudden explosions of lead guitar work, which is not bad at all, albeit too screamy.

Demo Demo, 1989

DYMAXION (USA)

A surprisingly classic-sounding for the time of release album featuring, at least on the first half, good thrash metal with nice, meaty riffs. There are influences from the 90's (the groovy number "Relative Aggression"), but the rest is cool mid-tempo, sometimes even slower, classic thrash along the lines of early Xentrix. "Awakened by Reality" will awake you (no pun intended) with its more intense, Bay-Area styled guitars; but after it the sound softens considerably, degenerating into pure heavy metal (“The Deceiver”, “Apocalypse”), including two semi-ballads as well (“Subconscious”, “Quiet Chaos”). This is a bit of an uneven effort, but the first part packs a punch. The vocals are kind of undeveloped, being semi-clean and lower-pitched, with a slight hardcore edge.

Awakened By Reality Full-length, 1996

DYNAHEAD (BRAZIL)

The more technical/progressive side of the genre flourishes in Brazil these days (Anestesya, X-Raptor, etc.), and these guys are another cool addition to this small, but talented group. The music is modern mid-paced with intriguing hooks and constant switches from direct heavy parts to very complex twisting ones. Even the more lyrical balladic elements are well embedded into the songs' structures: "Virtual Twin". There are not many headbanging moments, and one has to listen carefully to grasp everything which goes on here. A drawback might be considered the numerous melodic interludes which are one step from sounding just like Opeth used to do them. "Join And Surrender" is quite an avantgarde composition providing very complex parts, which are suddenly replaced by aggressive outbreaks, which in their turn give way to jumpy technical breaks, and so on. The album loses steam in the middle occupied by a couple of direct modern groovy tracks, a situation partially repaired by the presence of another groovy, but technical piece: "Do You Feel Cleansed". "The Starry Messenger" is an impressive closer, restoring the progressive standards, adding great Oriental tunes, and loads of hard-hitting riffage and twisted leads, all this accompanied by very good diverse vocal performance, and hectic tempo and time changes; a really big "apology" for the lost inertia previously, and a "promise" that the next effort could be a no-brainer.
"Youniverse" is a milder offering toning down both the heaviness and the sharpness settling for still a fairly complex puzzling delivery smelling post-thrash and alternative in the beginning, until the introduction of "Inception", which is a hectic more aggressive piece with a great operatic ending where violins and male/female choirs shake hands admirably. The impression from this outstanding composition is spoiled by the bland progressive rock filler "Unripe One", which even the good clean vocals can not save, but the clinical technical guitars on the next "Confinement in Black" will offer a compensation, ably supported by the excellent lead guitar work. "Circles" is a peaceful ballad with an alternative edge, but "My Replicator" is a heavy sharp modern technical thrasher with a headbanging potential. The "soft-hard" song alternation carries on until the end, the softer side smelling Opeth quite a bit, the closing "Onset" being the highlight, a progressive opus with clear nods to Opeth's more aggressive side as well, a multi-layered composition with a few crushing seismic sections. The diversity here is pretty big, and the guys seem to take off into various directions, all not too close to thrash metal which may be a distant memory on the next album, but fans of all things progressive and thought-out should continue following this talented act.
"Chordata I" continues the progressive mechanical saga on full throttle and not only that, but it brings back the more aggressive thrashy shred, at least in the beginning, which even takes surprising headbanging proportions on the excellent steriler "Collective Skin"; but, please, ignore the annoying clean vocal section. The bad news is that after this invigorating number the guys drown the listenr in a string of bland balladic compositions, and of the fans are still with the album later on, they will come across the more vivid "Hallowed Engine" which, unfortunately, arrives a bit late to make this effort superior to the previous installments. The band are true to their progressive modernisms and are surely not intent on keeping the thrash metal fanbase happy.

Antigen Full-length, 2008
Youniverse Full-length, 2011
Chordata I Full-Length, 2013

DYNGYR (USA)

Based on "Diabolical Alcoholocaust", this band mixes black (the predominant genre, reminiscent of early Dimmu Borgir), thrash and death metal in a somewhat disordered (at first listen), but a fairly intriguing way. The furious blasts are often intercepted by stylish technical moments ala Morbid Angel, as well as straight thrashy passages. The tempo often changes, going down to doom metal dimensions sometimes, recalling mid-period Bathory ("Blood, Fire, Death", in particular) and the Finns Barathrum, and will keep you interested, and despite the slightly chaotic nature of the music, every subsequent listen will help you get into it more and more.

