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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 decent 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 three 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


Based on "Vermochtnis": 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 sparse raging outbursts. The music stays closer to death metal again with progressive-tinged sections near the end where the longest compositions have been placed, the final opus "Hall Of Fame" alone closing on nearly 8-min being a cool varied number constantly mixing heavy stomping with fast furious riffs, ending in a downbeat depressive mode ala Katatonia.

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

Official Site


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 change of style, this album is a fairly satisfying listen showing the guys's more mature, proficient musical side.

The band had a third album ready as an immediate follow-up to "Universe" which was later released under the title "Unreleased", but its release was delayed for five years. It's only six 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. Six 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


Based on the "Digital Ecstasy & Die" EP, this act indulge in industrial digitalized thrash which obviously tries to follow the lofty models of Ministry and Die Krupps, but this is too radio-friendly and dancey to even please the less capricious 90's crowd, ending somewhere in the vicinity of mid-period KMFDM only without the female vocal support.

Digital Ecstasy & Die EP, 1993
Hell EP EP, 1995
Minus Full-length, 1996


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

Atma Full-Length, 1992


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


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


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").
"Sob o Signo de Sate" is in a very similar vein; merry, but intense as well, thrash/crossover with short explosive tracks which seldom go beyond the 2-min mark and consequently seldom contain anything more than the usual friendly bash which is as close to the hardcore fraternity as it is to the more extreme examples from the early-80's punk scene (Discharge, Broken Bones).

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 Sate 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.F.W.B. (USA)

Rough modern post-thrash mixed with hardcore; the angry death metal vocals lead the show the music being a more brutal version of the roller-coaster performance of the heroes Pro-Pain with a pinch of faster-paced rhythms ("With the Bear") the latter element giving the effort a big refreshing boost. The dominant jumpy riffs are often interrupted by more vivid passages including a few nice melodic tunes ("Into a Steaming Pile of Peanutty Brown Bear Feces", the excellent closing instrumental "The Ballad of Bear Hunter Billy Dugan and the Insurmountable Cave Spelunking Expediton").

D.F.W.B. EP, 2016

Official Site


This is intense modern thrash of the more dynamic variety with shades of both death metal and hardcore. There's 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


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


This is heavy, doomy modern post-thrash spiced with sparse, 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.
"L.I.F.E." is a more brutal and a more aggressive recording sticking more often to the fast-paced parametres without completely forgetting about the choppy breaks. "F. F. F." is a very surprising short hectic technicaller which overshadows everything deeming the second half of the album virtually unlistenable except for the spacey doomy closer "Cobra".

Game With Ghosts Full-Length, 2011
L.I.F.E. Full-length, 2015

Official Site


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


Based on the "Shadows of Grime" 2-song demo, these Italians push the boundaries of the genre towards less restrained death metal territories, and they manage to create havoc not far from the one of their compatriots Schizo (the drummer Pat Pappalardo was also a member of Schizo at the time). Both compositions are fairly lengthy (5-8min), and it's admirable that the band manage to hold this ultra-brutal bash the whole time without shedding a tear. At present some of the band members operate under the name Southern Black Sand where the style is groovy post-thrash; and some of them had tried more retro-sounding stuff, in the thrash/crossover arena, as Waste with one EP released in 1999.

Church Wants More Demo, 1988
Shadows of Grime Demo, 1991


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

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

My Space


This act offer a mix between modern and retro thrash/crossover whic is fairly dynamic and at times moshes out with a fair amount of passion: "Realidad Demanda", the surreal semi-technicaller "Religion Genocida", the proto-death outrage "Virgen del Suicidio", etc. "Nuevos Suicidas" is outstanding thrash/death with a Death flavour, and the closing "Instrumental" is a very cool quiet epitaph to this nice intense offering.

Santuario de la Demencia Full-length, 2014


D.N.A. (USA)

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

Victim in Damnation Demo, 1989


The abbreviation stands for... see the album-title; otherwise the band thrash on with an abrasive edge without breaking the laws of modern thrash too much except for several more aggressive deathy moments (check out the closing rager "Parasitas"). Shades of post-thrash and hardcore can also be felt here and there also in the vocal department where the guy rends his throat in a forceful overshouty fashion. Slow and fast tracks take turns as either side reflects the optimsitic mood permeating this recording. Some of the band members also play in another modern thrash formation: Stupid Vision.

Do Not Resuscitate Full-Length, 2013

Official Site


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 three 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


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


Based on the "Dark Dimensions Of War" demo: 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) sinister opus "Don't Fear The Winter" which loses the speed for the sake of a not very impressive, one-dimensional mid-paced delivery. The following "Visions Of Darkness" is even longer (11-min), but at least the approach is more dynamic, and interesting tunes have been inserted which work well with the more aggressive riffage. The singer is a scary death metal semi-growler who suits well the sombre tone of the music.

The debut demo is not as good the guys thrashing in a more ordinary crossover manner finishing this badly produced mess with 2 cover versions: Motorhead's "The Ace of Spades"... ha ha ha!, no, not this time- "No Class" from the Brits' more laid-back rock'n roll repertoire; and Venom"s classic "Black Metal" played faster standing for the highest achievement on this otherwise fairly lacklustre work.

Solitude Demo, 1988
Dark Dimensions Of War Demo, 1990


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


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


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


Based on "", 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 half-drunken Lemmy-esque vocals and melodic guitar work. There is no variety at all and all songs tend to merge together.

Piece Of Granite Live album, 1998
V Predelah Dosegaemosti Full-length, 2004
Deti Poroka Full-length, 2007

Official Site


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

Forged In Steel Full-Length, 2012

Official Site


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


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


This band pull out modern dry post-thrash which circles around the progressive, but too much groove and too much chugga-chugga riffage ruin the more stylish intentions. "Blood" is a cool dramatic progressiver, but the rest is too unfocused and lacking ideas to really please the more demanding fans.

The Space Between Dreams Full-Length, 2016


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


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

Lethal Failure Full-Length, 2012


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


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


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 members tone it down big time with their other project: the black/thrash/ambient formation Femegericht.

The First Arrival... Demo, 2004

Official Site


Modern thrash/death which varies the tempo with intense moshers ("30 Seconds") taking turns with slow officiant pieces ("Out of Control") the latter dominating the landscape bringing some monotony with it towards the end. The vocals are gruff guttural death metal ones and take quite a bit of space.

Voices Within Full-Length, 2017



Based on "Reminiscence", these folks offer a modern blend of thrash, death and metalcore the screecy/shouty vocals adding more drama to the "melting pot". There are more intriguing patterns ("Nil Admirari") to be come across, but generally the approach is too scattered all over, making sense at times on the more aggressive material ("Ame Anonyme"), and partially on the diverse progressive Orientalism "De Mes Impropres Ailes".

Dagara EP, 2008
La regle du Je EP, 2011
La route du chaos Full-length, 2013
Reminiscence Full-length, 2017

Official Site


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


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-ish, 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.
"Back to the Sea" is another melo-death/thrash affair without any particular surprises. The guys follow the well established formula unerringly, attempting something more playful on "Walk the Plank" and the Gandalf-esque "The Dog of the Sea", the energetic aura carried by "The Drifting Isle" and the rousing epic speedster "Fortune Favors the Bold".

Secrets of the Deep EP, 2005
Paranormal Ichthyology Full-length, 2007
Terraphobic Full-Length, 2009
Vindication EP, 2011
Back to the Sea Full-length, 2018

My Space


This obscure act have done a very 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 had effortlessly summed up all the best from the past decade, crossing over several influences, ending up with an original individual approach.

Tone Zone Sessions Full-length, 1990

Official Site


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

The Pure Misanthropy Full-Length, 2012


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


Based on the full-length, this band pull out intense black-ish death/thrash with rending death metal vocals. The music has both aggression and melody in spades as evident from the cool shredder "My Tormentor". "What Can You Do For Me" introduces some death metal tunes and a choppier, more technical deivery, and "Beyond" consolidates the brutality with a portion of spastic blast-beats which remain a more regular "decoration" on the subsequent material.

Daimonos EP, 2014
Intense Madness Full-length, 2016

Official Site


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

"Tournament of Destruction" may see the guys reaching the semis, or at least the quarters, on such a tournament with their bulldozer-like, heavy approach which gets even more aggressive with the casual insertion of the more brutal death metal riff ("Obsolesence"). "Paranoia" is an instant headbanger's hit, again death metal decorated, and "Riot" arrives right after it to pour more fire into the already pretty dynamic melee. Things become pleasantly melodic on the bit slower "Who Knows", and the delivery stays on mid-tempo grounds for a string of numbers making the 2nd half less interesting and repetitive the technical fast-paced exiting riffs on the closing "Dictatorshit" more than welcome to bring back the life. The singer is now more subdued, but equally as brutal, with his authoritative macabre growls.

Desouled Full-length, 1998
Demons of My inside Full-length, 2006
Dystopia Full-length, 2008
Tournament of Destruction Full-Length, 2013

Official Site


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


Based on the "No Defeating Your Throne" demo, these Swiss specialize in classic thrash/crossover with rough, hoarse hardcore vocals. The approach hesitates between D.R.I. and Attitude Adjustment as the energetic delivery never gets broken with both punk and hardcore nodded to throughout.

No Defeating Your Throne Demo 1997
Damage I.D./Elision Split, 1997

Unofficial Site


Based on "Psychotic Truth", this outfit play aggressive thrash/death with very guttural death metal vocals. The delivery clings more towards the death metal side for most of the time recalling the good old Swedish veterans Entombed, Dismember and Unleashed. The music is expectedly fast and ripping despite the not very clear sound quality which gtries to deafen the razor-sharp guitars at times the latter even providing a few more melodic tunes on the closing Benediction-worship "Insalubrious Bard".

F.U.C.K. Fuck Underground Cocksuckers EP, 2011
Psychotic Truth Full-length, 2014



Not surprisingly, this album begins with Oriental tunes, and later on these Middle Easterners pull it off with intense headbanging rhythms which start pouring out from the opening "Whispers of Ages" the guys changing the tempos although the blitzkrieg approach seems to suit them better: check out the relentless "skirmishes" "Homicidal Death Machine" and the melo-death/thrashing title-track. "Chaos of Souls" is an excellent more technical shredder, but deviations of the kind are not very common as the band are strictly focused on the moshing side of the genre.

The Dehumanizing Factor Full-Length, 2017

Official Site


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


This obscurity is heavy crunchy modern-ish thrash which weighs a ton with the steam-rolling riffage and the mammoth rhythm-section although the good melodic singer provides the necessary melodic relief. Otherwise the music resembles the one on Sacred Reich's "Independent" and Flotsam & Jetsam's 'Quatro", maybe with a more overt groovy flair. There are a few more intense pieces ("Have Gun, Will Shoot") to be found, but this effort is already a product of its era, albeit one of the better achievements.

Damaged Faith Full-Length, 1993

Official Site


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

Lezbianz EP, 2012


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


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


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


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


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.
"End of the Game": 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 afterwards comes a string of softer power metal anthems with a touch of speed ("Psychosis"; the invigorating closer "Escape Or Die 2012") here and there. The vocalist Martin DeBourge (who also sings for the progressive metal outfit 7th Overture) is in top form, his melodic high-pitched antics compensating for the not very energetic mucical approach. Generally the album will not disappoint and could be viewed as a pretty faithful follow-up (or a prequel) to the debut, but the powerful dark overtones of the previous effort are missing for most of the time, replaced by not as impressive optimistic notes.

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

Official Site


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


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 don't keep the music in a constant energetic tempo, but quite often insert 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


Based on the ful-length, this band play dynamic ripping classic thrash/crossover the guys' blitzkrieg, no-bars-held approach toelratign a few more technical escapades ("Progress") as well. The guitar work is really good,a nd the sound quality is crystal clear, giving all the instruments a nice click. Short stomping digressions ("Skate Revenge") gel well with vigorous headbangers ("Dynamite is all that we Need") all sides handled by the intense quarrelsome shouty vocals with the requisite level of anger and spite.

No Mercy to Nazi Sympathy EP, 2016
Breathing Insanity Full-length, 2018

Official Site


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


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


A cool and a very obscure gem of aggressive thrash ala Possessed'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 that 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


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


"Speed Anarchy" is a vicious, brutal slab of speed/thrash, sounding like a poor and a more aggressive version of Slaughter's "Strappado". There are semi-successful attempts at mixing aggressive riffs with stomping, Celtic Frost-like ones ("In The Rubbish Of The Church"), but most of the time the guys bash without mercy producing some of the most aggressive and relentless tunes of the mid-80's. Despite its raw, and slightly undeveloped nature, this demo has definitely been an influence on the death metal genre including in the vocal department: these unholy deathy growls would be hard to match even by many of the contemporary death metal singers. This recording must have scared the fans even worse than the same year's efforts of Slayer and Dark Angel: not for the faint-hearted.
The "Aggressive Repulsive Symphony" demo is another chaotic piece of brutality now sounding even closer to death metal with touches of grindcore. The musicianship is below par, but in terms of aggression one could hardly find half a dozen acts at the time who had played such sincerely brutal music. More technical prowess is evident on the final rager "Slamming In The Depths Of Hell", but it may remain unnoticed due to the equally as rough muffled sound quality as on the rest.
The "Damned in Nation" demo is another portion of extreme aggression only that here the guys have messed it up a bit: instead of jumping on the death metal wagon which at that time had already shaped up, they have inserted slamming hardcore passages which mix awkwardly with the more brutal grindy ones. Still, some cuts can easily qualify for the early death metal competitions: "Deadly Faust" (check the excellent chaotic leads on this one), the spontaneous less than 1-min outburst "Exepte Vices", the slamming piece of death "Bastard Live", etc. There are whole 13 tracks here, but their very simplistic corey nature creates the impression that the songs are twice as little despite the improved production qualities.

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

My Space


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


Badly produced, but intriguing power/thrash with a few more engaging progressive decisions. Still, the more immediate headbangers ("Hollow People", the excellent technicaller "Free Man's Worship") deliver the better, especially the short explosive "Holocaust" and the refreshing speed/thrashing closer "Tomorrow's Mourning". The singer is a bit of a spoiler with his unemotional semi-shouty, death metal-ish tember.

The Beginning Of Time's End Full-Length, 1992


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


A 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 on 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-forward "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


This young Australian band provide melodic classic power/thrash which covers a wide range of moods and musical decisions. The mellow radio-friendly opener "Invisible, The Dead" is a big misleader since later on the guys thrash with force and quite a bit of speed unleashing merciless numbers like "The Meaning", "I Am", and "Reaper". "Ghost in Me" is a nice acoustic ballad with excellent vocal performance (the singer is very good all over with his dramatic semi-high clean voice) after which the thrashing continues on full-throttle with the raging "Reflections" which is superseded by the heavy semi-ballad "Carried Above the Sun" and another very nice acoustic ballad a s a finishing touch ("A World to Come"). There are quiet moments here, no argue about that, but there's also quite a lot of wild moshing to be done so there should be few unhappy with this fairly promising beginning.

Invisible, the Dead Full-Length, 2013

Official Site


Cool American power/thrash metal made in Sweden, with a hefty doomy vibe; this is nice heavy crushing music that will remind you of Nasty Savage's debut and early Jag Panzer. The vocals sound a bit strained at times, obviously struggling with the higher tones which they try to conquer every few minutes. On the darker moments ("Nailed to the Cross") the band resemble their compatriots and peers Candlemass, but there are more lively cuts ("War Without Sense", "Into My World Beyond") to which one can also add the excellent short jumpy instrumental "Beyond and Back". "Cemetary Of Life" is a magnificent 8-min dark stomping thrash metal opus, the highlight of the album, with the excellent semi-technical shredder "Scars Within the Psyche" a close second.

The Madness Never Ends Full-length, 1990


Modern thrash without any particular highlights; at least it manages to steer clear of the Gothenburg formulas moving towards the more clinical execution of Dew-Scented and Carnal Forge. The 2-part "The Machine" shows a more ambitious side of the guys' repertoire, but elsewhere the approach is right as rain including the orthodox shouty death metal vocals.

Twisted In Darkness Full-Length, 2015



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

"Choose A Side" is a commanding follow-up capturing the bridled energy of its predecessor quite well thrashing out in a direct sincere fashion and one may regret that the technical moments from the debut haven't been accentuated on: "Mutiny" clings more towards the semi-technical side and partially the clever shredder "Inhale The Hate", but the guys give up at some stage and start moshing with passion: check out "Doomsayers Of Creed" which contains a nice melodic motif, and the short outrage "Enemies Among Us". There's energy to spare here, and the headbangers will have their time jumping on this one all the way through.

Dystopia EP, 2007
Enslaved Thoughts Full-length, 2009
Choose A Side Full-Length, 2013



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

Pure Fucking Hatred Full-length, 2008
Blaspheme Culte Full-Length, 2009
The Eternal Sea EP, 2009

Official Site


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

Beyond Strength Full-length, 2010

Official Site


Modern thrash/death metal which comes served in various paces some of which are pure blasting outrage ("Scum"; but of course!). There are also nods to he Swedish school ("Times of Wrath") provided, in other words there's something for everyone regardless of the fairly derivative execution including in the "guttural vs. screech" death metal department.

Roots Of Evil Full-Length, 2017


Heavy groovy post-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


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

Heriotza Da Bakea Dakarren Bakarra Full-Length, 2012

Official Site


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

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


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


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


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


Metal heritage" from Chile we have here, one which lashes speedy relentless riffs from the get-go bringing memories of Rigor Mortis and Devastation on top of some really great melodic leads (check the ones on "Victims Of Hate") ala Kai Hansen (the song-title could be a reference to the Helloweens?). "Thrash on the Streets" is a surprisingly technical affair, considering the "dirty street" title, which would befuddle the listener further since within a short span of time the guys have inserted several influences. The speed/thrashing rifforama continues with "Murderous Tradition" and from this moment on the approach gets more immediate and linear excluding the elusive progressive leanings on "Executioners Of Mankind" and the glorious lead sections on the closing speedster "Running Amok". This is a really good effort which could win a few more points if the passable declamatory semi-clean singer pulle it out with more emotion. Some of the musicians are also active with another classic thrash resurrector: Chaotic Bastard.

Metal Heritage Full-Length, 2015

Official Site


Based on the full-length, this act, who named themselves after a popular line from the "Karate Kid" film, offer impetuous classic speed/thrash with a more or less overt hardcore edge, and a fuzzy guitar sound which betrays its modern origins. Otherwise the gand sticking to pure thrash/crossover in the 2nd half moshig wildly with a good sense of melody ("Square Tails"). "6AM Thrash Attack" would be a really rude awakening even for the hard-boiled thrashers, a really aggressive slab with a rousing shouty chorus. The vocals are appropriately semi-shouty and punky with a slight shade of melody sneaking in on the more lyrical "shreds".

Puttin' Oot da Thrash Full-length, 2014
Night of da Shred EP, 2014

My Space


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

From The Bleeding River Demo, 2010

My Space


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


Based on "Purgatorium", this outfit offer crunchy modern thrash/death metal which lacks depth and aggression and relies on repetitive mid-paced patterns and sudden spasmodic blasts which are awkwardly accompanied by very melodic leads. This mish-mash has its more vivid moments: the dramatic dark piece "The Reign of Cain", the brooding doominess of "Diogenesis", the lyrical digressions on the final "Purgatorium"; it's just that it tries to embrace too much without paying its fair share to the aforementioned basic genres ending up sounding like an incoherent gothic metal opera which was reportedly more structured and less scattered on the debut.
The debut is more epic-sounding touching Amon Amarth at times ("My Demons", "Languedoc"), but isn't completely devoid of speed ("Euphoria" is a ncie little thrasher). The closing "Dust To Dust" is a gigantic 1-min opus which manages to squeeze a few hard-thrashing monents among the progressive sparwlings, and even ends up being a fairly engaging listen.

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

Official Site


This is energetc old school thrash with a somewhat mechanical guitar sound and very guttural death metal vocals. At times the music comes with a nice technical edge ("Elevate into Dark") with echoes of Megadeth, but generally the approach is more on the rigorous, bashing side as exemplified by headbangers like the title-track and the excellent more elaborate closer "Thy Blood on My Hands".

