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 closer "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

Official Site

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.
They 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

Official Site

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

My Space

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 Satã 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

Official Site

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

Official Site

D.K.R. (BRAZIL)

These guys lash out jolly energetic thrash/crossover in the vein of mid-period Suicidal Tendencies and Excel. The guys 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

My Space

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

Official Site

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.

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

Fan Site

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 Ïðåäåëàõ Äîñÿãàåìîñòè", 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
 Ïðåäåëàõ Äîñÿãàåìîñòè Full-length, 2004
Äåòè Ïîðîêà Full-length, 2007

Official Site

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

Official Site

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

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

Official Site

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

Official Site

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

Official Site

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

My Space

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

Official Site

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

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

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

Official Site

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

My Space

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 apporach. 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

Official Site

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

My Space

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

My Space

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

My Space

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, death 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

My Space

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

My Space

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

Official Site

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

Official Site

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

Official Site

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

Official Site

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.

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

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

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

Official Site

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 rapid-fire 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

My Space

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

My Space

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

Official Site

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

Official Site

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

My Space

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

Official Site

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

Official Site

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

Official Site

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.

Humanity Dethroned Full-length, 2008

Official Site

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

Official Site

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

Official Site

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 trcks, 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

Official Site

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

Fan Site

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

My Space

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

Official Site

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

Official Site

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" adding 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

My Space

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

Official Site

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 after the moshing.
"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

Official Site

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

Official Site

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

Official Site

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

Official Site

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

My Space

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

Official Site

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, 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

My Space

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

My Space

DARKPHASE (TURKEY)

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

Waining Moon, Setting Sun Full-length, 1994

Official Site

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

Official Site

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

My Space

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

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

My Space

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

Official Site

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.

Abuse of Power Full-length, 2003
Hear Their Cries Full-length, 2008

Official Site

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

Official Site

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

My Space

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 I have ever come across. 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

Official Site

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

Official Site

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

My Space

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

Official Site

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

Official Site

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 part 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

Official Site

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

Official Site

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

Official Site

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 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.

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

Official Site

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

Official Site

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

Official Site

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

Official Site

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

Official Site

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

Official Site

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

Official Site

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

My Space

DEAD END (SWEDEN)