Demo Demo, 2002
Reduced to Ashes Full-length, 2004
Diabolical Alcoholocaust Full-Length, 2007

DYOXEN (CANADA)

A quite good attempt at more technical power/thrash metal; the style is close to early Megadeth, but is more complex, sometimes maybe unnecessarily. "First Among Equals" is a great opener, both technical and energetic, changing quite a few tempos throughout, also boasting great lead guitar work. The next couple of songs carry on in exactly the same vein, with "Holocaust" being a particularly strong number, with fine speedy riffage. "Overcome" tones down the intensity a lot, and is a cool, but edgeless power/speed metal track, which partially brings back some aggression at the end. The numbers which follow are more thrashy, topped up by the excellent closer "Contaminated": a truly impressive technical opus, graced by the finest guitar work on the album. The singer has a cool, but impassionate mid-ranged tember, which doesn't quite suit the stylish music, and could have tried some higher-pitched tones for a change. This was an impressive entry into the already well-established technical metal genre, and the guys definitely had more to offer, but disappeared shortly after.
The "Apocalyptic Dreams" is a cool beginning, although the technical flamboyance of the debut is not very often felt, except on the opening track "Killing Game", which nicely mixes fast thrashing with acoustic flamenco melodies; and the two songs which later found place on the album ("Holocaust (Fall In Grace)" & "Sooner Than You Think"). "Deadly Deceivers" is a direct intense "deadly" thrasher, with the shorter instrumental "Agent Orange" a close second, not far from the aggression of the Sodom track of the same title; and "Apocalyptic Dreams" is a 2-min interlude of voices and sirens intertwining, with no relation to music.

Apocalyptic Dreams Demo, 1987
First Among Equals Full-length, 1989

Vibrations of Doom

DYSFUNCTION (USA)

These guys managed to present the early Slayer magic (the first 2 efforts) and spice it with a pinch of thrash/crossover. Still, it remains pretty basic stuff with a very bad sound quality and gruff hardcore vocals.

The $235.00 Pic MLP Demo, 1988

DYSNOMIA (BRAZIL)

A decent take on the heavy steam-rolling side of retro thrash with squashing riffage and intense semi-shouty death metal vocals; the guys get pissed at times, and start moshing out in a fairly unbridled manner (the proto-death bomb "Silentium Mortis"), but this happens on occasion as the monolithic heavy sound overtakes on the rest also helped by really good piercing leads.

Promo Demo, 2009

DYSTOPYA (HOLLAND)

This Dutch outfit specialize in stylish semi-technical thrash/death quite close to their compatriots Thanatos. The album begins with the serious 7-min lasher "Sovereign" which is a more clever take on the genres with contrasting tempos ably mixed together. The material which follows is shorter and more direct incorporating either blacky tendencies ("Ascension") or brutal deathy ones ("Merciless"). "Game of Minds" is a progressive doom/deathster with dark brooding overtones lasting for nealy 10-min, and "Devastator" is a really cool technical thrash/death with atmospheric undercurrents the latter taking the lion's share from the engaging closer "Retaliation" which is larger-than-life with thrash, death, black and doom metal blended into one uneven, but eventful amalgam which is rich in melody recalling acts like Bal-Sagoth and Vintersorg.

Decay Full-length, 2012

DYSTOPYA (ITALY)

This albums opens with a great thrash headbanger ("P.I.L.") in the Bay Area style, but what follows is considerably less impressive: what comes next is songs half of which are semi-balladic, with a strong alternative flavour, and the other half is modern groovy thrash. There is only one other track which matches the first one in terms of thrashiness ("Alameida"), and the closing part of "As Moths to Light". The guys' passion for ballads is given a full realisation on the closing song, which is a pure, very tender ballad, albeit with a sinister title: "Killing Time" (for lovers only).

Always Remember Me Full-length, 2007

DYSTROPHY (USA)

Based on the full-length, this act play an intriguing, but not very coherent, overdone blend of thrash and death metal with a pinch of technicality which unfortunately gets buried in the awful mix the latter making the guitars sound too muffled. They become sharper later on with a clearer production qualitties springing up from somewhere, but then the album starts to sound like played by an entirely different band (check out "Through Scenes of Buried Pain"). This hesitation in the sound quality goes on not doing great service to the guys who also insert more melodic Gothenburg rhythms in the 2nd half where the speed goes up a notch for the realisation of several notable intense pieces ("Zero Sum", the technical fiesta "Paranoid Abductions") before the sprawling progressive closer "Crown the Coward" wraps it up at the end with retouched mellow riffs and a reduced pace. The singer tries to dominate the proceedings with dramatic death metal shouts his rendings reminiscent of Anders Fridén (In Flames).

Resurrection in Decay EP, 2008
Spiral of Silence EP, 2008
Chains of Hypocrisy Full-length, 2010

DZELZS VILKS (LATVIA)

From this band's long discography, only these two albums are worth mentioning here. Their debut is full-blooded thrash/death metal, quite well done, energetic and straight-forward. "Palodze" is much inferior, abandoning the hard-hitting riffs of the debut to a large extent, replacing them with ballads, offbeat non-metallic sections, hardcore, alternative, and something which is too bad to be described. Although one of the most consistent and longest running bands on the Latvian metal scene, these guys are hardly one of the more prominent representatives of the genre from this country.

Miruąas kaijas Full-length, 1995
Palodze Full-length, 1998

D-OZZ (RUSSIA)

Based on "Deti Proroka", these guys play abrasive heavy thrash of the modern type with chunky stomping riffs and gruff death metal vocals. The approach is mostly mid-tempo with the casual shade of groove, plus the obligatory more speedy adherences which are a nice touch coming with a pinch of technicality, except those which are a pure take on hardcore.

Piece Of Granite Live album, 1998
Â Ďđĺäĺëŕő Äîń˙ăŕĺěîńňč Full-length, 2004
Deti Proroka Full-length, 2007

Copyright (c) 2007-2013 THE THRASH METAL GUIDE