Mechanical Healing Full-length, 2017

Official Site


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.
"The Path to Madness" is almost pure death metal "madness" the band lashing like demented all the way through not forgetting about the melodic aspect of the genre which is mostly reflected in the slower, more meditative numbers ("Negator Of God"). This is diverse, semi-progressive music which is partly marred by the use of not very appropriate clean vocals. "Saharian" is an excellent short technical head-splitter later matched by the admirable guitar pyrotechnics on "Labyrinth Of Ruin"; the rest is more on the hyper-active side as the rhythms and riff-changes are too frequent for one to be able to notice all the nuances present.

Captured Thoughts Full-length, 2006
Guts, Blood & Booze EP, 2007
Blood Rush Full-length, 2009
The Path to Madness Full-Length, 2014

Official Site


Based on "Zyezn Gamballe & Mental World", this band plays ordinary, unimaginative modern 90's post-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 from 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 to shift now 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 Gamballe Full-length, 1998

Official Site


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


Melodic semi-progressive thrash/death metal which strangely reminds 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


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

My Space


These are two songs of progressive power/thrash in the vein of Sanctuary and Helstar. Lengthy compositions with some striking musicianship involved, in the form of invigorating galloping riffs, blazing melodic leads, intense headbanging sections, squashing doomy passages, and very good attached clean vocals. This "dark alliance" could have lasted longer: there is quite a potential on display here...

Dark Alliance Demo, 1991

My Space


True legends of thrash metal, Dark Angel started their career with the inspired, but rough and a bit unfocused, "We Have Arrived" which hesitated between intense all-out thrashers ("Welcome to the Slaughterhouse", "Merciless Death") to much milder power/speed metal hybrids ("Vendetta"). Don Doty's performance is also shaky ranging from throaty proto-growls to much cleaner, almost wailing John Cyriis-like, vocals (check "Vendetta" again). No flaws of the kind, though, on "Darkness Descends", which is a shattering lesson in speed and brutality, aggressive "merciless" thrash which, along with Slayer's "Reign In Blood" the same year, rocked the metal fan's world down to its very roots. With much tighter musicianship, without any non-thrash "dissipations" this time, this album remains one of the most brutal recordings of the mid-80's, also featuring a remastered version of the band's early hit "Merciless Death" from the debut, as well as hints at a more ambitious song-writing: the 8.5-min of total thrash fury on the excellent diverse "Black Prophecies". This album also introduced the legendary drum virtuoso Gene Hoglan who stayed with the band until the end.

"Leave Scars" is an elaboration on the approach from the aforementioned "Black Prophecies" seeing the guys evolving further into a formidable perfectly polished thrash metal machine. The short fiery delivery of the preceding effort has been preserved for a couple of tracks in the beginning, but later on the compositions are much longer, although there is seldom mercy shown the band thrashing fast and tight throughout with bold hints at more interesting things to come. This album also introduced Doty's replacement: Ron Rinehart, whose semi-declamatory antics sound a but annoying at this stage, although to these ears they seem to be a match, most of the time, to the rapidfire musical approach which only falters on the off-beat Led Zeppelin cover of "Immigrant Song" thrown in the middle.

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

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

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

My Space


The debut: these "dark apostles" indulge in intense modern thrash/death with more macabre blacky overtones which also come from their corpse-painted faces. The guys play quite fast reaching blasting extremes ("I Am the Crucifier") with ease, and tracks like the detonating semi-technicaller "The Judas Cradle" only make the proceedings more appealing. On the rest the thrashy melee is guaranteed nicely supported by the cool bass bottom, but hampered by the hissing sounds emitted by the guitars at times.
"Apocalyptic Cabal" continues with the "carnagge" experienced on the debut the by notching a bit the black metal elements for the sake of the thrashy ones. As such this recording would be of little interest to "Mandate" one of the few full-blooded thrashers here the rest embracing the black/death metal hybrid whole-heartedly the title-track at the end strongly recalling the early exploits of Dark Tranquillity and In Flames.

Arcane Omniscience Full-Length, 2012
Apocalyptic Cabal Full-Length, 2016

Official Site


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.
"Ode to the Ancients" is "an ode" to the progressive side of power/thrash and as such it delivers on all counts with sharp lashing riffs, beautiful melodies, a couple of furious passages, and some impressive performance from the singer who this time dares into the higher registers quite a bit recalling Warrel Dayne (Sanctuary, Nevermore). The album is divided between short more immediate (the ripping headbanger "Hittman") and longer, more engaging compositions (the heavy shredder "Myth and Superstition"). "Thrive" is almost doomy with its high-octane seismic guitars influencing the following Nevermore-worship "Sever", before "Lost in Shadowland" acquires mellower, more balladic overtones. "Pretenders to the Throne" is an impetuous galloper with nice melodic insertions, and "War in Heaven" is a more spacey progressiver somehow logically leading to the closer "Animus Acerbus" which is the only pullback being a full-fledged lyrical ballad.
"Non Human Contact" is a compilation album containing songs which were leftovers from the previous album, in league with a few numbers of similar fate from "Flowing Black", plus a couple of very good covers: "Sacrifice" of the obscure American power metallers Torment; Death's "Lack of Comprehension", Scorpions' "Sails of Charon", and Crimson Glory's "Red Sharks". At the end there are also several never released before tracks from their first 2000 demo.

Alien Factor EP, 2006
Alien Factor Full-length, 2006
Flowing Black Full-length, 2009
Ode to the Ancients Full-length, 2013
Non Human Contact Full-length, 2013

My Space


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 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


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


Based on "Murder Motel", this band play brutal thrash/death which is perhaps more death metal-based, including the vocals, the guys playing with force sticking to the up-pace for most of the time seldom lashing with stomp ("Kill the Crowd") and playfulness. "Dead Birds" is an appropriate technicaller which gives rise to a couple of more aggressive, more clever pieces the series finished with the nice closer "Gore On My Snare" which provides a portion of less intense, but equally as intriguing riffs.

Days of the Mosh Full-length, 2008
Murder Motel Full-length, 2014

Official Site


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 dominate the landscape. 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


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


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


This new formation, who were previously known as Nocturnal Fear when they played classic thrash/death metal, play epic modern power/thrash which has its common sides with the 80's American scene (Jag Panzer, Omen, Savage Grace on the faster moments), but there are angrier elements to be caught: the nice fast-paced progressiver "Dragonmount", although the officiant tone is seldom broken the closing "Spice World" (!) being a sprawling power metal saga giving a lot of room to the very good soulful singer to perform who could be even considered the highlight here.

Prey for the Future Full-Length, 2013

Official Site


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 metal 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


2 guys are behind this project and it sees them thrashing with passion by balancing the approach between the modern and the classic school, and between slower and faster numbers. The sound has a thick dark, gothic feel to it which goes well with the macabre semi-death metal vocals the latter especially fitting to the morose doomy parts ("Poimandres").

Divide Et Impera Full-Length, 2012

Official Site


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


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

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

Official Site


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

Demo Demo, 2011

Official Site


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

Through The Iced Sky Demo, 2010

Official Site


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't 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


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


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


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.

Sat\'e4nic Destr\'f6yer Full-length, 2006


These Colombians pull out classic black/thrash which is vicious bash for at least half the tiime, pretty fast and dynamic stuff with a few death metal leanings (the opener "Vientos De Guerra"). Things go towards the melodic thrash camp later in the 2nd half, and some melodies one may find addictive (check out those on "Doncella Lujuriosa"). Blast-beats are certainly applied, but their presence is not annoying. The vocalist is a demonic raven-like screecher fitting the intense musical approach just fine. The guys are also active with the death metal outfit Rotten Spiritual, and the black metal purveyors Sinner Serpent.

Vientos de Guerra Full-Length, 2013

Official Site


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

Upon The Altar Full-Length, 2011


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


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


Based on the debut 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 isn't much to relate it to the thrash metal field.
“Portrait of Evil” is again more on the power metal side without any particular thrashy surprises, but “Patterns of Chaos” hadrens the course as evident from the very opening title-track which is an intense quasi-progressive power/thrasher with later-period Death tendencies also reflected in the more aggressive deathy vocals. “Psycho Navigator” is a great short galloper, and “Kairos” again acquires more ambitious, progressive dimensions, but it’s on “Immortalized” where things hit the top length-wise the band settling for 8.5-min of not very eventful mid-paced power/thrash. The 2nd half is much less interesting the guys returning to their staple melodic power metal antics consequently ruining the impression from the beginning which promised much more clever execution.

Visions of Pain Full-length, 2007
Immortalized EP, 2008
Portrait of Evil Full-length, 2009
Kairoi EP, 2013
Patterns of Chaos Full-length, 2015

Official Site


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 isn't 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


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.
The "Agonia" demo is cool more restrained retro thrash the death metal now almost completely gone as well as the vocals since the tracks are largely instrumental affairs with plenty of interesting moments on an energetic semi-technical base "Ag\'f3nia Moci" rising above the pack with its more technical riffage and a more complex structure also featuring one of the sparce vocal "excursions" on the demo.

Z\'e1huba \'9eivota 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


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 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


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.
"Land of the Dead" is in the same vein the band thrashing on with a bit more variety (the creepy semi-technicaller "Rising" which also boasts very good leads; the mid-paced shredder "The Cleansing"). The songs have a characteristic epic/pagan flavour recalling Bifrost and partially Sacrifice. The speed gets lost completely in the 2nd half and the morose semi-balladic closer "Conspiracy" comes as no surprise the guys relaxing too much maybe preparing their exit from the genre towards gothic/dark metal teritories.

War on the Church Full-length, 2002
Land of the Dead Full-Length, 2013

Official Site


A nod to the 80's scene with more aggressive death metal elements; for fans of Slayer, Devastation 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 the 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 considered another unmitigated pullback as it's also of the semi-balladic variety, also 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


Based on the full-length, these Middle Eastern folks specialize in cool classic speed/thrash which doesn't win a lot from the gruff death metal vocals which are at times suprisingly well interrupted by very good cleaner ones. Anyway, the lads thrash on in a frank, straight-forward fashion infusing their delivery with appetizing Oriental melodies (the atmospheric doomy "O! Holocaust"), and definitely doing a better job when mixing those tunes with some frenetic headbanging thrash ("Atomosphere").

Beta EP, 2013
Nation of Dogs Full-length, 2016

Official Site


This band play ordinary noisy, groovy post-thrash which only strife at originality is the several stylish attempts at melody ("Music Is All"), or the sudden more aggressive deathy outrages ("Extinction"), the former accompanied by much more melodic vocals as opposed to the quarrelsome, very shouty main ones.

Delusionation Full-Length, 2016


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


A stomping, heavy obscurity from the Danish underground; the guys notch up the speed on "Contagious Fields" thrashing more wildly even providing a few more intriguing, technical breaks. The more complex infatuatons contnue with "Silence the Anguish" which moves in a seismic, also balladic at the beginning, fashion in the 1st half before it erupts into a cavalcade of speedy crescendos later. "Biological Threat" follows a similar pattern the band thrashing in a clever, moderately elaborate manner inserting an imposing pounding section in the 2nd half. The singer doesn't impress that much with his rough, shouty death metal-ish baritone.

Memento Mori Demo, 1993


Based on the debut, this band, which is a one-man show, plays dark pounding doom/power/thrash with brooding dirgy riffs accompanied by sinister, semi-whispered vocals. The music is constantly mid-tempo and morose the only "light in the tunnel" being the cool, but short melodic leads; and the balladic exiting instrumental "From Whence I Came". The man overdoes it a bit on the few really long compositions near the end, but at least he shows his more melodic, clean vocal bravado on them, and he should by all means stick to this vocal approach more often in the future.
"The Ritual" is in a fairly similar vein, macabre seismic music which would mostly interest the doom metal fraternity, but the urgent aggressive shreds on cuts like "God Of War" and the title-track will be hard to ignore, even by the more fastidious fans. Still, it remains a minimalistic listen despite its audible echoes of veterans like Celtic Frost and Barathrum.

Dark Saint Full-Length, 2013
The Ritual Full-Length, 2015


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

M.K.C. Full-Length, 2011

Official Site


"The Darkside-373K" is a most alluring opener to this obscure effort which sees a band enamored with the thrash/death metal hybrid, also having a penchant for beautiful melodies. The shorter material ("Dead End") is more thrash-fixated whereas the longer, more elaborate compositions ("Death Overcome") are multi-layered progressive opuses with quite a few nuances provided reminiscent of Incubus and Nocturnus. The vocals are typical gruff death metal ones, but are comprehensive and more attached than what usually goes with the style.

Full Eclipse Full-length, 1995


Based on the debut demo, this band specialize in classic Americanized power/thrash which breaks the established mid-tempo mode with the blitzkrieg "Filthy Wings", a "remnant" of which lights the epic "I Swear" for more aggressive riffing at some point. The singer has a slightly sluggish clean batritone which doesn't quite shine, and more focus would be beneficial on future efforts.
The "Unmasked" shows a much more accomplished outfit with a more hard-hitting rhythm section and a more elaborate delivery reflected in the longer numbers ("Unreal", "The Asnwer") although the actual highlight here would be the shorter technical shredder "Out" which influences the final "Dots (Make You Life Count)", another speedy cut with an epic twist. The singer performs better this time although his dispassionate croons are again not on par with the better music.

Desire Demo, 2012
Unmasked Demo, 2013

Official Site


This formation pull out modern hardcore-ish thrash which is both groovy and dynamic, but the triggered guitars would be an annoyance for most of the time creating a lot of noise. Nevertheless, the leads are still striking and the guys try to porvide several headbanging opportunities which work despite the sterile mechanical riff scenery. The singer is quite versatile shouting angrily at times, but at others manages to show hisd more tender, melodic side and generally leaves a positive impression.

Raised To Kill Full-Length, 2014


This Brazilian outfit indulge in vicious intense thrash/death metal of the old school which is quite diverse with mellower tracks introduced here and there those coming with a solid doze of groove. The speed ispresent on most of the pieces, though, and the fans will have good time on invigorating headbangers like "Storm Comes from Hell" and "Sangue no Olho". The sound quality is not great making the guitars too fuzzy, and the singer is hardly an asset with his gruff low-tuned death metal tember.

Sacrifice Of The World Full-Length, 2012


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".
The full-length is a more dynamic and intense offering the guys thrashing with a good sense of melody (check out the addictive leads on "Sounds of Death") at times descending to the fields of power/speed metal ("Dream Into Nightmare", the battle hymn "Bleeding Swords") to a generally positive impression. The 2nd half is less aggressive the band sticking more to speed metal without too much thrash to be heard. Based on "Thrash is Violence" near the end "thrash" is not "violence", actually, but a happy speed metal tune. The singer now shouts too much to the point of deafening the instruments on quite a few times.

Thrash 'till Death Demo, 2010
The End of Peace Full-Length, 2015

My Space


Darkane was formed by two members of the technical death/thrashers Agretator, after that band's demise. The music isn't 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 the title-track 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 second 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.
"The Sinister Supremacy" sees the band following a safe formula which has done them good in the past, but repeating it incessantly over and over would hardly make their fanbase, at least not the very diehard one, very happy. That same diehard side of this fanbase, though, will thoroughly enjoy this relatively faithful copy of their previous album which is probably bigger in diversity due to the several slower, almost prgressive, breaks although the speedy more technical side again remains by far the more attractive one: "In The Absence Of Pain", "Humanity Defined", "By Darkness Designed". Everything is again done professionally with style, but it sadly lacks soul and involvement the guys shredding in unison sieged in the inertia accumulated from previous efforts; which is sad since they could have used the 5-year gap to reinvent themselves, ot at least to spice their now stale approach with some new gimmicks. Now this futuristic mechanized opera would only remind of so many similar works of recent years including several form the band's own catalogue.

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
The Sinister Supremacy Full-Length, 2013

Official Site


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

Shelf Life of the Damned Demo, 2009

Official Site


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

Demo I Demo, 2011
Demo II Demo, 2012

Official Site

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


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


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


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

"Duality" is a much more aggressive offering, thrashing bravely, adding the odd melodic death metal element. The music is still on the more melodic side with very good solos and cool melodic riffage (check out "Duality"). "Stranded" is a very nice heavy semi-ballad, followed by the equally as melodic, progressively-tinged "Helpless". The thrashing continues afterwards, owing to 3 new songs, as well as the remastered version of the furious "Holocaust" from the EP plus the intense headbanger at the end "Heads are Gonna Roll" (not many relations to the Judas Priest hit music or vocal-wise this time), on which I see quite a few heads "rolling" from the mosh.
"Desensitized" is another modern melo-thrash affair with the singer now really shining with his clean emotional tember which inevitably brings a few slight adjustments in the musical approach which settles for less eventful happy 90's speed/power metal at times ("End Of The Line"). The aggression of the previous album has been reduced, and now at least one third of the songs are mellow heavy/power ("Tomb Of The Unknown Soldier") metal offerings, a not very desirable shift from the guys' past approach.
"Never Surrender" is more consistent speed/thrash-wise, and the guys this time shred with more vigour, with speed metal assisting at very opening opprotunity. In the middle there are a few slow balladic/doomy cuts, but an immediate compensation is immediately offered in the face of the super-speedster "Duality", and later with the lashing mid-pacer "Heads Are Gonna Roll", and the aggressive pounder at the end "Anthem for Doomed Youth".

Enough is Enough EP, 2006
Duality Full-Length, 2009
Desensitized Full-length, 2011
Never Surrender Full-Length, 2014

Official Site


4 Mexicans have decided to play some modern melodic thrash/death which tries to walk its own path by using choppy, crunchy riffs which are not very fast and often are plain friendly with nice melodic hooks present. "Chronicles of a Possessed Mind" is a cool more aggressive shredder, but that's it from the more dynamic side. The singer is a gruff guttural death metaller who can't be heard very clearly at times.

Anti-Natural Evolution Full-length, 2014

Official Site


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


This not very known formation deliver melodic power/speed/thrash which main merit is that it's strictly classic-sounding. The demo offers rousing speedy hymns aplenty ("Deadly Years", "Dead In The Long Avenue") alongside longer, more power metal-based numbers ("Deny". the Oriental-oriented "Arabian Graves"). The vocals are too bad and ruin the impression quite a bit being harsh, unrehearsed deathy semi-shouts.

Incomplete Minds Demo, 1996


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!).
"Road to Redemption" shows a bigger musical proficiency which comes for the sake of the intensity. The compositions have become longer and more eventful with not so overt technicality served ("Fading Away") at times. The Swedish canons are again obeyed to for most of the time, but more aggressive performance inevitably comes forward in the second half: "Rise to Dominate", the diverse energetic "Peacemaker", etc. The singer is the staple for the style deathy shouter, a deadringer for Mikael Stanne (Dark Tranquillity).
"At the End of Times" doesn't betray the band's traditional histrionics as the Swedish thrash/death fiesta is in full swing here although the delivery is mellower with more leanings towards the progressive metal camp ("Deathcult Debauchery") some of which ("Ashes of Dead Gods") are really admirable achievements in the technical/progressive metal roster. The more immediate material ("Your God is Dead") isn't the fastest music in the world either, but the only genuinely feelgood cut is the closing "Land of No Return MMXVII" whic can even pass for an epic power metal hymn.

Winter Leafes Demo, 1998
Dimensions Beyond Demo, 1999
Firebreed EP, 2001
Dimensions Beyond & Winter Leaves Full-length, 2004
Phoenix Rising Single, 2006
Road to Redemption Full-Length, 2013
At the End of Times Full-length 2017

Official Site


Based on "Destruction Through the Advancement of Technology", this band play dynamic modern thrash/death which doesn't lack raging moments (the proto-blasts on "Ascension Protocol"; the grinding "monstrosity" "Life Unworthy of Life"), but for most of the time keeps the more officiant tone by adding cool melodic licks on almost every track. In the 2nd half the sound becomes more death metal-prone the sga finished by the excellent 9-min opus "In Vain" which progressive build-ups will make many wish those were the backbone for the eventual next album.

Violent Social Propaganda Full-length, 2004
Hatred Is Purity Full-length, 2007
Destruction Through the Advancement of Technology Full-length, 2014

Official Site


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


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.

Ra\'edces de la Noche Full-length, 2007

Official Site


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


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


Based on "Sin King", this band play retro heroic power/thrash which concentrates more on the epic side so expect mostly heavy mid-paced guitars with a more expressed doomy flavour on the longer material ("Rosetta Stone"). The singer does a fairly good job with his emotional versatile delivery not shying away from a few admirable high-pitches.
"Metal Reborn" introduces "metal" completely "reborn" which in this case means more aggression compared to the debut as evident from the razor-sharp title-track in the beginning. Later on some officiant mid-pacedness instills, but the dynamics doesn't get lost completely, and the 2-min headbanger "Darkworld" will rock your world big time alongside the more relaxed speedster "Whirlwind The Void", and the abrasive jumpy closer "Indifference".

Sweet Sister Vengeance EP, 2004
Sin King Full-ddlength, 2005
Metal Reborn Full-length, 2008

Official Site


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


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. "Soberan\'eda: Soberana Iron\'eda" continues the same line with slower guitar work, still classic-sounding, but pretty repetitive, except for the nice power/speed metal instrumental "Soberan\'eda" which is a cool nod to the speed/power metal scene at the time.

Esp\'edas Malignos EP, 1989
Soberan\'eda: Soberana Iron\'eda Full-length, 1995

My Space


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 sophomore effort 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.
"The Gasoline Solution": it's the "gasoline" which provides a solution to the guys'problems cause here they are thrashing again after an era of hibernation. The band were one of the earliest exits from the German metal scene failing to produce the coveted 3rd strong album, losing steam by the end of the decade. The two founding members and good comrades Arnd and Lacky are here, obviously not willing to carry on with their previous outfit Eure Erben anymore; but arguably the band's main asset from the past, the characteristic singer Olli, is not a part of this new inccarnation.
So will they be able to surprise the fans pleasantly now? Yes, they will, and with something to spare. Starts the opener "Tinkerbell Must Die" with a message more than clear (definitely not for children) thrashing wildly all the way to "Another Reich" which is more moderate in the beginning before the hard thrashing resumes in the 2nd half never to stop again a "bullet" after "bullet" being shot at the expectant listener who will thoroughly enjoy this perennial roller-coaster which is close to reaching more dramatic death metal heights ("L.A.W.") at times, those compensated by the softer soaring speed metal flourishes on "Pay A Man". The title-track is a mid-paced epic followed by the aggressive explosion "Dressed In Red", and the closing "This Bullet's For You" which is a progressive semi-ballad with some of the most vitriolic riffs on the album embedded into the calamer sections. The band have done a good job, and it would be interesting to see how they would fit into the fairly eventful German thrash metal scene in the days to come.

Death Squad Full-length, 1987
Defenders of Justice Full-length, 1988
Conclusion and Revival Full-length, 1989
The Gasoline Solution Full-Length, 2016

Official Site


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.
"Anti Human Life" would be a pull back from the very beginning due to the raw pristine sound which merges all the instruments into one buzzy noisy melee which is topped by almost constant hyper-blasts those superseded by the aforementioned stomping sections in the vein of Celtic Frost and Hellhammer (check out "Darkness"). In the 2nd half the approach starts to make more sense with more intelligible instrumental parts ("Let the Napalm Rain") where one can easily recognize the Bathory cover of "Raise the Dead" at the end made a bit sloppily with less energy and less spite than the original. One, however, has to have a much more vivid imagination in order to recognize the mayhem ocover of "Ghoul" which finishes the album; this cover is plain noise with nothing for the listener to hold on and catch the music of the Swedish veterans.

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
Anti Human Life Full-Length, 2013


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


A 3-songer of the most amateurish, most badly produced, thrash even conceived; this is horrible stuff done in your grandmother's backyard while she is preparing the barbecue for the next in line pensioners' gathering. Expect loads of noise, a very little bit of music resembling early Messiah, attempts at more brutal proto-death (again, this is very subjective due to the non-existing sound quality), and rending agonizing shouty death metal vocals. Seriously, even the most hardened completists would find it too much to spare 10MB of their hard drives for this...

Demo Demo, 1987


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

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

My Space


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


Based on the debut, this is thrash metal with touches of hardcore ala Nuclear Assault and D.R.I. The delivery is mostly on the speedy, headbanging side also recalling Wehrmacht at times ("The Mask Beyond the Lies", the lightning-speed "Shadows of Crime") with a few more or les big surprises thrown around, like the cool soulful ballad "The Truth Is Me", for instance, where the vocals take a nice cleaner turn as compared with the dominant semi-shouty hardcore-ish baritone which is also disrupted by fine female inclusons on the enjoyable varied thrash/crossover hymn "World of Sorrow".

Waining Moon, Setting Sun Full-length, 1994
Darphane Full-length, 2007

Official Site


The police sirens and the thunders from the intro may throw you into a Def Leppard territory (remember "Too Late" from "Pyromania"), but once the abrasive guitar riffage begins, the listener knows that the South American gangs are a generally safe bet since they would seldom disappoint although would rarely offer anything too striking. In this case we have proto-modern power/thrash with sharp, albeit too buzzy, guitars and throaty semi-death metal vocals. The sound quality isn't great obstructing the guitarists' efforts who indulge in hard unmelodic shredding with a few galloping temptations.

Infeccion de Mentes Full-Length, 2013



The debut: 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.
"Love Is Never Ending" shreds harder now recalling the Germans Courageous and Perzonal War on the more intense moments although the gothic "ornaments" are here as well as the nice female vocals which are too tender maybe. The 2nd half is less impressive the hard-hitting riffage from the beginning disappearing more often turning the last few pieces into one appetizing gothic opera ala mid-period Theater of Tragedy.

Where Full-length, 2005
Love Is Never Ending Full-Length, 2008

Official Site


The demo: this is interesting folk-tinged power/thrash which suddenly branches out into wilder speed/thrash with echoes of Paradox and their compatriots Viper (the debut, above all). The compositions have a strong progressive flavour which can still be felt among the aggressive thrashing. The singer is very high-strung and his antics can be an acquired taste despite his efforts to provide numerous melodic "reliefs" along the way the latter not far from early Warrel Dane (Nevermore, Sanctuary) even. The other more melodic aspect is the lead sections which are not very screamy due to the muffled sound quality.
"The Apocalypse Bell Part II-Legacy of Shadows": an imposing orchestral intro inaugurates this intense slab of old school thrash with aggressive deathy vocals. A lot of drama pours from the musical delivery as evident from "Legacy Of Shadows" which boasts a great melodic lead-driven passage. "Human Pest Control" is a standout melo-thrasher with a pagan feel reminiscent of the Brits Sabbat. The headbanging potential this effort has aplenty is nicely reflected on the galloping "Megashits On Microminds", and partially on the stomping shredder "Dust Devil". "Final State Of Violence" is the next in line intense mosher, and "Escape From The Doom Desert" is the clamer, still pretty dynamic, mid-pacer. The closer "Domination Underground" thrashes hard as a final call to ensure this album's more lasting appeal to the hard-boiled thrash metal fanbase.

Fragments of Time Demo, 1991
Prayers in Doomsday Full-length, 2012
The Apocalypse Bell Part II-Legacy of Shadows Full-length, 2015



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

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

My Space


A very obscure entry which sees an act playing quite cool progressive power/speed/thrash which is bult around heavy pounding rhythms, virtuosos bass licks, and very good emotional clean vocals. There is a lot to savour here despite the very muddy sound quality; this is officiant imposing stuff with echoes of Sanctuary and Helstar partiall yunderwhelming due to the complete lack of any fast-paced temptations.

Musica De Los Muertos Demo, 1991


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


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


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

Das Cabinet EP, 2012


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


Based on the single, this obscure Finnish trio pull out dark brooding thrash with brutal low-tuned death metal vocals. This is tedious stuff with a heavy repetitive rhythm-section which just for 2 tracks (the last one is just a 1-min joke) works all right.
The full-length is an elaboration on the EP and not only that, but the guys have improved their musical skills inserting numerous brutal deathy sections which are at times supported by impressive leads ("Vortex Of Wrath"), or by funeral doomy ornamentations ("Beyond For The Darkside"). The annoying part are the many interludes which last for just a few seconds and break the songs' flow with their non-song related nature. The vocals this time are more intelligible and a bit higher-tuned.

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


This is a heavy stoner/doom post-thrashy affair which stomps forward in an expected seismic manner except for a couple of interesting fast-paced escapades ("Even If It Dies"). The rest is too prone to the balladic/semi-balladic side helped by the good soulful clean vocals.

Welcome To The Underground Full-Length, 2016


Doom/death blended with more volatile thrashy motifs; the mixture works especially on the more dynamic cuts ("Battle Worn") and the more progressive-prone ("Charm of the Rat King") diversers as doom/death at times completely disappears becoming more prominent towards the end ("Ship Breaker"). The singer is a hysterical shouty blacker who doesn't always fits the more officiant delivery.

The Harrowing Full-length, 2017

Official Site


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.
"Imbalance" is indeed an "imbalance" between the thrash and deathy (very few of them, if any at all) rhythms the guys this time way more faithful to thrash with a delivery which is more on the minimalistic side with unobtrusive moderately sharp riffs bordering on post-thrash with not very overt shades of hardcore. The whole stuff has a strange semi-technical aura which is also supported by the several more atmospheric moments (the spacey shifts on "Nonexistent") and the few more dynamic escapades (the galloping intensity of "Worms"). This style kind of suits the band who should develop this aspect of theirs further even with the risk of exiting the thrash metal realm at times.

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
Death Row Poet Full-length, 2009
Imbalance Full-length, 2013

Official Site


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

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

Official Site


Modern intense thrash with aggressive shouty deathy vocals; there's some progressive vibe lurking underneath these sterile, mechanized riff-patterns, but the guys walk their own path with dominantly heavy squashing passages recalling late-80's Slayer ("Despiritualies") quite a bit, complicating the environment with the dramatic progressive thrasher "System Condemned" which also introduces lyrical balladic strokes into the dispassionate monolithic structure.

Soulless Flesh Machine Full-Length, 2017

My Space


Two 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


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


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


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

The Obscure Awakening Full-length, 2005

Official Site


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

Shadows Of Ruin Full-Length, 2013


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


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


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


Based on the full-length, this power trio offer blistering intense classic thrash which rips through the speakers with fast lashing riffs the latter not "strangers" to some cool melodies: check out the short exploder "Lyndon Johnson", or the excellent progressive shredder "1984". The shifts in style come in the face of the light-hearted crossover hits "Democracy Delivered" and "Plan 9", and the hectic technical stomper "The Axeman's Jazz" which grace the 2nd half where the mroe diverse compositions belong. The singer is an attached hardcore-ish shouter who leads the show with authority without taking a very dominant role.

Undead Horde EP, 2013
Police State EP, 2014
Democracy Delivered Full-length, 2015

Official Site


Based on the full-length, these Basques indulge in diverse not very predictable speed/thrash which is both modern and classic also throwing a "wink" or two at the hardcore and metalcore arenas in the beginning. When the guys take themselves seriously ("Blood for Blood") they manage to come up with cool melodies and rousing stomping sections. "Ardi Beltza" is a curious semi-technical modern shredder placed in the middle, but the guys don't follow up on its more stylish delivery opting instead for soaring speed/thrash on "Old Story" & "One Life" both Helloween worships with some blistering leads present. The closing "Dawnmaster" is another speed/thrashing winner with a good chorus which suffers a bit from the nore very emotional peformance of the flat limited singer.

Thrash Warrior Metal EP, 2010
Blood for Blood Full-Length, 2014

My Space


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


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

Human Monsters Full-length, 2011

Official Site

DAY40 (UK)

Based on the full-length, these folks pull out decent modern speed/thrash which "flirts" at times with the Gothenburg canons and manages to keep respectable speed throughout without sacrificing the numerous melodic hooks along the way some of which ("Circles") come with a strong folk flavour. "Too Soon Forgotten" is a heavy seismic stomper which splits the album into two parts the 2nd one taking it easy in terms of speed finishing with the imposing doomy cut "The Antiquarian" which excels in the lead department. As a whole there's a big concentration on melody which is definitely on the positive side here inclufing the singer who possesses a versatile voice covering a wide gamut of moods and styles, from intense deathy growls to some impressive higher-pitched tirades.

Circles EP, 2013
Only the Stones Remain Full-length, 2014

Official Site


The debut: 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. Some of the musicians are "survivors" from the classic heavy metal heroes Torch who were the first Scandinavian act to raise thne metal flag high in the early/mid-80's; while others are involved in another contemporary post-thrash act Scaar.
"Rise Above It All" "rises" the band "above it all" with dynamic post-thrashy rhythms which van even make the regular fan headbang a bit here and there. The guys have made sure that the listener won't fall asleep except on the 10-ton doomster "Night of the Damned" which is an entertaining cut nonetheless. "Hellride" would be a no-brainer to even the classic thrash lovers with its fast blitzkrieg guitars, but heads will start nodding in drowsiness on the overlong balladic dragger "Days of Anger". This not very impressive number carries others with it until the arrival of the final "Apathy" which is another more energetic mosher thrashing with more passion making the band's standard approach more tolerable.

Death Path Full-Length, 2011
Rise Above It All Full-Length, 2013



Modern groovy post-thrash with shouted hardcore vocals mixed with cleaner ones; the music recalls the more melodic period of Machine Head (after 1997).
"Logos" shows that the guys haven't moved away from the intially chosen path as this effort is another groovy post-thrashy affair with friendlier balladic insertions ("We"), but also expect more aggressive exercises in modern thrash like "Misery Loves Company" and "Believer Deceiver" as well as one quite interesting alternative progressiver ("Cold and Coat").

Fit for Society Full-length, 1997
Unio Mystica Full-length, 2004
Painter Full-length, 2007
Logos Full-length, 2017

Official Site


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

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

Official Site


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


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.

Da\'9ed / Order Of The Vulture Split 2008
Nakot / Da\'9ed Split 2008
Da\'9ed Full-length 2009

Official Site


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


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

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

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

Official Site


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

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

Official Site


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


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


The debut: this Canbadian outfit indulge in a modern mix of thrash and death metal with progressive undercurrents. The speed doesn't cross any sound barriers except on a few isolated sections ("Hate Evolution") where the guys tear it loose for a while with a portion of wild blast-beats. Such shortcomings are not encountered too often, and the fan will enjoy the bridled aggression of pices like "Machines" although the closing "Flames of Brutality" will try to engage you in a more careful listen with more serious formulas. The vocalist growls his way in a forceful, but not very intelligible, manner.
"Death Always Wins" has a more simplistic sound the overall approach now quite reminiscent of the Gothenburg school with virtuous melodies provided from all sides and several impetuous gallops ("Forgotten Sacrifice") disrupting the instilled "idyll". "Bred To Die" is the other more aggressive disrupter giving the energetic boost this recording by all means needs, and something its predecessor was offering more readily.

General Carnage Full-Length, 2013
Death Always Wins Full-length, 2017

Official Site


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


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

Sick Mind EP, 1992

My Space


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


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.

\'85When 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


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


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


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. Some of the band members are still active at present with the death/thrash/black metal formation Deathsaw.
The EP is a brutal concoction of thrash, death and black metal trying to give its fair share to all genres, but thrash seems to have been left behind its presence gracing the shorter material, like the intense rager "1971", or the abrasive Slaughter-esque ripper "Cessations". The 2nd half of this effort consists of shorter faster pieces with a much worse sound quality; could have been a revision of some of their past works.
The self-titled is another piece of brutality with a more stripped-down hardcore flavour which branches out into less bridled grindcore even ("In the Wake of the Butcher") at times. Expect no sophistication whatsoever the incessant speedy crescendos exhausting the listener who may find some time to restore his breath on longer thrash/deathster "Antietam-Vultures Feeding" which reduces the speed considerably at times before the "carnage" continues on full-throttle a few notes later.

Demo #1 Demo, 1987
Demo #2 Demo, 1988
Demo #3 Demo, 1988
Gore Drenched Legacy Best of/Compilation, 2006
Abomination Underground EP, 2013
Abomination Underground Full-length, 2014
Dead Conspiracy Full-length, 2016

Official Site


The debut: the interesting band name doesn't presuppose any interesting music, though: this is dynamic post-thrash with more memorable riffage in the end mostly due to the the guys' good sense of technicality ("Lusk") which disappears on the longer material ("Must Be Broken") where the sound starts dragging a bit. The listener's attention would inevitably falter due to the album's length (14 tracks) especially in the 2nd half where the speed gets lost the band grooving with not much emotion imitating the Metallica modern experimentations from the mid/late-90's.
"Obedience" is much more interesting opus with hard thrashing riffs nailing the listener from the get-go, and even the more laid-back tracks ("The Bitter Taste of Sin") carry a sense of menace. "Oak Trail" is a ripping Slayer-esque rager matched later by the title-track in the middle. The 2nd half is not as intense the band settling for a steamm-rolling mid-tempo again recalling Slayer on the morose dark "Haunted" at the end.

The Hand of Death Full-Length, 2012
Obedience Full-Length,2016

Official Site


Chaotic industrialized thrashcore the band generally sticking to the speedy execution seldom offering something more coherent (the friendly crossover hymn "Shillelagh"). "Bela Lugosi's Dead" is a cool morose doomy cut, and the final "Church of the Motherfuckers" is an interesting psychotic cut with numerous influences showing up reminiscent of Strapping Young Lad.

Dead Cross Full-Length, 2017


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


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

2 Minute Warning Demo, 1991
Infinite Demo, 1992


This is "surgical" semi-technical modern thrash which relies on both speed and more quiet atmospheric moments. The resultant blend is a bit uneven the guys inserting quite a few gimmicks throughout including descends to post-thrash and hardcore which start to dominate in the 2nd half reducing the dynamics turning this effort into a cavalcade of various rhythmic patterns accumulated without making much sense. The singer is not anything special, either, with his brutal low-tuned semi-shouty tone who at least makes himself heard clearly for most of the time. Some of the musicians take part in the death metal/grindcore formation Divine Noise Attack.

Surgical Delusion Full-Length, 2013

Official Site


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

Visions of Death Demo, 1991


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

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

My Space


A representative of the more brutal side of the Dutch thrash metal scene; except on "Dream Deceiver", a more polished and refined effort (and their best so far), the band plays very aggressive thrash/death metal of the classic variety which has acquired modern tendencies on later works. The vocals on the debut are one of the most vicious, tortured ones you might ever come across, more on the black metal side- think a more brutal variation of Patrick Ranieri (Hellwitch); the music there also tries to follow that same band's patterns, but the guitar work is more simplistic, and most of the time the sound is just brutal bashing. One would be surprised to find that these are the same musicians who took part in the technical death metal masters Lethargy (some of them).
"Dream Deceiver" features a heavier and tighter guitar sound with genuine technical sections, and better mid-ranged death metal vocals. The aggressive approach hasn't been abandoned, but here it produces much better, and listenable results: "House of Ambiance", "Repulsive Emission". On the best moments the guys come close to Pestilence and Death: "Unholy", "Dream Deceiver"- tracks full of energy, technicality and great leads. The slower, heavier side of the band's style is also quite good and technical: "I or the Needle", "Dying Angels".
Whether the band would continue into a more progressive and abstract direction, the way Pestilence did on "Spheres", remained to be seen, but the fans had to wait for 6 long years in order to hear something new from their camp. "Kill Division" would be a disappointment to those who expected something more technical in the spirit of the predecessor. This is a direct, aggressive attack, very similar to the debut, with even shorter songs, and more straight-in-your-face delivery. Stylish guitar riffs could be heard occasionally ("Sprayed into Oblivion", "Where Silence Dwells", which slow down, and are really intriguing). The vocals take a more hysterical, vicious turn, which sound appropriate, except on the last song: a cover version of Saxon's "Heavy Metal Thunder".
Another long break followed (these guys like to take it easy), before "Haatland" was released. The sound is more modern, but the music is more controlled and not as fast, compared to the previous offering, and is way better. It's the faster tracks, as a matter of fact, which sound more appealing: "Phantom Palace", "Supreme Forgery", "Dog God", and this is where the guitars have more edge and technicality. The rest is slower and heavier, and it sounds as though the guys are looking for a new face, which would hopefully be further polished on future efforts.
Wow, what a pleasant surprise: these guys never cease to startle the listener; "Depression Tank" is nothing like its predecessor; it shreds in an awesome classic fashion, not as vicious and brutal as their early efforts, but not too far behind, and with great technical riffage, not omnipresent, but quite a stylish insertion, when it comes around. Otherwise this is aggressive retro thrash, quite fast, sounding closer to Invocator's "Excursion Demise", rather than their earlier output, reaching even further on the more inspired technical moments: the speedy technical shredders "Daemonique" and "Less Than Zero". The lead guitar work is much better than before (check out "Firegate"), and shattering speed monsters like "Hateland" and "Green Angel" will break your neck. "Nero Dies" is the only slow track with steam-rolling heavy pounding rhythms, and although being a worthy number, gets buried amidst the sea of raging uproaring super-fast riffs. This is by all means a great return for the band to the field, and a main pretender for the thrash metal crown of 2009.
The "Dog God" EP is a frenetic affair the guys thrashing with all the vigour and force they can muster with great melodies also provided on the title-track. "Total Eclipse" is an Iron Maiden cover breaking the aggressive mode with its friendlier rhythms, and "Identity" follows a similar path with more relaxed crossover-ish decisions.
"Swine Plague": the band are back after a lengthy 8-year hiatus, but they haven't fotgotten how to bang the heads of the fans as the opening burster "Helhuizen" shows so well. There's no slouching later as nearly every track is shot with the utmost intensity "13 Close" providing more moderate galloping decisions alongside more technical riff-patterns. "The Day Of The Devil" is another heads-down mosher, but "Spanish Horse" brings back the more stylish approach although two in a row there won't be here as "The Gates Beyond" bashes with no mercy reaching deathy parametres. "The Battle Of Europe" finishes this hyper-active effort with aplomb adding nice melodic tunes to the intense shreds, marking the return of this Dutch powerhouse who should remind of themselves on more regular intervals.

The Feast Begins at Dawn Full-length, 1991
Dream Deceiver Full-length, 1993
Kill Division Full-length, 1999
Dog God EP, 2004
Haatland Full-length, 2005
Depression Tank Full-Length, 2009
Swine Plague Full-Length, 2017

Official Site


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

Regressive by Default full-length, 2006

Official Site


Based on the debut, this band is one of the first to jump the death metal wagon in the late 80's. The music is still more of a thrash/death mix influenced by Dark Angel's "Darkness Descends" and Slayer's "Reign In Blood". The tracks are short brutal electric shocks which might startle those not prepared to hear this, especially coming from a not very known band.
"The Beast That Comes": the "beasts", or rather "horses", are back but the mild rocker "How We Rot", which opens the album, will hardly impress anyone. However, come s"So I Die", and the thrash/death amalgam comes back to an extent the guys mixing it up later with doomy hymns ("Gifts of Eden", the title-track), punky roller-coasters ("Beat on the Brat"), and a few surprising displays of more technical dexterity ("Horsecore"). All over the place the band are at this returning stage, but they will surely find the right way to win back the hearts of the fans.

Horsecore: An Unrelated Story That's Time Consuming Full-length, 1989
Peaceful Death and Pretty Flowers Full-length, 1991
Boil(ing) EP, 1996
Loaded Gun EP, 2013
The Beast That Comes Full-length, 2017

My Space


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

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


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

The Most Bass Demo, 2006


"Amidst the chaos" arrives this band who specialize in rough modern post-thrash with a thick, crusty sound. There's nothing bad with this kind of approach; it's only that there are no fast-paced temptations to be encountered except for "Crucible of Conflict" which is a death metal-oriented brutalizer, and majorly livens up the situation. The vocalist is a very brutal growling death metaller who makes a reall effort to be more clearly heard.

Amidst the Chaos Full-Length, 2016

Official Site


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

The Combination Full-length, 2009

Official Site


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

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

My Space


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

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

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

My Space


Based on the 2 demos, this band play classic speed/proto-thrash metal moulded after the early examples from the German scene (Helloween, Warrant, Vectom). The guys execute simplistic, fast-paced hymns which are memorable and even sing-along at times despite the vocalist's rough, low-tuned deathy delivery which is the worst possible choise for such uplifting music. Nevermind, the guys compensate with rousing, "eagle fly free" rhythms which are totally devoid of the cheese that had permeated the works of the 90's power/speed metal movement representatives from around the same time. The sound quality on both efforts is quite muddy, but the energetic approach overcomes this obstacle. Later the guys formed a new act, Volkssturm, this formation's style more strongly oriented towards thrash metal.

Lights on Graves Demo, 1991
Alien World Demo, 1992
Dead Will Never Dies Full-length, 1995


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

Concrete Law Full-Length, 2013

Official Site


These Finnish "dead samaritans", who have one female "samarittan" (the name Valendis Suomalainen) among them, provide capable old school thrash with references to Holy Moses, of course, the girl trying her best to sound vicious and spiteful with a dark death metal tember. Music-wise this is not exactly "Finished with the Dogs", but cuts like the galloping "Laid to Waste" and "DB 13", and the short splatterer "Royally Fucked" will keep anyone pleased. There is a lot of tasteful melody incorporated especially on the slower numbers ("Hell If I Care") which are not that many, but manage to alleviate the "pain". "River Runs Red" is a sweeping speedster with very good leads, and "In the Shadows of the Mind" hits the other opposite being a sombre doomster which is superseded by the cool thrashing closer "Welcome to the Death Zone", a fitting way to finish this cool tribute to the retro canons. The musicians are also involved in other projects: the death metallers Standard Issue Death, and were previously known as The Beauty of Dying where the style was more on the death metal side.
Sing "the devil tunes" with "The Devil Tunes" which are embedded in short compact tracks and hard-hitting, generally fast-paced, riffs which are aptly assisted by venomous serpentine vocals hissed wiht a witch-like, macabre determination. The guitar work leaves room for more melodic deviations: the cool more elaborate "The Madman's Portrait" which provies stunning lead sections. In the 2nd half the music becomes more dynamic and headbangable led by the Destruction-esque "Darkness Brings the Beast" and finsihed by the closer "Last Man Wears the Crown" which pounds forward in a clever semi-technical manner also delivering a few imposing atmospheric passages. This is a fairly good work which sees an act able to combine the aggressive nature of the genre with surprising laid-back atmospherics (remember Fear of God).

From Rust to Dust Full-Length, 2013
The Devil Tunes Full-length, 2014

Official Site


The debut: this is well-constructed modern thrash of the technical kind. The guys shred with mechanics and sterility, but the more melodic licks hang in the air dissipating the futuristic atmosphere which comes quite close to the "hectic patterns" of the French death metallers Hectic Patterns from where the band have borrowed two musicians who pair here with members of the symphonic black metal brigade Ufych Sormeer. The leads are particularly great and rule over the clever, but hardly striking riffage which becomes more and more standard with each passing song losing the intriguing beginning which promised a delight not far from Altered Aeon and mid-period Darkane. Next time...
The "Dusting The Rust" EP is a moderately cool follow-up with long complex compositions some of them on the dragging, overdone side ("An Inner Battle"), others on the spacey progressive ("Indigestible Mash") one. Regardless of the approach the music still lacks the needed sparkle to make it great, and although "The Whore Who Pays You" tries to make up with a solid portion of swirling technical riffs, this effort is just another decent one which hints at the unrealised potential.
"Prophecies" is the next in line modern thrash saga which this time comes with more officiant atmosphere ("Blood Links Alienation"), and actually hits the mark on the more aggressive material ("Homogenetic", the varied melo-thrasher "Guidestones"). "The Four Minutes of Hate" is a briliant progressive instrumental with great spacey accumulations, the undisputed highlight here; and "Sexual Binging" is a curious mechancial headbanger with a nice memorable chorus. The 2-part "The Dissident" saga at the end is also worth mentioning with its dramatic build-ups and the attached vocal performance.

From Rust to Dust Full-Length, 2013
Dusting The Rust EP, 2014
Blackening the Shadows EP, 2014
Prophecies Full-length, 2017

Official Site


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

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

Official Site


Based on the 1993 demo, these Mexicans provide intense devil-ish retro thrash with husky blacky raven-like vocals. The approach is on the fast energetic side, think Darkness, early Deathrow, and Exumer the guys lashing fiery riffs to no end the more serious delivery left for "King Of Terror", a dark brooding thrasher with more appetizing semi-technical decisions.

Demo Demo, 1993
Demo Demo, 1996


This band serve intense modern thrash/death with numerous melodic leanings the latter siding them with the Gothenburg fraternity quite often for this recording to be a truly original listen. The band don't play on full-throttle speed the whole time, and even some merry crossover cuts like "My Scapegoat" can be come across. "Colossal Pain" is an excellent technical death metal brutalizer, but highlights of the kind are a rarity the other more stylish offering being "A Song For Victory" near the end. The singer shouts in the expected more attached deathy fashion and invariably suits the melo-thrash/deathy melee.

The Island Full-Length, 2015

Official Site


Modern thrash played with energy and vigour the guys shredding with competence, but without much soul and heart so the recording has a somewhat mechanical feel to it. Some groove inevitably sneaks in, but near the end the album picks steam pulling it out well on the closing longer material ("Grab the Sand") with more intriguing dynamic riffage. The singer is a hysterical shouter who is probably "the weakest link in chain".

Planning Your Funeral Full-Length, 2013

Official Site


This is a new beginning for the ex-Accuser guitar player René Schütz who here shreds with passion producing progresively-flavoured modern thrash which isn't miles away from the sound of the reformed father band. The guys mix fast with slower riffs with the occasional more technical hook ("Drown in War") embedded , unleashing their creativity to the fullest on the closing progressiver "Ship Dementia" which is a bit overdone, but deserves kudos with its clever arrangemnets and especially the crushing stomping exit.

Crusade Against Myself EP, 2015

Official Site


This album is a classic mixture of thrash, black and a bit of death metal the blend having a characteristic epic feel. "Winter in Hell" is a heroic roller-coaster the speed/thrashing rhythms ably covered by the semi-shouty death metal throat. Elsewhere the delivery is more laid-back even touching the ballad ("Brutal happiness", nothing brutal here), and generally the guys aim at the more moderate, mid-paced side of the spectre with Amon Amarth coming to mind at times.

Mind of Damnation Full-Length, 2016

Official Site


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

Blind Hate Full-length, 2006
Cursed EP, 2008

Official Site


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

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

My Space


These lads pull out dark brooding modern thrash which is more attractive when it's fast and raging (Lies", "Rvptvre"), but even the slower, pounding material ("Antimatter") isn't bad at all recalling the one of Grip Inc. excluding the harsh shouty death metal vocals. "Weak" is an attempt at a more serious, progressive song-writing the latter also detected on a couple of other tracks towards the end.

Dead Trails Ful-Length, 2017


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

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

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

Official Site


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

Deadbanger Full-length, 1990


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

Satanic Bloody Drunken Thrash Full-length, 2008

Official Site


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

Take Up The Hatchet EP, 2010

My Space


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

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

Official Site


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

Evilution Full-length, 2012

Official Site


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

Capital Punishment Full-length, 1994


An alternative form of the modern power/post-thrash idea with sprightly friendly riffage, the band seldom leaving the established mid-pace also aiming at the folk metal fandom with several nice melodic tunes ("Lilith Immortal"). "Hostage Demonica" is a dynamci speedster, but the rest is too mild and pleasant to impress a hard-boiled thrash metal fan. The singer is quite good, though, his attached emotional croons the sure highlight on this laid-back opus.

Black Wolf City Full-Length, 2017


The single: two songs of dark stomping old school thrash with dark death metal vocals. The band play on in a solid steam-rolling mid-pace with very sparce attempts at speed, but their consistent monolithic sound should find its fans easily.
The full-length is on the heavy stomping side the band steam-rolling forward with the odd sense of melody ("Laments in Darkness", "Reason to Live") the latter a really nice touch and should be elaborated on despite carrying a doomy spirit. The singer is a forceful dark death metal throater and serves the purpose especially on the more sincere doom metal tracks ("Apocalypse") in the 2nd half. The band wake up at some point and start thrashing with more power ("Unpunished"), but their enthusiasm fades quite soon and they go back to their safer, but far less imaginative, sleepy approach. It can't be predicted where the guys would go from here: apparently they are not very fond of thrash so one can totally expect a full-blooded doom metal offring next time around...
"Guerreiros do Metal" is a modern post-thrasherism which again is heavy and seismic with a more obvious shade of stoner/doom. The band march on without speeding up at all, and the more hard-bolied thrashers may not stay till the end despite the crushing rhythm-section and the cool melodic tunes: check out the crowd pleasing closer "Headbangers" which is anything but "a headbanger".

No Future Full-Length, 2007
Mau Em Voce Single, 2009
Guerreiros do Metal Full-Length, 2014

Official Site


Based on the Deadly Intentions demo, this is ultra-brutal thrash with a strong death metal, and even grindcore, flavour. The musicianship is below par, despite the presence of an almost surreal lead guitar work here and there. This is so brutal and vicious that you might want to give it another spin right after that to check whether this was real. This is by far one of the most aggressive pieces of metal of the mid-80\rquote s, topped by super-vicious death metal snarls: Kelly Shaefer in the state of extreme pain would probably sound more pleasantly compared to the singer here.
The "Up to the Scum" demo is another merciless piece of brutality which is perhaps a bit more relaxed than the debut one due to the inclusion of several mellower punkish moments. Consequently the bash is not relentless, but there are casual mid-paced passages ("The Prophecy"; the over 7-min (!) elegiac saga "Gilgamesch")). The vocals are not very low-tuned, guttural and throaty, and create less noise than before.

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


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

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

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


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

"Psycho Drama" is another strong release, maybe with a heavier and also more technical guitar sound not far from Realm and Blind Illusion at times even, and stronger bass presence. The music is thrashier and more aggressive: "Solitary Confluement", and the new vocalist Larry Betson screams more than Ski. The more lyrical side of the band is expressed in the very good semi-ballad "Burial Dream... Requiem", a very well chosen title, considering that this was the last original composition written by the band.
The 1990 demo is a great follow-up to the full-length the band having moved towards the technical/progressive thrash side. "Warrior Unknown" is an awesome hard-hitting technicaller with choppy rhythms breaking the march of the vitriolic main riff-patterns which are very close to reaching Realm-esque and even Deathrow-esque heights; a smattering shredfest at its most headbanging and crunchiest best. "Immortal" has a slower, alluringly melodic intro, but the guitar acrobarics resume before long to bring Helstar's "Nosferatu" to mind, the band speeding up gradually until the crescendos reach a fever pitch mid-way the situation supervised by blistering screamy leads and these impossibly high-strung, very dramatic vocals courtesy of Ski's replacement Larry Betson. "Still in Vengeance" thrashes hard from the get-go and never lets up the marginally more linear delivery recalling the more intense moments from the full-length not without the help of the cool chorus. "Strange Twist of Fate" begins in an imposing epic manner, but the steel cutting guitars pick up speed and aggression echoing Helstar again with more dramatic progressive build-ups ala Toxik's "Think This" emerging in the middle later also making a fine showing at the end. The guys had really found their stride in the early-90's, but the winds of change soon put an end to all lofty retro metal aspirations.
The 2007 demo is a very good attempt from the guys to return to the scene by bringig back their potent old school sound by combining their more laid-back power metal approach from the beginning with the more technical, more intense delivery from their early-90's material. "Bullets" is a nice expression of the latter with its biting venomous riffage the new throat Stephen Childs lacking the range and emotion of the previous two singers, but there's plenty of inpetuous old school speed/thrashing on it for the fans to think so much about the vocal side. "Redemption" is a more epic-flavoured cut with stomping battle-like riffs following the guys' early recordings.
The single contains two pieces "Utopia in Flames" being a crunchy stomper with heavy choppy riffs, and "Divided" speeding up a bit, but also containing a few more aggressive, thrashier additives the latter becoming nicely technical also enhanced by the proficient lead section. The vocals are high-strung and authoritative the new man sounding more convincing now hitting the higher regsters more frequently to a rather positive, pathos-like effect.

Deadly Blessing EP, 1988
Ascend from the Cauldron Full-length, 1988
Demo Demo, 1990
Psycho Drama EP, 1990
Demo 2007 Demo, 2007
Utopia in Flames/Devided Single, 2008

Official Site


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

Renegade Full-length, 2009

Official Site


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

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

Official Site


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

Disarming The Antagonist Demo, 1991


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

Deathology Demo, 1987


This is 4 tracks (the "Fuck Holy War" EP) of up-tempo retro speed/thrash, reminding me quite a bit of Whiplash's "Thrashback" and Destructor's "Forever in Leather" on the first two songs. After that "Fuck Holly War" shows more courage, blasting out for a while, and "Suck My Balls" is a brutal 1-min thrash/hardcore bomb.
"Deadly Pollution" is more aggressive, now full-blooded thrash, lashing out in a furious manner: "Fuck Holy War" again, in a way not too far from Dark Angel's Darkness Descends", or adding hardcore to a not less impressive effect: "Straight To Hell".
"The Blind Leads The Blind" is another four songs of classic speed/thrash offering no surprises to those who have heard the previous two efforts; maybe a bit of Germanic thrash shows up on the speedster "Deadly Night". I believe the guys already have enough material for a full-length...
This full-length is finally a fact and one would enjoy this "hellsound" which starts with all the songs from the last EP to set up the mood for this roller-coaster of the good old speed/thrash. The rest of the material is almost as convincing "Priestkiller" being a short blitzkrieger, but there are surprises later on: the good tender ballad We'll Meet Again with a very good soulful performance from the vocalist who, by the way, is quite efficient all over with his forceful clean antics. The speed/thrashing saga carries on after this moment of serenity producing a couple of cool seismic headbangers ( Fuck Holy War , Landlords ) the ending a bit underwhelming: the overlong dragger Room of Glass which is uneventful power metal with a repetitive main theme. Still, if one skips through it, the rest would be an entertainment of a relatively above average quality which should keep the band fans happy.
The "Evil in the Night" EP is a probably a warm-up for the next full-length "carnage", but the title-track sticks to heavy mid-paced riffage which doesn't quite promise a lot of headbanging fun, but its heroic epic aesthetics should warm the metal fans' hearts. "Codex Alimentarius" is way more energetic with more ripping guitars, and the actual "deadly" mosh starts from there ungracefully continued on the short thrash/crossover outrage "Fools and Horses" which will enchant with the catchy memorable chorus. "The End" is indeed the end of this 4-songer the piece sustained in a more friendly speed metal mode seeing the band diversifying their arsenal "grabbing" tricks from several sub-genres, and stitching them together in an enjoyable, optimistic manner the good vocals also helping quite a bit with their attached forceful semi-shouty/semi-clean clean antics.

Fuck Holy War EP, 2008
Deadly Pollution EP, 2008
The Blind Leads The Blind EP, 2010
Hellsound Full-Length, 2012
Evil in the Night EP, 2013

My Space


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

Before the Nothing Full-length, 2010

My Space


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

Evil Attack/Screams and thunder EP, 1986


Based on "Anticlockwise", this act provide crisp, refreshing retro thrash which cuts deep with sharp guitars packed within relatively short (2-3min) where the mosh is guaranteed inclusing a few more modern insertions ("Left for Dead", the melo-death laced "Stapped in Black" which also blast-beats for a while). "Beauty Slept in..." is a surprising lyrical, semi-balladic deviation pulled out well by the husky, mean Schmier-like vocals.

Old School EP, 2008
Dementia Full-length, 2012
Anticlockwise Full-length, 2014



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

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

Official Site


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

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

Official Site


Based on "Webs We Weave", this outfit serve modern groovy post-thrash which offers more aggressive trashy sections, and the overall approach is more serious, with timid progressive pretensions also reflected in the lengthy compositions (6-8min on average). The The Rolling Stones cover of "Paint It Black" is quite well done the harsh semi-clean vocals nearly capturing the characteristic matter-of-fact blend of Mick Jaeger. Other highlights include the shorter semi-headbangner "The Mistress" and the ambitious, albeit overlong, closer "Walk with Me".

Off the Deep End Full-length, 1999 Espiritus Muertos Full-length, 2003 Idle Hands Full-length, 2009 Webs We Weave Full-length, 2017

Official Site


Classic speed/thrash which aptly mixes both styles, moving from rousing speed metal hymns ("Heavy Metal Deadride") to hard-hitting thrashers ("Souls and Bones", th eripping blitzkrieg closer "Rhetoric") in no time with more serious progressive overtones detected on a couple of numbers ("Brainwashed", the excellent diverse speed/thrash shredfest "Through the Trenches"). The vocals are a bit hoarse and hardcore-ish for this kind of music, but by no means spoil the fun from this entertaining roller-coaster.

Reaper Full-length, 2017

Official Site


The debut: expect brisk modern thrash with noisy abrasive guitars and semi-shouty/semi-clean vocals which at times acquire more brutal deathy shades. Fast and slower numbers take turns, but the approach is too pedestrian to impress many. The closer "Down Below" is a cool nod to the stoner/doom metal scene and is arguably the highlight on this standard effort.
"Realidad de Mortalidad" doesn't stray from the chosen path and then band continue with their staple steam-roller delivery. Nothing goes beyond the mid-pace and the doom metal tendencies sem to have gripped the band even tighter here. "Devils Cry" is a more dynamic proto-headbanger, but on an album like this they can't be viewed more than the not very necessary digression.

Last One Standing Full-length, 2011
Realidad de Mortalidad Full-Length, 2016

Official Site


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

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

My Space


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

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

Vibrations of Doom


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

Demo Tape Demo, 1990
Demo Tape 2 Demo, 1992

Fan Site


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

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


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

Deaf Indians Full-length, 1994


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

Six Heretic Anthems For The Deaf Demo, 2011


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

The Payment EP, 1999
Inhale Full-length, 2000

Official Site


A great, 4-track EP of classic 80's thrash reminiscent of Deus Vult and Mandator; just a few years earlier this band could have made quite a few heads turn with their energetic, but also quite technical music. "Conflicted" is an outstanding progressive thrasher with gradual tempo accumulations the guys aptly mixing the pace also adding a great melodic lead-driven passage near the end. "Graveyard Birthday" begins with an excellent melodic lead-driven tune before the guys start thrashing with passion, but also with a good sense of melody which grows into a handsome technical cannonade greatly helped by the very good emotional clean vocals. "The Leading to a Fall" is a short immediate headbanger, and "Prophecy of Mort-Main" is another vigorous speedster with more tasteful, semi-technical licks.
The "Violators of the Lost Wisdom" demo contains the title-track which is an ambitious 9-min progressive thrash along the lines of late-80's Metallica the singer also trying to emulate James Hetfield's vocal style; the composition is graced by a great quiet interlude with very good bass support, and with a lot of delectable technical decisions. Follows "Prophecy Of Mart-Main" also featured on the EP, and "Confused Chrystal", another moshing number with more dramatic, epic "decorations". A crystal clear sound quality further adds up to this effort's lasting appeal.
The debut demo is only two cuts the title one being a doomy semi-ballad, and "Curse of Minds" a more intense speedster in the spirit of the 80's American scene (think Savage Grace, Aftermath, Liege Lord). Some of the band members also had a spell with the thrashers Messina at around the same time, and also tried something softer and more atmospheric with more classic heavy metal overtones, under the name Pazuzu this project also featuring members of Messina.

Beyond Death Demo, 1987
Violators of the Lost Wisdom Demo, 1988
Deafen EP, 1991


This yong Japanese trio indulge in (based on "Courage to Expose All") in a "courageous" blend of classic and modern thrash which has all the energy required to pull it through lashing in a direct, straight-forward fashion the intense music topped by even angrier shouty semi-death metal vocals. The final track "Black Fog" is a dragging 10-min opus which "flirts" with doom metal in avery monotonous dirge-imposing effect pulling the album seriously down.

Reality of False Pasts Full-length, 2008
Courage to Expose All Full-length, 2013

Official Site


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

End Time Prophecies Full-Length, 2008


This outfit offer classic thrash/crossover echoing early Hirax, among other old school practitioners. The tracks are short and to-the-point also featuring a few cool melodic lead sections. There aren't too many mid-paced sections here, and the singer surely fits the barrage with his high-strung shouty hardcore-ish tember.

Don't Worry I Got You Man EP, 2015

Official Site


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

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

Official Site


Based on the debut demo, this band plays cool speedy thrash/crossover with brisk sharp guitars and sparce more clever technical decisions: the heavier hectic "The Evil". The "final number" "Final Number" is an almost progressive song with a cool balladic 1st part, and one would have hardly complained if the whole piece had been sustained in the same vein since the delivery is nice, but the guys' thrashy heart takes the upper hand later on, and the exiting section is another portion of more intense speed/thrash. The singer is pretty unrehearsed semi-singing in a throaty drunken way except, of course, on the balladic passage where he miraculously manages to pull himself together quite a bit for a more attached cleaner delivery. The band continued flourishing through the 90's releasing a string of 3 full-legths, but the style there is miles away from the raw music from their early years, being a modern avantgarde take on progressive metal with almost no ties to thrash.
The "Mind Mine" demo is heavy modern post-thrash which follows the new Metallica pattern pretty closely, but the very long boring compositions are just a pain to sit through, and regardless of teh several more stylish nods to "Master of Puppets" in the 2nd half thiseffort has no reasons whatsoever to be a regular "menu" on the underground digger's table.

Violence Begats Violence Demo, 1990
Bent Mental Demo, 1991
Mind MIne Demo, 1993

Official Site


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

Divide and Conquer EP, 2002

Official Site


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

The Attack of the Soul Eaters Full-length, 2012

Official Site


Few albums deserve their titles as richly as Death Angel's debut. The band struck hard with this intense, furious piece of thrash, which remains one of the best achievements of the genre from the Bay-Area. Their subsequent releases took a more experimental approach, infusing the band's potent sound with numerous non-thrash (and even non-metal) elements, consequently ruining things a bit. The expectations for their comeback release "The Art of Dying" were for "The Ultra Violence 2", and while there were some moments from that album, the concentration is again on the more diverse nature of the other two.
"Killling Season", depending on which period of the band's career you prefer, would be either fairly satisfactory, or a total disappointment. Those who hoped again for "The Ultra Violence II", should better lay those hopes to rest for good: apparently the guys have closed this page from their history with no intentions to reopen it. The truth is that this album will have almost no appeal to thrash metal fans as the concentration is on the "The Art of Dying"'s softer, more radio-friendly material, and consequently it sounds closer to "Act III" than any other previous works of the band, but whereas 18 years ago "Act III" sounded fresh and original, this one here is plain ordinary, and not really enjoyable; it might even remind you of the not very successful attempt at continuing Death Angel's career The Organization.
"Relentless Retribution" is by no means a full-on thrash attack, but in terms of consistency it beats the last two albums by miles without any big jumps from one style to another, and as such could be considered a pretty decent entry into the band's catalogue. The music has acquired certain modern tendencies with a boosted, and slightly mechanized, guitar sound bringing the overall approach close to recent Annihilator. Although the pace is mid for most of the time, one can not help but enjoy the edgy galloping rhythms on "Truce" or the nice headbanging sections on the diverse "This Hate"; or the good energetic closer "Where They Lay". Still, at least half of the songs cling towards the semi-ballad (there is also one full-fledged ballad: "Volcanic", a tender romantic all-acoustic piece recalling quite a bit "Room with a View" from "Act III") with Osegueda in fine form all over, although he acquires a gruffer semi-angry tone at times throughout the album betraying his more emotional delivery of old to probably suit better the more updated sound; and as a whole this effort is a fine blend of power and thrash metal also recalling a few other acts of more recent times: the Germans Runamok and the Poles Horrorscope.
"The Dream Calls for Blood": the "death angels" are here again to save us sinners, and this release makes them one of the more prolific veterans of the new millennium. The good news is that they sound angrier which can only be a good thing as evident from the wild opener "Left for Dead". Later on the situation doesn't get much milder with furious speedsters like "Fallen" and "The Dream Calls for Blood" blasting around. "Succubus" is a dramatic mid-paced shredder with intriguing semi-technical echoes, and "Execution/Don't Save Me" is another more hectic piece with a raging fast-paced break. "Caster of Shame" notches the speed up, but "Detonate" begs to differ with edgier guitars and a few more elaborate decisions. "Empty" is not exactly "empty", but shreds with more refinement which gets translated on the final "Territorial Instinct/Bloodlust" which is a relatively peaceful number with a well deserving speedy exit. This is a surprisingly good effort which is easily the band's finest achievement since the reformation, a classic style flag raiser which will have no problems topping quite a few top tens for 2013.
"The Evil Divide": the veterans waste no time proving themselves as some of the most able practitioners of the style in the new millennium, and this new opus shows them in a bright light once again "The Moth" inaugurating the "carnage" with fast sharp guitars and screamy leads. "Cause for Alarm" is a more restrained speed metal anthem, and "Lost" is a not very necessary power metal filler. Nevertheless, the guys quickly recapture the "lost" inertia with the blitzkrieg "Hell to Pay". "Hatred United, United Hate" is an intense mid-pacer with semi-technical tendencies, and "Breakaway" is a dramatic speed/thrasher which overshadows the final trio of not so dynamic pieces closing the album with more melody than it actually deserves. As a whole this effort isn't as striking as the previous one, but still delivers the goods with a tested formula which should work fine even for newcomers.

The Ultra-Violence Full-length, 1987
Frolic Through the Park Full-length, 1988
Act III Full-length, 1990
The Art of Dying Full-length, 2004
Killing Season Full-length, 2008
Relentless Retribution Full-length, 2010
The Dream Calls for Blood Full-Length, 2013
The Evil Divide Full-Length, 2016

Official Site


Complete obscures who had managed to raise the flag of thrash in their homeland earlier than Sepultura even. The problem is that this is just an awkward, severely underproduced, mish-mash with not much to be heard except for the "Am I Evil"-like drums on "Anjos da Morte". The rest resembles raw thrash of the moderately fast type with all the tracks merging together as one big buzzying melee. No wonder that this recording is such a very deeply buried secret... Even the "death angels" would cringe listening to this.

Noite Negra Demo, 1984


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

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


This is decent modern thrash/death with a very boosted modern production in various paces which loses steam in the middle the band introducing the groove later having problems getting rid of it. The singer is a guttural brutal death metal throat assisting with competence the proceedings which find the right way to thrash near the end the ripping closing duo of headbangers.

The Abominable Full-Length, 2014


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

The Wakening Full-length, 2005

Official Site


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

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

Official Site


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

Resurrected Full-length, 2010

Official Site


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

Sex Killer Demo, 1993
Preacher Demo, 1994


This is crispy classic/modern thrash with husky, witch-like vicious hysterical vocals (could be delivered by a woman/girl) which "evil" character is often disrupted, first by guttural death metal ones, later by nice clean female ones. On the musical side the shifts are not that dramatic the guys playing with proficiency recalling Holy Moses, among other practitioners from the German scene. The title-track is a curious Oriental piece, but it's the manic intensity of "Waltz of the Vampire" which goes away with all the "laurels" despite the detrimental grooves on the insipid closer "Last Drop" which should have been "dropped"...

Avoid Reality Full-Length, 2015


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

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

Official Site


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

Creatures & Sanoista Tuhkaksi Demo, 2008
Refuse Demo, 2009

Official Site


Based on "Among the Shadows", this band plays an uneven mix of thrash, death and black metal which is probably the closest to the latter with frequent hyper-blasts and unholy shrieks for vocals. The death metal moments seem to work the best (the cool technical cut "Night Terrors") where the singer acquires guttural low-tuned qualities to a really scary effect. Thrash sneaks in the form of less energetic steam-rollers ("Inner Crisis") also helping with the making of the 9-min epic opus "Revelation". The end is preserved for the pretty good cover of At the Gates' "Suicide Nation" from the legendary "Slaughter of the Soul". The guys run two other projects: the death metal outfits Fire Within and Mortifier.
"Eternal Decay" is another mish-mash now adding doom and post-thrash to the diverse blend conseqiuently leaving less room for all-out intensers like the very cool death metal epicer "Nercopolis". The music is calmer, more proficient, and in the 2nd half may become too boring and soft with clean vocals present here and there to participate in this awkward grunge/groove/alternative/post-deathy doomy saga.

Sloopy Seconds Full-length, 2008
Death Chant Full-length, 2009
Among the Shadows Full-length, 2010
Decay EP, 2011
Wreckage EP, 2012
Eternal Decay Full-length, 2013

My Space


Based on the full-length, this band play intense modern thrash ala Dew-Scented and Dimension Zero with shouty death metal vocals; then approach is varied, though, ranging from wild blasting "beasts" ("The Beast") to more intricate shredders ("Exhume to Perfume") the delivery very dynamic with frequent fast-paced insertions, also making this opus a recommended listen to retro thrash lovers.

Death Control EP, 2015
Awaiting Us All Full-length, 2017

Official Site


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

Subhuman Demo, 1985


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

Necrorgasm EP, 1990
Demise Full-length, 1992

My Space


Two folks produce this minimalsitc retro thrash/proto-death which follows early Possessed and Celtic Frost (check out the doomy thrasher "Pig") in the beginning quite faithfully also adding a few tasteful leads as well as the odd galloping rhythm ("Trip with Teacher") to increase its already wide appeal. "The Curse of Blood" is a thrash/crossover trip, and "Seance" is a doomy oddity which turns the 2nd half into a mish-mash with too many influences piled on top of each other including the radio-friendly rocker "Sleepwalker" at the end.

Death Curse Full-Length, 2015



This Australian outfit indulge in in cool crisp old school thrash reminiscent of early Metallica channeling "Kill'em All" quite well playing iwth plenty of energy introducing the more impetuous galloping riff ("Demons til Death") at times. "Memories" is a nice semi-ballad, and "Hate" is another more intense number, close to speed metal. "The Disinterment" is a more serious doom-laden composition with hammering mid-tempo riffs; but the next "Drug Machine" brings back the dynamics which also stays around for the lashing closer "Strapped In To Die" which reminds of Megadeth's "Devil's Island". The singer straddles between James Hetfield and David R. White (Hetahen) and does a good job in the process singing with conviction and panache.

Sacrifice for the Cross Full-Length, 2014

Official Site


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

Demo Demo, 1986


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

Abnormal Rape Demo, 1987


Two brothers are behind this project which exudes stylish heavy progressive modern thrash which alternates seismic steam-rolling passages (the very appropriately-titled "Terminator") with spasmodic speedy ones ("Calamity From The Skies") the latter even acquiring less tamed deathy tones. The dynamics is quite big although apart from those aforementioned short blasting moments the music doesn't adhere to aggression too much (the exception being the speedy shredding closer "Dialogue Of The Dead"), but the guitars keep cutting sharp and deep coming a bit noisy here and there. The singer is a capable clean voicer with a dramatic attached voice who is also adept at some notable high-pitched screams.

Death Head EP, 2013

Official Site


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

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

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

Official Site


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

918 EP, 2012

Official Site


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

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

Official Site


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

Demo Demo, 1985


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

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

Official Site


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

Death Machine Full-length, 2003

Official Site


This act started early in the 80's with a cool speed/power metal album based around catchy, memorable riffs and sing-along choruses, quite close to the works of the German acts Atlain, Running Wild and early Living Death. Then a few years later they appeared under the nane Savage Choir releasing a great progressive thrash album ("Winter of Probator", 1989), their finest work to date. Twenty five years further up they're back in business "Sitting in the Dark", moshing harder with a more overt thrashy edge although the music still remains largely speed metal with a few heavier, more power metal-based, tracks the latter recalling the Nasty Savage debut. This is cool, unpretentious, party stuff which near the end serves a nice faithful cover of Black Sabbath's "Symptom of the Universe". The closer "Season of Hatred", taken from the Savage Choir repertoire, is a more aggressive headbanger which closes the album in a less expected aggressive manner. The bassist Michael Poplees is an authority having also taken part in other thrash metal outfits like Castrofate, Morbid Sin, the classic heavy metallers Seventh Calling as well, among others.

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

Official Site


A striking debut of aggressive classic thrash metal ala Devastation's "Idolatry" and Hypnosia's "Extreme Hatred"; this is smashing fast-paced music with touches of Slayer in the slower heavier sections. This trio performs very tight, blasting out short 3-min bombs which will keep you headbanging till the end. Some clever riffs with a slight technical edge could also be heard- "Genuin-cide" (as well as clever song-titles), "Contaminated Soil". The vocals have this cynical black-ish edge similar to Flegias (Necrodeath), very effective in this case. The guys never cross the border towards death metal or other extreme genres; this is intense, direct thrash at its classic best.
"Mass Slavery" contains only four new songs; the rest is the debut played without any changes whatsoever. This "effort" would be quite a disappointment to the fans who have waited for four whole years to hear less than half a dozen new sounds, albeit them being good forceful speedy thrashers sounding like leftovers, now finally added to, from the debut.
"Twenty-First Century": "twenty-first century" thrash for "twenty-first century" fans; it may as well be for 80's lovers since the approach is purely old school and many fans will have the time of their life here jumping around from beginni gto end since the band seldom let the speed drop below any undesirable rates. "Evolutive Deviation" tries to be more clever and a tad more elaborate, but the guys' passion for bashing with vigour leaves those attempts unfinished the second half being a smashing headbanger's fest. The closing "Collapse 2000 A.D." is a bit disoriented being a hallucinogenic modernizer ala Coroner's 'Grin", a fairly cool number despite a bit off-context with very good bass support and some curious atmospheric passages. This is a good album which is faithful to the path chosen by the band, and if the last song hints at some future metamorphosis, it's up the to them to pull it out well in order to keep their fanbase.

Human Error-Global Terror Full-length, 2006
Mass Slavery Full-length, 2010
Twenty-First Century Full-Length, 2013

Official Site


This Finnish outfit provide brisk energetic retro thrash along the lines of Exodus and Death Angel; so expect a frequent alternation of tempos, a few semi-technical deviations ("Violation of the Neck"), and casual thrash/crossover references ("No Consequences"). The speed gets lost towards the end the guys compensating with the more intriguing riffage on "Memoirs of Satirist" whrre even deathy blast-beats can be come across. The vocals are rough harsh, shouty death metal ones and hardly the band's biggest asset.

Violation of the Neck Full-Length, 2017

Official Site


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

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


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

The Ultimate... Demo, 1990


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

Sue\'f1o de Morir EP, 2010

Official Site


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

Demo Demo, 2010


The EP: retro power/thrash nodding towards the country's heritage from the 80's, Metal Church and Aftermath in particular; this is cool dynamic stuff with brisk galloping riffs ("Mountain Lord") and good guitar work which is reflected in sharp cutting riffage which are aptly supported by the dramatic, maybe a bit overscreamy at times, semi-clean vocals. "Destructicator" is a short speed/thrashing energizer, but the following "Trials of the Pantheon" would throw you into the other extreme with its epic-tinged nature. This is a nice diverse offering which would appeal to a wider fanbase.
The full-length comes with a slightly "dirty" sound, but otherwise the band don't slouch and faithfully produce their power/thrash blend adding a more epic touch ("Sojourn") to the proceedings. ON the other hand, the misplaced blast-beats on "Regicidal" are a clear mood spoiler, a situation partly improved by diverse shredders like "Descent into Madness" and impetuous speedsters like "Knifehammer", among which one will also notice the more technical delight "Plague (Upon the World)", and the excellent straight-ahead speed/thrashing closer "Revel in Blasphemy".

Crushed Beneath the Steel EP, 2012
Kneel Before None Full-Length, 2017

Official Site


Modern thrash/post-thrash with covert allusions to death metal largely due to the unrestrained shouty vocals. Wild speedier propositions like "Requiem" would manage to stir the blood although the majority of the songs are awkward semi-epic dirgers ("Betrayal"), resembling more stoned Strapping Young Lad ("Never See You Again") at their more stylish.

Witch Hunter Full-Length, 2018


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

Sangre Full-length, 2009

My Space


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

Demo Demo, 1987


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

Bitter EP, 1997
Conviction Full-length, 1998


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

The Bogeyman Full-length, 1990


Representatives from the NWOAHM wave (Killswitch Engage, Shadows Fall, Overcast) have gotten together for the creation of another modern thrashcore effort (based on "We Ain't Leavin' Till You're Bleedin'") which easily touches the more classic examples ("Over My Dead Body") from the good crossover past, but also expect heavy groovy "traps" along the way which are not that annoying and add up to the carefree optimistic mood permeating this unpretentious recording.

Get Lost or Get Dead EP, 2011
Death Ray Vision EP, 2013
We Ain't Leavin' Till You're Bleedin' Full-length, 2013

Official Site


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

Through Centuries Of Dust Full-length, 2010

Official Site


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

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


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

Death is the Only Way Demo, 1985


A power trio from Brazil specializing in rough edgy retro thrash characterized by abrasive guitars and throaty very shouty death metal vocals. The guys lash with passion the screamy proficient leads another worthy addition. Shades of crossover sneak in ("In\'c3\'bateis Guerras do Metal") here and there, including uncontrolled blast-beats on the aggressive closer "Lost Horizon".

Devasta, Caos e \'d3dio EP, 2012

Official Site


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

Bestial Domination EP, 2011

My Space


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

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


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

Fuckin' Death Full-length, 1991


Amaterusih bash without any merits whatsoever; this can pass for some thrash/proto-death with awful shouty/semi-declamatory vocals probably done by two guys who had decided to have some good time jamming on their friends' instruments while those same friends were taking a break from rehearsal. You and your neighbour without having any previous musical background, if getting together half-drunk, would perhaps do a better job...

Demo Demo, 1988


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

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

Official Site


This is a 3-songer of intense bashing thrash with rending shouty proto-death vocals. The overall approach is a mix between Slayer, Possessed, and Torture with a few more stylish touches ala early Sadus on the shredding proto-deathster "Hit The Dirt".

The Support of Some Is Suffocation of Others Demo, 1991


This UK outfit provide modern thrash of the groovy heavy kind. The album is a contrasting concoction of seismic riffs and blazing screamy leads which are accompanied by doomy and industrial borrowings, more or less appropriate, including the long heavy ballad "Something Wrong". The really exciting moments aren't many at all if we exclude the varied headbanger "Metal is My Spirit" which indeed tries to show that "metal" is a part of the guys' repertoire with its more aggressive approach. The singer is a semi-clean shouter who shows more attachment than what is necessary for this type of music.
"The Fury Grenade" is a more dynamic affair the guys now thrashing with more intensity. The album develops in an aggressive headbanging fashion for most of the time, at time sbranching out into more friendly hardcore ("Arm To Face Missile"), at others "courting" the speed metal movement ("Disgraced Civilisation"). "The Elliot Clan" is a weird trippy "excursion" with very good leads, and "Skinslip" is a heavy steam-roller which influences the remaining tracks among which the short "Alcoholic Rampage" sticks out due to its more energetic riffage overshadowing the two monotonous overlong, progressive-tinged, closers.

Raze The Halls Of Celmeresfort Full-Length, 2012
The Fury Grenade Full-Length, 2013


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

Wall Ripping Flesh EP, 2010

My Space


Based on "Infection Legacy", this act provide ordinary modern thrash with all the proofessional touches (boosted production, crisp guitars, shouty vocals, etc.) to make it sound convincing. The problem is that the approach is too run-of-the-mill to make one listen with care the guys competently blending fast and slower tunes, but in a mechanized soulless manner the quirky decisions on the last duo of numbers being the highlight the guys really pulling it out on the closing "Septic Entity" which is an engaging piece with a more serious progressive twist.

Spontaneous Decapitation EP, 2008
Defecation Suffocation Full-length, 2010
Infection Legacy Full-length, 2013

Official Site


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

Death Trap EP, 2009

My Space


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

Burnt Offerings Demo, 1985
Canis Major Demo, 1986


THis is indeed a rehearsal coming with an awful sound quality obstructing messy thrash/proto-death which is offered in various tempos as "I Dissappear" is a pure doomster contrasting with the cool melodic guitars on "Reign In May" and the better closer "Dishonored" which show that the guys could have turned into something more substantial if having lasted longer, and if having gotten rid of the very shouty death metal vocalist who takes too much space to be considered an asset.

Rehearsal Demo, 1992


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

Echoes of Degraded Colours Demo, 2010
Split EP, 2012

Official Site


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

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


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

In the Name of the Race Full-length, 2001


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

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

Official Site


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

Mass of What Full-length, 1992


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

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

Official Site


Based on "Solve Coagula", these folks deliver modern thrash/death which changes the pace on an almost song-by-song basis recalling the Brazilians Torture Squad on the more brutal material ("Give Me Your Ferver") where the sound acquires a more expressive death metal-ish flair with sparse blast-beating insertions. The other extreme is occupied by morose mid-pacers like "Unseen Tomorrow" which are often served with doomy overtones.

Out of Adversity Full-length, 2011
The Abominable Full-length, 2014
Solve Coagula Full-length, 2017

Official Site


"Pathetic" is a great acoustic intro (there is nothing "pathetic" about it), similar to the "Crystal Ann" instrumental from "Alice in Hell", to this no-brainer of unadulterated classic thrash. There's no single dull moment with this one; the guys thrash with energy and a genuine technical edge, mixing both in a fairly interesting way, like on the opening "The Distorted Symbol". "Beyond Salvage" is a longer speed/thrash number, which concentrates on melody, serving as a model for the coming power/speed metal wave. "Seventh Angel Blows A Bugle" brings back the more aggressive thrash riffage, leaving the technicality a bit aside. "Arms" is heads-down thrash again, introducing some more interesting riffage, along with the cool short lead guitar work. "Lebanon" is a very good speed/power/thrash instrumental, bringing the best from the guitarists, mostly in the lead department. "Sword Dance" is awesome speed/thrash metal in the best tradition of the Angel Dust debut, with slower "detours". "Negotiator" is intense fast-paced thrash metal which doesn't forget about the softer mid-section, which the band applies quite successfully on quite a few times. "Graven Image" is another heads-down smasher, more than a worthy exit from this one-album-wonder, with its brisk speedy guitars, great bass-support and fine short leads.
The demo comprises three songs which see the band still thrashing with the finest despite the muddy sound quality. The approach is more on the semi-technical side recalling their compatriots Outrage at times, including on the cool tender ballad "The Another Face In Me" which shows the very good singer in an even brighter light. "Trade With Devil" is an exemplary hard-hitting thrasher with piercing leads which could have also been a highlight on the full-length.

Meanless Propaganda Full-length, 1991
Death After 3 Years Demo, 1994


This young outfit gives a fairly "negative prognosis" to the future of thrash... kidding, the guys offer brisk energetic classic thrash with invigorating galloping riffs ("Riddled With Tumors") which suddenly get replaced by brutal proto-deathy rhythms all this done with a good sense of technicality and a lot of speed which very seldom goes down below the up-pace, but goes up towards the extreme levels on the short blast-beating madder "Bestial Spell". The title-track is a nice progressive opus with very good melodic leads which are also nicely translated on the closing "Nocturnal Feeders". The vocalist is not bad with his semi-clean/semi-declamatory delivery which doesn't involve too much singing, but fits well the very dynamic musical scenery.

Prognosis Negative Full-Length, 2014

Official Site


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

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

Official Site


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

Cold Blooded War Demo 1987
Rest in Pieces EP, 1989

My Space


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

Test of Time Full-Length, 2013

Official Site


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

Keep the Flame Burning Full-length, 2004

Fan Site


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

War Within Full-Length, 2009


This is the full-tme occupation of abunch of old school black/thrash metal purveyors who also operate in various other acts: Black Magic, Ghoul Cult, Krossburst, etc. Based on "Evil Power", they entertain themselves by bringing the legendary Whiplash debut to the fore including Tony Portaro's infamous screams, screeches, and shouts. This is pure "Power & Pain" worship all the way to the end, in other words classic speed/thrash reigns supreme at time served with nice soaring melodies ("Total Metal"), at others with more optimistic speed metal rhythms ("Satan is Back"). One will find it hard to sit still on rousing moshers like "Powertrip" and "Belial's Curse", and as a whole the fans should have their fun all over even on the more moderate galloping closer "Omen of the Beast".

Forever Ripping Fast EP, 2008
Phantom Knights Full-Length, 2010
Onward to the Pits Full-length, 2012
Evil Power Full-length, 2015

Official Site


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

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

Official Site


Modern/thrash death metal with a considerable doze of hardcore, coming as a more aggressive version of the more recent Pro-Pain works. The guys alternate between slow and fast tracks as the former carry a bigger weight with their destructive stomping reverberations. The vocals are more brutal than the ones of Gary Meskil (Pro-Pain again) although their overshouty at times tendencies are pretty much the same.

Reborn Full-length, 2007

My Space


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

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

My Space


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

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

My Space


Based on the full-length, this act indulge in energetic modern-ish thrash which bears no particular surprises excluding the several more aggressive descents to death metal. The guys spice up their rigorous delivery with the odd friendlier cut ("Zlota Kariera") where the gruff semi-death metal vocals don't fit too well. The title-track is a curious more progressive composition recalling Paradox, but flashes of such intricacy are seldom detected elsewhere.

Art of Manipulation EP, 2013
Online Full-length, 2017

Official Site


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

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


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

Devastation Begins Demo, 2006
Incoming Attack Full-length 2011

My Space


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

Enslaved Demo, 1991
Judgement Ignorance Demo, 1993

My Space


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

Demo Demo, 1989


Based on the full-length, this band play decent old school thrash wiith a not very overt crossover vibe. It's way more than just "thrash'n roll" the band stepping on the pedal quite hard at times even managing to sneak something semi-technical ("As Long as There's a God") into the proceedings. In the middle the delivery softens down to senile heavy metal proportions where even modern groove ("Break the Silence") has been called in for help. The 2nd half isn't that interesting the guys just jamming in a relaxed, nonchalant manner the cool Phil Anselmo-like vocals keeping the unpretentious music good company.

Endless Source of Power EP, 2013
Thrash'n Roll Full-length, 2015

Official Site


This Italian outfit offer quite cool sharp edgy power/thrash with dark/gothic overtones and female vocals. The delivery is way more intense than the one of their compatriots Lacuna Coil the guitarists shredding with passion on morose pieces like "Queen of Necrophilia" and the speedy "Killergeist". Operatic undercurrents inevitably sneak into the sound on "Octopus" and the semi-balladic "Bow to the Porcellan Altar", but the super-heavy guitar work should keep any fan pleased despite the almost constant presence of haunting keyboards which firmly stay in the background. Sudden speedy passages on "Death Challenge" can be savoured later coming with a nice technical pinch to show that the guys (and a girl) have more up their sleeve which would hopefully show up later in a fuller form.

Rise from the Grave Full-Length, 2013

Official Site


Noisy amateurish demo containing messy dishevelled thrash/death which tries to sit somewhere between early Celtic Frost and Autopsy. The slower doom-laden numbers work much better whereas the faster ones are jusy mindless bash from which rarely will one disinguish some cool lead sections (:Piek?o Na Ziemi (Ostatnie Dni)"). The songer is a bad death metal growler whose rendings are completely undecipherable.

Demo 1989/90 Demo, 1990


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

Black Moon Rising Full-length, 2010

My Space

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

Deathlust EP, 2011

My Space


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

...Will Of Death Demo 2010


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

Prolonging the Inevitable Demo, 1990
Chanted Illusion Demo, 1992


Based on the full-length, this Serbian formation play tasteful retro thrash which moves in a fairly dynamic pace the guys "ornating" the approach either with interesting choruses ("No Life 'till Thrash"), or with friendlier power metal rhythms ("The Hunt Is On"). "Mountain Of Fear" is a nice more technical piece, and "Death Is The End" is a right as rain headbanger which inlfluences the remainder some of which ("Victim Of The Night") coming with a more aggressive proto-death metal-ish flavour, or with more serious progressive build-ups ("SoulStealer"). The singer is a decent semi-clean throat who manages to provide the more dramatic delivery when necessary.

Victim of the Night EP, 2014
Dragged into the Beyond Full-length, 2016

Official Site


The debut: mild post-thrash with both sludge/doom and alternative touches; the riffs weigh despite the more melodic throw-ins, and try to move around changing the tempos here and there, including a few dramatic death metal-esque leanings ("When do You Break?"). Otherwise this is laid-back uplifting music with a vocal "duel": gruff death metal-ish vs. cleaner alternative ones, spiced by the odd higher-pitched semi-scream.
"Evolve or Die" is a brisker, thrashier affair with the opening "No Way" assuredly leading the pack with its bouncy, energetic guitars, and although later on the approach comes quite close to the more recent Annihilator-esque mish-mash, the guys seldom drop the ball completely with interesting shredders like "The Prey Becomes the Hunter" and the semi-technical title-track "roaming" around, the only annoyance coming from the overshouty, rending side of the vocal duel.

Abuse Full-Length, 2011
Evolve or Die Full-length, 2017

Official Site


Ordinary modern thrash which incorporates elements of death metal on the more aggressive moments ("Monster Inside Me"). The singer is a screechy raven and his hysterical rendings may come as too much for the faint of heart.

Human Rise Full-Length, 2015

Official Site


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

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

Vibrations of Doom


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

All Life Ends Full-Length, 2010


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

Violent Aggression Full-length 2011

Official Site


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

Deathraiser Demo, 2006

Official Site


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

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

Official Site


This young formation indulge in decent retro thrash which is both intense and more moderate, but the vigorous hard thrashing on "The Impaler" and "Elements of War" isn't encountered profusely. "Bloodstained Love" is a long 8.5-min composition, but isn't that exciting not featuring more stylish histrionics, and is consequently beaten for the highlight title by the cool, ballad "Judgement Time" which is graced by fine melodic leads. At the end arrives the cover of Megadeth's 'Hangar 18" which, albeit well executed, doesn't quite fit the more ordinary delivery heard earlier.

Minutes Before Death Full-Length, 2015

Official Site


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

Requiem Full-length, 1991


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

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

Deathroner Demo, 2007
Death to All Full-length 2010

Official Site


One of the five best German thrash metal bands; the band's debut is typical for the time energetic speed/thrash metal close to Exumer and Destruction. "Raging Steel" is not a very distant departure, but there are some claims at a more ambitious song-writing ("Beyond The Light", "The Thing Within"). However, even the most complex tracks on this album could not even slightly suggest at what was coming: "Deception Ignored" is triumphant progressive/technical thrash metal, arguably the best work of the whole genre; there's no need going into discussions about this mandatory album which is pretty much the peak of progressive/technical metal making many subsequent works just not very apt variations of it. Unfortunately, the lack of immediate follow-up put the band behind their more prolific, but much less striking contemporaries, and when their last album was released, thrash metal has already begun to fall into oblivion. "Life Beyond" is another fairly good technical thrash offering, but less adventurous with shorter, catchier songs. Uwe Osterlehner, the band's mastermind, has made use of his time during the break between the last two efforts, to join forces with members of Psychotic Waltz for the release of another stellar progressive thrash metal album under the name End Amen ("Your Last Orison", 1992).

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

Official Site


This wild French trio indulge in vigorous old school thrash with early Kreator the prime target for worship; so expect fast-paced crescendos flying all around supported by not bad semi-shouty/semi-clean vocals. "Terrible Disgrace" switches onto mellower speed metal parametres, but generally there's no intensity on this pleasant roller-coaster.

The Curse of Power EP, 2016

Official Site


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

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


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

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


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

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

My Space


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

Thrashing Drunk N' Roll EP, 2011


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

Threshold of Aggression Demo, 2010

Official Site


The debut: these are the same guys who under the name Demolition released 3 full-lengths and one EP of competent, if hardly original, modern thrash. The style here has moved towards more aggressive fields with death metal added to the fore. The music still remains within the modern trends, but the band lash with more passion producing some viciously aggressive cuts: the technical deathster "Blood Trail", the melodic virtuoso piece "O5", the interesting progressive closer "This Bullet...". The rest is more on the derivative side the guys sticking to what is familiar to them although some elaboration on the more technical side may intercept the predictability on future efforts.
"Whole World Burns" carries on on full-throttle with a few more stylish, technical flourishes ("Flesh For Sale") and overall this effort is better constructed than the more pedestiran debut. "Everything Changes" is a very cool ballad which even more engaging headbangers like "Death Machine" and "Whole World Burns" can't do much to overshadow it. "Phoenix Theory" is an ambitious semi-technicaller, and "Warpath" is the obligatory short rager which destroys everything in its way. All the way to the breath-taking acoustic closing instrumental "Silent Eulogy", another relevant insertion before the semi-German version of "From Hel" slightly spoils the fun from this entertainig slab of crisp modern thrash.

Apocalyptic Deadline Full-length, 2012
Whole World Burns Full-Length, 2016

Official Site


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

Deathtrack Full-length, 2010

My Space


Raw semi-amateurish thrash/proto-death (based on the debut demo) which ranges from doomy dirges ala Hellhammer ("Love To Sadism") to brutal instrumental shorters ("Perceptible Mind"). The vocalist is a semi-declamatory guttural deathster and doesn't participate a lot. Some of the band members were also busy with the thrashers Helion, and the death/doom metal outfit Musical Massacre.

Trapped in Pain Demo, 1990
Live in Conradsdorf Demo, 1990


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

Deathtrip EP, 2012
Ruinous Full-length, 2012

Official Site


Heavy stomping thrash which successfully balances between the old and the modern school, and between heaviness and melody. The final result sits somewhere between Bolt Thrower and Warhammer with temptations at a faster play very few if any at all. The singer is a semi-shouty deathster who leads the show with panache and relatively comprehensive rendings.

Your Chance to Realize EP, 1997


This formation provide perfectly acceptable old school thrash accentuated by brisk, ripping riffs and gruff semi-shouty vocals. The intense rifforama descends at times to mellower speed metal territories ("Break Out", "Killing for Redemption"), and generally the thrash metal idea gets lost to an extent in the 2nd half with the pleasant power/thrasher "Prophecy" and the speed rock'n roller "Thrash N' Roll" which has lost the "thrash" part of its title somewhere along the way.

Prophecy Full-Length, 2016



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

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

Vibrations of Doom


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

Dreams of Fortune EP, 2012


This is classic hardcore-ish thrash/crossover with softer heavy metal hymns ("There Will Be Blood") thrown in for not such good measure. The spirit of Motorhead is also soaring high above ("Rock'n Roll is One Hell of a Drug") although the hysterical shouty vocals don't quite suit this particular strand.

Unleash Hell Full-Length, 2017


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

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

Official Site


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

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

Official Site


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

The Ice Full-length, 1988


This is modern post-thrash/post-death with gruff death metal vocals; the music is jumpy and groovy recalling both Massacra's 'Sick" and Six Feet Under's 'Haunted". The guitars are heavy and squashing, and their "trips" never leave the mid-tempo.

Through the Eyes of Misery Demo, 1993


This young act provide varied semi-technical modern post-thrash which is quite dynamic and not too reliant on the heavy grooves. Touches of both metalcore and the Swedish school appear at some point, but their insertion isn't detrimental, and the guys are seemingly content staying in this preoccupied niche, at least at this early moment of their career.

Debon Full-Length, 2014



Pretty cool old school thrash metal with occasional brutal blast-beats and more clever guitar work which at times resembles mid/late period Death. The album starts in a dramatic steam-roller fashion with "Breath Of Hatred", but "Cold" is already a different story with fast sharp riffs and the aforementioned blasts. "Let Them Die Slowly" is a fine blend of crushing heaviness and speedy thrash resembling mid-period Death and Sepultura's "Beneath the Remains". Then comes time for more puzzling technical riffage with "What Remains" which is more controlled speed-wise in the first half. "Covered With Bugs" is a not very appropriate joke: grinding hardcore lasting for about 2-min, followed by the slightly more stylish piece of brutality "Invisible" which adds death and thrash metal to the core mix. The more technical song-writing returns with the diverse speed/thrashing opus "Lo And Behold", but all the praises will be left for the fabulous shredding instrumental "Stillborn" which would make even Yngwie Malmsteen proud; the track is mostly balladic and lead-driven, but is a wonderful piece of music which predates the similar Death's "Voice of the Soul" with five whole years. The phenomenal lead performance stays for the beginning of the closer "Fallen Evil" clearly overshadowing what follows later on this otherwise entertaining opus which moshes out in a brisk up-tempo manner ala Paradox. The vocalist does a good job behind the mike singing in an attached, forceful semi-clean manner with certain shouty tendencies.
Two of the musicians used to play in the retro thrashers Archaic Mass with whom they released three EP's, and the drummer Derek Roddy later turned into one of the most prominent figures on the field with participation in famous acts like Malevolent Creation, Nile, Hate Eternal, Council of the Fallen, etc.
"The Early Years-Reboned" is a collection of unreleased tracks which are very similar style-wise to the material on the debut. The approach is quite intense the guys thrashing with force seldom adhering to more brutal death metal-ish nuances ("Dreamscape", the aggressive shredder "Our Contaminated Nutrients"). "Savior" attempts something more progressive, but the bash is quite well covered on it as well durign its more than 7-min of playing time. All songs come with a very clear sound quality.

Democracy Full-length, 1993
The Early Years-Reboned Full-length, 2014

Official Site


This Polish obscurity provides curious dark thrash in various paces and a more complex progressive song-writing ("Where Is Your God?"), but it also provides almost "unhuman fun" with a couple of more aggressive moments ("Unhuman Fun"). "You Have Remaind Alone" is a nice technical piece with jumpy riffs even recalling their compatriots Dragon ("Scream of Death", above all), but the awful sound quality is a major obstacle at times for the listener to fully appreciate the music on offer. The singer plainly shouts in a gruffer deathy manner, and his amateurish rendings are another hindrance for this effort to truly shine.

Blind Faith Demo, 1993


One of the longest-running metal bands from the Czech republic, Debustrol play aggressive Slayer-esque thrash on their early works, very well done. There are also some slower numbers where the band tries something more technical. The debut is probably their best effort, thrashing quite intensely, with nods to Slayer and Sepultura: their sound a few years earlier; the guitar work is direct, but is solid throughout, providing a great headbanging tempo most of the time. There is a slight death metal aggression present ("Protest", and a couple of songs towards the end, which are shorter than the rest (1.5-2min), and are truly explosive bursts of aggression), and this is when this album sounds even more appealing.
"Svect Co Zatoed S Tebou" is a very good follow-up, mixing the aggressive thrashers in the vein of the debut, with slower, heavier numbers, some of which are perhaps too melodic and sweet for a thrash metal album ("Egypt", "Sarkofg Smrti"), but the rest is pretty hard and intense.
"Chytre Past" is a radical turn to modern groovy post-thrash starting with the awful funky number "Chytra Past", later featuring even worse cuts, exiting the thrash metal field quite a bit, even metal. Just a few faster songs briefly recall the previous efforts ("To Neni Zadnej Raj", "Vstavej"); listenig to this, one would probably not be very enthusiastic to check out the band's future offerings.
"Perushit" is abrasive modern thrashism which has energy and intensity aplenty, but it's too basic and noisy to be ranked very high even in the small Czech Republic. The guys are all over the place with grindcore, proto-death and hardcore also taking part in the pristine melee. "Temnodni" is a coola ttempt to spice the monotonous proceedings with more flexible, more technical riffs the other strike at originality being the closing doom metal anthem "Smrtosabat".
"Valka" sees the band ready for more damage, but now it's done in a much more proficient fashion, first with the lashig semi-technical opener "Vrazdici Kov", and later with the remorseless headbangers "Kultovní Revoluce" and "Nasrat Vam Vsem". The band display all their skills with inspiration also reflected in the merry speedsters "Apokalypsa II." and the more hectic and varied "Primitivne" on top of several more primitive, hardcore-prone cuts like title-track and especially the jolly thrash/crossover closer "Playbackshit". This is really good fun showing the band coming back from the dark ages; better late than never...
"Rwanda" is still more on the noisy side of the spectre the band still immersed in the groovy vogues exploring more intense territories on the several more classic-prone moments ("Alahova Krev", "Hra Na Smrt", etc). The overall speedy tone of the album is broken at the end on the doomy closer "Tibet" which seems to be a traditional way for the band to end their opuses.

Neuropatolog Full-length, 1991
Svoect Co Zatoed S Tebou Full-length, 1992
Chytra Past Full-length, 1994
Vyhlazened Full-length, 1995
Ped do hrobu mrtvol Full-length, 1998
Apokalismus Full-length, 1999
Steak Full-length, 2001
Perushit Full-length, 2005
Rwanda Full-Length, 2009
Valka Full-Length, 2016

Official Site


Based on "Exile the Wicked", this act provide modern heavy post-thrash which is a sheer steam-roller for most of the time also coming wth a stoner/doom flair ("Fall from the Heavens") and sparce Swedish death metal throw-ins. There is some atmosphere to be savoured as well (the pensive meditative "Extinction"), but the listern would be looking for more energetic numbers like the galloping "Welcome Home" which are not too many around. The singer growls in a gruff death metal manner missing from the nice balladic closer "Rise of Horus" which is another nod to the good old doom.

Haunted EP, 2012
Voice of the Dead Full-length, 2013
Exile the Wicked Full-length, 2014

Official Site


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

Gangs And Victims Full-length, 1989


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

Decadence Full-length, 2005
The Creature Full-length, 2005
3rd Stage of Decay Full-length, 2006
Chargepoint Full-Length, 2009
Undergrounder Full-Length, 2017

Official Site


Based on the "Masters of Control" demo, this unknown formation serve pretty cool power/speed/thrash with a thin progressive edge and not very emotional clean mid-ranged, semi-declamatory vocals. "How Dark Is Your World" is a cool energetic opener, but the remaining material is more on the epic mid-tempo side.

Fate, Hate, Decadence... Demo, 1990
Masters of Control Demo, 1994

My Space


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

Demo Demo, 1989


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

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


2 tracks of seismic steam-roller thrash which marches forward with steady wound-inducing guitars and angry semi-death metal vocals; not much to write about, clinging somewhere between Machine Head\rquote s Burn My Eyes and Massacra\rquote s Sick .

Frolicking.../It Follows Single, 1993


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

Wreck N' Roll Full-Length, 2012


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

Blacked Full-length, 2003

Official Site


Based on the debut 2-track demo, this obscure formation play (or rather, tried to) raw brutal thrash/proto-death which is purely amateurish bash for most of the time trying to copy the more fammous examples from their homeland (Sarcofago, Vulcano, Sexthrash, etc.). Something lyrical and balladic sneaks in at the beginning of "Morbid Storm", but the incessant barrage goes on not before long topped by hellish shouty death metal vocals reminiscent of the ones of Tsch\'f6si (the first Messiah singer).

Spittle of Hate Demo, 1987
Lives Destruction Demo, 1988


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

Let The Killing Begin Demo, 1985


A classic mix of thrash and death metal close to Brutality, spiced with touches of the doomy heaviness of Asphyx, where the atmosphere quickly goes a few levels up, and very good lead guitar work courtesy of Czes\'b3aw Semla, who later achieved bigger success joining the technical death metal gods Sceptic. Some of the musicians released one more demo of dark gothic metal 3 years later under the name Liquid Fever.

World Decay Demo, 1995

Official Site


Based on "Hobson's Choice", the band plays a kind of mechanized thrash, not too far from Kreator's works of the 90's, "Cause For Conflict", for example. Another soundalike would be early Meshuggah. Despite its dry sound, this is good stuff, professionally done.
The Rehearsal is an entirely different "animal", the band now settling for standout old school technical speed/thrash which is already next to perfect on the opening shredder "Power Throne" the latter speeding and thrashing among several very complex arrangements. "Soul" is more on the seismic pounding side creating a lot of dramatism in the process, not without the help of the very good emotional clean vocals. "Chaos" doesn't quite deserve its title being a not very eventful doomy piece without any highlights. Still, this short demo remains the better part of the guys' catalogue, but it sadly only remained a rehearsal without any follow-up...

Hobson's Choice Demo, 1993
Rehearsal Demo, 1998

Official Site


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

A Stygian Heritage Compilation, 2011

Official Site


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

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

My Space


This formation offer mid-paced modern thrash which coould have passed for the modern equivalent to Cerebral Fix if it wasn;t for the couple fo more radio-friendly moments and the several speedy passages which smell the old school ("Escape From Hell", "On The Brink") a bit. The songs are more elaborate and lengthy (5-7min), but the guys just shred in a not very eventful mid-paced fashion overdoing it a little in the monotony department on the overlong saga "Unburied Past" which is mellow power metal-ish rhythms and a few heavier moments.

T\'e9pd Sz\'e9t a Csendet Full-Length, 2011

Official Site


The debut: this outfit play fairly decent old school thrash of the intense proto-deathy type. The band shred with the utmost intensity with some of the numbers ("Boiling Hatred") being full-fledged deathsters. There won't be many who would stand still on compulsive moshers like "Atrocious Deeds" and the "sadistic enjoyment" "Sadistic Enjoyment" which will cause numerous neck sprains along the way. With all the tracks packed within just under half an hour, one gets the idea that this will be a major assault on the senses the brutal music ably supported by forceful shouty death metal vocals.
"Age of the Covenant" is another full-fledged attack the guys shredding with power now sounding quite technical as well (the hectic ripper "Consume The Weak"). More relaxed atmosphere arrives with "The Covenant", but "Breeders Of Malevolence" wins it all with the calculated technicality unleashed mixed with impetuous headbanging passages. "Global Annihilation" is another no-brainer for the thrash/death metal fans with some great leads offered; and "Human Scum" lashes out in a similar clever, but also aggressive, fashion. Brilliant surreal leads come blended with stupendous choppy rhythms on "Cerebral Stagnation", before "Causal Nexus" closes the album with more straight-forward brutal riffage. This is a clear improvement in every department, although the debut was already a very good effort, and shows Romanian metal in a really bright light.
Exhort to Obliterate Full-Length, 2013
Age of the Covenant Full-Length, 2014

Official Site


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

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

My Space


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

The Chaotic EP, 1993


3 songs of fast ripping retro thrash ala Kreator and Necronomicon; the guys lash fast and tight, never slowing down, the music asssisted by vicious low-tuned death-ish vocals.
The full-length is a tad more melodic with a few modern thrash throw-ins plus the updated production qualities. Otherwise the guys know how to thrash with power, and this is what exactly happens for most of the time modern day Kreator often coming to mind as well as Death on the more stylish hooks ("Drivers Of Despair", the very cool semi-technical speedster near the end "Sound And Anger"). The utmost fury has been unleashed on the closing "Deceiver" which crosses death and thrash in an admirable way again recalling Death, and also the French No Return's more recent releases. There's seldom an original idea to be come across here, but the band know their craft and confidently walk a path well trodden.

Deceiver Demo, 2011
Sickness....Souls!! Full-Length, 2012

Official Site


Based on the "Everlasting Phase" demo, this formation serve raw semi-amateurish thrash/proto-death which is brooding and doomy for most of the time which was probably the better option since the sound quality is very muddy and would have shadowed any attempts at more vigorous sharper riffage. The approach lives up at the end on the short ripper "Hear My Voice", but again, the incompetent performance ruins all intentions beyond repair now without the help of the bad semi-shouty death metal vocals.

Way Lost Demo, 1989
Everlasting Phase Demo, 1991
Solo Demo, 1992


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

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

Official Site


This is entertaining power/proto-thrash with doom/stoner insertions topped by passable drunken semi-death metal vocals. The music has a friendly warm tone and may remind you of the Tom Angelripper projects (Desperados, the one under his own name) only that the approach here is not as dynamic and may put you to a semi-drowsy state on the bluesy/doomy closer "I've Been Here Before".

Fire Full-Length, 2010


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

Deception Demo, 2004

Official Site


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

Soothsayer EP, 2011
Chains of Delusion EP, 2013

My Space


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

Release the Havoc Demo, 2012

Official Site


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

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

Official Site


Based on the full-length, this band pulls out your average modern thrash metal ala Corporation 187 and Carnal Forge spiced with sparce hardcore-ish parts ala Biohazard and Pro-Pain. The guitar work of the Brits is a level higher, though, with clear technical pretensions at times ("Forever Alone"), and good, proficient leads. The vocals are mid-ranged semi-clean, quite cool, interrupted by clean, and harsh, death-ish ones; in other words, the vocal variety is quite big. Half of the songs will please the fans with their intense dynamic riffage ("A Lesson Learnt", "My Own Way"), while others are for the more romantically-inclined with their semi-balladic parts ("Life Fades Away", which boasts the finest melodic riffs and leads on the album).
"Destroy... or Be Destroyed" is the next in line modern thrash saga which comes a tad more inteNse and moshing this time the guys not sparing themselves thrashing quite hard'n fast even trying to reach the speed of light on the raging "Face the Truth". The mid-paced sections are inserted here and there, but generally this is speedy remorseless music which lacks variety, but makes up with leaps and bounds of aggression.

Betrayed to the Point of Reprisal EP, 2000
In The Name Of A God EP, 2001
11 Rounds Full-length, 2006
Destroy... or Be Destroyed Full-Length, 2016

Official Site


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

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

Official Site


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

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

My Space


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

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

Official Site


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

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

Vibrations of Doom


Quite good classic power/speed/thrash with echoes of Nasty Savage and Viking; the guys gallop wirh the finest out there on te impetuous shredder "Fatal Vision" also providing tasteful melodies whenever appropriate. The title-track is a great progressive power/thrasher with outstanding lead guitar work alongside complex riff-formulas recalling Forbidden's "Twisted into Form"; hard-hitting thrash intertwines with vortex-like decisions on this masterpiece of thought-out, multi-layered metal. "Decimator" is a more immediate headbanger with several stomping arrangements, and "Created By A Monster" is a hectic jumper with fluctuating up and down riffage creating hallucinationsand dizziness. "Exploited" is an explosive rager followed by the similar, maybe more speed metal-prone, closer "Burn". The singer is a great addition to the virtuous music with his attached clean timbre reminiscent of Russ Anderson (Forbidden again).

Do Unto Others EP, 1992


Based on the full-length, this act specialize in modern groovy post-thrash which for most of the time is nothing exciting and original. The guys rely on the heavy steam-rolling sections to pull it through, but it's the dynamic shredder "Usurper" which overshadows all the rest with its carefree up-tempo riffage. The immediate follow-up "Fate Without Faith" is another winner being impetuous classic thrash at its Bay-Areasque best (think Testament), but it arrives a bit late to save the day another attempt made with the more vivid melodic closer "Death Sentence (With a Plan)".

The Betrayer EP, 2012
II EP, 2012
Catalyst for Rage Full-length, 2015

Official Site


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

Testimony on Stage Demo, 1991
Razon De La Muerte Full-length, 1992
Moratoria Full-length, 1993
The Last Prostitute Full-length, 1995


The debut: noisy, industrialized modern thrash which relies on chaotic arrangements and messy bashings the latter evoking the spirit of death metal. "Quelling the Beleaguered" is a surprisingly stylish semi-technicaller amidst the chaos, and the other more sensible moment would be the not very recognizable cover of Testament's "Into the Pit" here turned into a stomping industrial cacophony. The singer is heavily synthesized and is an additional noisy obstruction.
"Revel in the Macabre" is another eccentric offering the noisy production leaving quite a bit to be desired which is a pity as there are "gems" to be uncovered underneath the mess: the outlandish progressiver "Zeal of the Lord", the melodic epic quasi-doomster "Spirits of Saturn", the short spastic headbanger "Praise the Blaze", the compelling technical/progressive extravaganzas "Kinky Cadaver" and "Bloody Stumps". The closing "The Devout Decayed" is an imposing proggressive hymn which moves in doomy waters with unobtrusive keyboards assisting on the side. The band tread their chosen weird path, and although they do produce interesting results, some refinement in the production sector would do miracles for them.

Denounced and Defiled Full-Length, 2016
Shiv EP, 2016
Revel in the Macabre Full-length, 2017

Official Site


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

Abyss EP, 2012


based on the full-length, this act cross more energetic modern thrash patterns with the 90's post-thrash idea, and the final result is more on the laid-back, playful side except for the vocal performance which is strictly in the shouty semi-death metal parametres to the point of hysteria sometimes. The 2nd half is a major dragger the music losing its initial headbanging potential saved by the string of more intense crossover pieces ("The Regulators", "Ten Years", etc.) which are a total contrast to the boring doom/balladic closer "Gigolo's Rising". The band members keep themselves busy with the heavy metal formation Altered Beast, and the grindcore "freaks" Infected Society.

Corrosive EP, 2007
Allegiance to Blastery Full-length, 2012

Official Site


Based on "Osseous Empire", this act deliver intense classic thrash/death which is quite fast and vicious not far from early Incubus and Merciless with infrequent sparkles of technicality ("Ashumaniac"). "Breeding Anger" near the end is a sheer death metal "symphony" which shoudn't be a surprise having in mind the musicians' full-time occupation: members of the death metal acts Repugnant Inebriation and Necrosadistic Goat Torture.

Devoted to Death Full-length, 2011
Osseous Empire Full-length, 2015

Official Site


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

Chemical Interrogation Demo, 1988
Kill Yourself Demo, 1990

Official Site


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

Action Speaks Demo, 1988


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

Argonauts EP, 2008


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

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

Official Site


Based on the EP, these folks deliver modern crunchy semi-technical thrash which combines the mechanical dirges of mid-period Meshuggah with more linear melo-death formulas which never stray towards very speedy paths. In the long run one would be able to predict the twists and the turns throughout which never try to break any more progressive boundaries, either. Some of the musicians are also active with the progressive metallers Tears for the Dead Gods.

Demo Demo, 2006
Isolated EP, 2008

Official Site


A young French formation who provide friendly groovy post-thrash which resembles Machine Head's mid-period also thrashing harder ("Altar of Lies") on occasion. Moments of stoner/doom are not "strangers' to the delivery which also finds more time near the end to bang the head on "War Of The Roses" near the end. The vocals are pleasant semi-clean and never adhere to the detrimental aggro-shouts so typical for this sub-genre.

Devolution Full-Length, 2015

Official Site


Meet one more band graced by Antton: the man who took part in both Venom and M-Pire of Evil. Based on "Warface", this act pull out jumpy groovy thrashcore with cutting riffs and dramatic passages which aptly avoid any speedy "traps" sticking to heavy seismic mid-paced formulas which may wear thin after a while since the approach is exactly the ame except on the merry crossover cut "Hold On" and the atmospheric semi-ballad "Blood". The singer semi-shouts in a predictable hardcore fashion and may be annoying at times overtaking the whole space.
"II" is logically album number 2, and it sticks to the guys' familiar guns, in other words this is nothing more than the good old groovy post-thrash spiced with not as frequent hardcorey passages. The overall approach is more friendly than the one on the debut touching Helmet and Biohazard as well Machine Head's mid-period with mellow riffs and some catchy tunes. The vocalist now really sings at times even pulling out some commendable clean performance.

Blood Soaks the Floor Full-length, 2008
Warface Full-length, 2012
II Full-Length, 2014

My Space


Raw retro thrash/death which is more on heavy stomping side with brutal shouty death metal vocals and not very pleasant distorted guitars which creat a lot of noise in the process including the very screamy leads. On top of that, the songs are not very short, and these stomping abrasive riffs may get on the fan's nerves at some point, especially on the doomy monotonous closer "Murder Deeds".

Nightmare Full-Length, 2008

Official Site


Based on the full-length, this act play all-instrumental modern thrash which borrows a trick or two from the Gothenburg scene, but generally relies on atmosphere and cool melodic lead passages. The melody is probably too big stifling the riffs' sharpness, and the progressive, meandering nature of some of the longer numbers (the title-track, to give one example) may come as too mellow for the hardened thrash metal fan.

Assisted Life EP, 2012
Dark Planets Full-length, 2014

Official Site


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

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


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

The Concerto of Slaughter Full-length, 2002

Official Site


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

Defamation Demo, 2011


Rough dark thrash with brutal guttural death metal vocals which at times scream even higher than Chris Barnes (Cannibal Corpse) himself. The approach is heavy and volcanic with echoes of doom metal and one can't help but find the resemblance between the effort here and the Six Feet Under debut album which came out the same year. "Visions" is a cool galloper with good melodic leads, but the rest is pounding with a thin deathy edge which becomes more expressive on the final live track.

Visions Demo, 1995


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

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

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


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

Demo Demo, 1985
Demo Demo, 1989


A cool 3-song demo ("Gor May Rot") of energetic thrash ala Anthrax and late 80's Overkill; the guys insert cool semi-technical guitars ("Deadly Conflict") at times which makes their music quite interesting at times.
The "Living on Ground Zero" demo is another convincing slab of razor-sharp headbanging thrash which has its stylish more technical moments: check out the opening shredder "Carnal Lust", or the eventful opus "Detour" which is a cool nod to both Anthrax (think "Persistence of Time") and Metallica's late'80's period. "Lethargy" is a wild aggressive piece, and the final "Genetic Manipulation" is a nice semi-technical cut, the last reference the band made to the Bay-Area graced with great screamy leads. The singer isn't bad at all aptly assisting the very good music with his clean mid-ranged tember recalling Joey Belladonna at times.
The "Into the Labyrinth" demo epitomizes the heavy intricate style of late-80's Metallica and Heathen's "Victims of Deception", and the final result is perhaps the guys' finest hour: complex diverse compositions with numerous time and tempo-changes await the listener among which "Existence Of Hate" is a particularly cool shredder with some great technical guitars. The band relax on the final "Labyrinth" which is a frolic thrash/crossover cut with nice blazing leads. The only drawback would be the muddy sound quality which only slightly hampers the musicians' efforts.

God May Rot Demo, 1990
Living on Ground Zero Demo, 1990
Into the Labyrinth Demo, 1991


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

Wax Full-length, 2009

My Space


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

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

Official Site


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

War Of Losers Demo, 1987


The debut demo: expect submissive black/thrash with a curious synthesized sting which doesn't really sound like anything else, but tries to achieve the raw pristine production qualities of the early days, and succeeds on all counts. It certainly bears some resemblance to early Burzum with its sprawling epic sections, but at the same time we have some cold misanthropic atmosphere ala Khold, and a few haunting keyboard insertions. It's obviously done by just one person who also provides the very low-tuned semi-whispered vocals, and is clearly fascinated by all spectres of the black metal movement with thrash appearing on a few passages to provide the odd headbanging relief.
The "El Rincon De La Nostalgia" demo is more deeply immersed in doom the guy slowing down quite a bit now showing his slower more pensive side so there's not much thrash to be savoured the stuff offered being mostly in the all-instrumental sector, and the sparce male recitals which accompany them could hardly pass for singing. The last track is a pure meditative violin-driven melancholia ala My Dying Bride seeing the musician spreading his wings into all possible directions.

Laborem Suscipere Demo, 2011
El Rincon De La Nostalgia Demo, 2013

Official Site


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

A Symbol of Devotion EP, 1989

Vibrations of Doom


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

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

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

Official Site


Modern thrash with expected echoes from the Gothenburg scene; the approach here is perhaps a tad more brutal (the blast-beats on "The Final Conflict"), but softer rock-ish deviations ("Aeons End") are not a rarity, either. In other words, there's diversity although the fast-paced numbers are by all the majority another plus being the hoarse, but attached shouty semi-death metal vocalist who rends his throat to a generally positive effect. Some of the musicians also take part in the melodic black metallers Apostasy, and the death metal formation Surrounded by All.

Extinct Full-Length, 2016



This band were previoulsy known as Black Age, but the name change didn't cause any style changes: this is crunchy modern thrash, pretty derivative, with melodic decorations which don't take away from the music intensity, and the fans can not help, but enjoy intense shredders like "The Guide" and "Blurred Inception" since there is quite a certain number of slower groovy pieces which sadly occupy more than half of the album. The 2nd half is totally skippable with the complete loss of speed and the introduction of unemotional clean vocals which oppose to the forceful deathy ones.
"The Prodigal Child" is a much better effort with loads of more dynammic pieces ("Unfinished") present where things are left "unfinished" with the sudden reduction of speed from the beginning. "A Prospect of Traveling Beyond" is another frolic speedy shredder which nicely translates its "fury" on the more complex "Those Who Behold". Things become doomy and gloomy on the pensive "The Introspection of the Omnipotent", but "The Flaw" hardly has any flaws the band shredding with a lot of passion and a few more surprising technical decisions. "Stronger Than You" is asweeping brutalizer with some blast-beating sections incorporated even among the wild thrashing, plus another portion of more intricate riffage. "A Way Out of Nowhere" is a consummate progressiver with several lyrical/balladic digressions. "The Experiment" doesn't offer anything "experimental" holding onto the raging speed/thrashing "carnage" witnessed earlier the latter accentuated on the closing "The Curse of Hu's Hands", an 8.5-min opus with numerous shredding delights among some more peaceful distractions "sieged" by virtuoso lead guitar work. This is such a big step forward that some may find this recording sounding quite remote from the debut. Regardless, this is a sure step in the right direction, and it would be hard for any album, released in France this year, to be able to beat it.

State of Desillusion Full-length, 2011
The Prodigal Child Full-Length, 2013

Official Site


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

Overture of Annihilation EP, 1990


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

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

My Space


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

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

Official Site


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

Silent Terror inside EP, 2001
Freedom Release EP, 2003


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

Over G Full-length, 2006

Official Site


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

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

Official Site


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

Cadenas del Tormento Full-length, 2006

My Space


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

When Tomorrow Comes Full-Length, 2012


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

Defueld Full-length, 2009

Official Site


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

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

Official Site


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

World Gone Mad Demo, 1989


The debut: another representative of the burgeoning South American scene; these folks provide a classic/modern hybrid of straight-forward thrash which is more on the faster dynamic side with a few groovy implements added to an accumulating heavy effect. The closing "Tribo" is an intense semi-technical piece with good screamy leads and an intriguing doomy mid-break. The vocalist is a vociferous angry shouter with more brutal deathy tendencies.
"Tormenta" is a more aggressive affair referencing Slayer, Demolition Hammer and their compatriots Attomica; in other words, the band play forcefully seldom abandoning the faster parametres a few interesting more quiet atmospheric moments calming the spirit, but just for a bit. The singer shouts in an angry quarrelsome manner and adds up to the fairly intense character of the music which is also enhanced by very good sound production.

Corros Full-Length, 2013
Tormenta Full-Length, 2014

Official Site


Based on the full-length, these guys serve modern speed/thrash/black metal which is high on energy as evident from invigorating moshers like "Hexentrost" and the aptly-titled "Show No Remorse". There are also a couple of more officiant, epic-sounding hymns like "Oath of War". "Black Wolf Pride" is a speed metal winner worthy of early Helloween and Attacker, influencing other pieces like the like the Vectom-esque "Skeletal War Rites" and the excellent progressive closer "Skyless Reborn" which can make even Hellfire and Manticora proud. The leads are superb throughout and are by all means the highlight, for the sake of the not very convincing shouty death metal vocals which are at times intercepted by more dramatic clean ones. Some of the band members also play in the black metal outfit The Last Knell.

Finsterkult EP, 2014
Hexentrost Full-length 2017

Official Site


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

Revelation in Blood Full-length, 1994


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

Unleashed EP, 2007
Juggernaut Full-length, 2011

My Space


Based on "Out Of Body Experience", these guys offer your prototypical modern Swedish thrash metal which sometimes comes unpleasantly groovy also assisted by a wide gamut of vocals one of which are actually not so bad clean ones. The faster tracks are by far better ("Depths Of Darkness", "Future Is Now") although they are, again, nothing new, and sound very close to Dark Tranquillity.
"The Monster Within" is another fairly pedestrian affair, more melodic than the previous offerings now clinging more towards later-period In Flames and The Haunted transformations of recent years. Consequently this is the band's least achievement the really headbanging moments being very few ("Dead Becomes Alive" and "Scars of Misery" come to mind, but that's about it), the guys apparently laying the foundation for exiting the scene at some later stage. The band were previously known as Septima when they released a lengthy string of demos before changing their name.

Til Death Do Us Apart Full-length, 2008
Out Of Body Experience Full-length, 2009
Human Nature EP, 2010
A World Destroyer Full-length, 2011
The Monster Within Full-length, 2013

Official Site


Brisk energetic old school thrash with vicious mean vocals; the roller-coaster deivery knows its more intricate moments ("Concrete Shark"), but the dominant tone is akin to Sacrifice and early Destruction, with interesting meandering lead sections. "Sleep in the Bed You've Made" is a more dramatic deathy cut, but such embellishments are a rarity if we also exclude the more serious melodic progressiver "Depths of the Maelstrom" (gorgeous melodies there) and partly the more intriguing shredder "Where Eagles Dare" which is not an Iron Maiden cover.

Full Tilt Full-length, 2017



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

Yggdalive Full-Length, 2009


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

Prelude to Destruction Full-length, 2010

My Space


This outfit started as a Gamma Ray tribute band. Based on the full-length, the music is now a bit more aggressive with a more or less overt thrashy edge although for most of the time the sound is within the power metal confines. The cool attached male clean vocals are at times supported by also quite convincing female ones ("Locked Heart"). In the 2nd half the album gains inertia and the delivery becomes more brutal except for the sleepy title-track at the end which is long dragging balladisms.

TerminUs EP, 2012
Beyond Full-length, 2014

Official Site


Based on the debut demo, this band plays retro thrash/death metal spicing things up with heavy doomy passages in a way quite similar to Asphyx. The general tempo is mid at best, and the leads make sense being melodic providing a nice contrast to the hammering riffage.
The "Icon" demo is then better offering the band notching it up in the production department; the problem is that the move towards a more monolithic doomy sound has been done again the closest soundalike being Asphyx, the semi-balladic peaceful closer "Beyond Recognition" trying to change the band's delivery "beyond recognition".

Symptoms of Insanity Demo, 1993
Icon Demo, 1996

Official Site


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

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


Based on "\'a1\'a1Viva Dios?!?!?!", this outfit indulge in intense modern industrialized thrash/death which futuristic atmosphere is enhanced by very boosted guitars the latter less obvious on the shorter material ("Slow Demise"). Fear Factory come to mind when listening to sterile modernizers like "Purple Dawn", but displays of not such a good taste also "roam" around: the monstrous boredom "\'a1\'a1Viva dios!!" at the end, lasting for half an hour (!!), which is a dark wave/doomy extravaganza served on a never-ending undustrial landcape. Some of the band members also took part in the black/doom metal formation Asgaroth.

The Ageless Pantomime Full-length, 2011
\'a1\'a1Viva Dios?!?!?! Full-length, 2013

Official Site


Based on the full-length, this is modern post-thrash with some progressive and also epic pretensions which is not a complete drag, but manages to enchant at times with a portion of less expected technical decisions ("Nowadays Circus") and several ethereal oblivious tunes ("Meridian"). "Letter of the Seer" is the post-thrashy read of the Tool exploits, and "Sunset Boulevard" is hectic post-thrashy technicality at its best. So far, so good, but the final trio is more on the monotonous sprawling side, and diminishes the impact of this otherwise not bad translation of the 90's vogues into the new millennium. The vocal, gruff vs. clean, "duel" is also fairly decent leading the show with panache and moderate dramatism. Some of the musicians also play in the progressive death metal outfit While Sun Ends.

A Vent of Rage Against... EP, 2010
Behind the Scenes Full-length, 2014

Official Site


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

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

Official Site


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

The Sound of Dejecta Demo, 1994


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

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

Official Site


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

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

My Space


Cool retro power/thrash with a few modern (read semi-groovy) implements; the songs are moderately dynamic ("The Only Life You Know", "Thought Police") with several semi-balladic excursions ("Then Some Bells May Chime") softening the situation. "Race for Life" is a serious thrasher handsomely supported by the speed metal hymn "Blame Satan" and the pounding headbanger "True Stories Last Forever ('till They're Over)". The vocals are hoarse and semi-clean, but are able to hold a lot of melody when needed.

One Day More, One Day Less Full-Length, 2016


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

Truth in Chaos Full-length, 2005

Official Site


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

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

Official Site


Based on the demo, these folks offer decent retro progressive thrash which suffers mostly from the production department: the sound is awful taking away from the guitars; the other drawback would be the harsh deathy vocals which are comprehensive, but are no match to the much better music. Otherwise "No Thought to Preach" is a really nice progressive cut the rest being a bit monotonous and not very adventurous "Ulalume" at the end thrashing with more passion as a finishing touch.

Another Life Demo, 1993
My Desolation EP, 2010


One of the main "culprits" for the thrash metal revival witnessed in Germany, and around the world, in the past ten years; like another "associate"- Cockroach, Delirious play Bay Area thrash by-the-book, with Testament being the prime influence. All their works are of high quality, and although their last album moves things up a bit into other non-thrash directions (remember Death Angel's "Act III"), their sound remains firm and true to the old masters.
"Moshcircus": the band are back after a lengthy hiatus, but their style remains true to their roots the guys thrashinng with a cold mechanical calculation recalling Testament in all their incarnations, past and present. The thrashing is both fast and slow as "Toxic Trace" is a particularly noteworthy headbanger although it has no relations to the Kreator hit of the same title. The title-track is another headbanger and the remaining compositions try to follow this fast-paced road "Your Decision" moving up the technicality scale, the longer "Dead Man Rising" reaching almost progressive heights with its more intriguing riff-patterns. THis is a fine comeback for the band whose vocalist is a dead ringer for Chuck Billy (Testament again) for most of the time.

Thoughtlessness Full-length, 1997
Time is Progress Full-length, 1999
Designed by Violence Full-length, 2001
Made for the Violent Age Full-length, 2006
Moshcircus Full-Length, 2015

Official Site


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

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

Official Site


Aggressive thrash with death metal tendencies; the guys reach the intensity and flavour of Necrodeath and Devastation on their impressive debut. On "Thrashing Warthogs" the guitars are more melodic and more technical, but the speed and aggression are intact this time with fewer death metal leanings. The intermission is in the form of a jolly cover version of Guns'n Roses' "Paradise City". "Twisted Mind" is the other opportunity for a break from the intense headbanging being a cool thrash/crossover track.
The "Drink, Kill, Fuck, Die-The Rock'n'Roll" EP should not be taken seriously as this is jolly thrashy rock'n roll similar to the joke songs the thrash metal bands of the 80's (mostly representatives of the German metal scene) used to make (Tankard, Sodom, Necronomicon, etc.), enjoyable and feelgood.
"Read My Fist": the rock'n roll thrash party carries on unabated after an 8-year hiatus the band speed/thrashing in the good old way reminding of Motorhead quite a bit adding the more aggressive hardcore flavour ("Iron gang") whenever necessary. "Thrash and Be Thrashed" is just the next merry-go-rounder ala Tankard showing the band having a fairly good time not aiming at any musical heights. The party gets rougher near the end with the deathy exploder "Get Fucked", but other exceptions of the kind are not to be come across, but on the other extreme we have the cool heavy rock hymn "The Kids Kick Ass". This is decent background stuff quite reminiscent of the Tom Angelripper's side projects (desperados, etc.) as well.

Violent Mosh Ground Full-length, 1999
Thrashing Warthogs Full-length, 2004
Drink, Kill, Fuck, Die-The Rock'n'Roll EP, 2006
Read My Fist Full-Length, 2014

Official Site


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

The Second Death Full-length, 2002

My Space


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

The Executioner Full-length, 2002

Official Site


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

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

Vibrations of Doom


This band were the leaders of the Christian thrash metal scene in the beginning, with two exemplary classic thrash albums which really set the standards high. Their self-titled debut was a splash on the scene, with its clever semi-technical guitar work, energetic delivery, and very cool soaring clean vocals. "Victory" is a nice up-tempo sharp thrasher, followed by the slower, more melodic power/thrash metal number "No Time". "Deliverance" is in the same vein, but before the thrash fan frowns in doubt, here comes the raging "If You Will", accompanied by the heavy stomper "The Call". "No Love" provides more fine headbanging moments, but with a more melodic deviation. No such deviations on the uncompromising speed/thrashing killer "Blood Of The Covenant", and on the fine speed metal track "Jehovah Jireh", which boasts a great catchy chorus. The last two songs provide a compelling mix of fast-paced riffs and more complex passages, showing the band's more thought-out side. A smashing debut, which quickly put the band on the front row of Christian thrash all over the world.
"Weapons of Our Warfare" is an even better effort, serving another portion of energetic, blitzkrieg speed/thrash. "This Present Darkness" is the best way to open such an album, with great sharp aggressive riffs, "courting" Vio-Lence's "Eternal Nightmare". "Weapons of Our Warfare" continues the damage, but in a slower, heavier way, with a massive wall of pounding guitars, and fine high-pitched vocals. "Solitude" is a nice, more elaborate combination of thrash, speed and power metal, giving way to another similar amalgam: "Flesh and Blood", a marvellous "marriage" between an all-out thrash assault and more controlled technical sections. Then comes a time for a "break" with the short raging killer "Bought By Blood", followed by the excellent heavy ballad "23", which is by far one of the finest achievements of the genre from the metal scene. "Slay the Wicked" is the not very impressive mid-tempo power/thrash number, totally cancelled by the unbridled fury of the short Slayer-esque "Greetings of Death". Those of you who manage to recover from this small piece of aggression, will listen to the closing "If We Faint Not", which is again in the mid-paced power/thrash metal mould, but is hardly the best way to finish this impressive work.
Unfortunately, the band never bothered to reach those high standards again, moving instead on some less serious, hardcore-ish sound on "What A Joke"(yes, indeed, a joke: and not a very good one at that). "Stay Of Execution" was a partial return to form with some nice headbangers, but with also more melodic parts which were a sure sign that the band would look for new fields to explore very soon. The next few releases had nothing to do with thrash, right until 2007 when the new album "As Above-So Below" shows that their interest in thrash metal is coming back, but not strongly enough to put it among the best works of the band.
"Hear What I Say!": the band are back in the game, and their fans will be pleased for a while to hear them speed/thrashing with gusto smashing everything in their way with the awesome opening duo. Certainly, the ballad which follows suit "Hope Lies Beyond" would be a cool shower after them, and later on the band settle for their more recent modern post-thrashy approach which at least bears one good fruit: the cool faithful cover of Iron Maiden's "Where Eagles Dare". This is hardly a return to the band's roots, but at least is more convincing than their bland mid-career outings.
"The Subversive Kind" sounds more like it although the groovy implements on the opening "Bring'Em Down" may pull back some. Still, the follow-up is nothing short of inspiring in the form of the ripping hardcore-ish "Concept of the Other", and the vigorous old school headbanger "Center Of It All". "The Black Hand" thrashes hard as well bringing sweet memories of the guys' first three recordings, but "Epilogue", which is not exactly an epilogue, may disappoint with its monotonous groovy rhythms. "Listen Closely" is another great retro thrashing madness with a nice psychedelic flavour, and the title-track is the next in line classic thrash masterpiece, the band taking no prisoners near the end including on the closing "The Fold", a highly entertaining speed/thrasher wrapping it on in the most awesome fashion. Yes, the guys have finally made it, to recapture the vigour and spirit of their earlier repertoire because if this their intention here was then it's mission accomplished on all counts.

Deliverance Full-length, 1989
Weapons of Our Warfare Full-length, 1990
What a Joke Full-length, 1991
Stay of Execution Full-length, 1992
As Above-So Below Full-length, 2007
Hear What I Say! Full-Length, 2013
The Subversive Kind Full-Length, 2018

Official Site


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

The Awakening Full-Length, 2012

Official Site


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

Manifesto Full-Length, 2012


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

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

Official Site


This young formation specialize in modern progressive thrash which crosses the razor-sharp shredding of Nevermore with the sprawling atmospherics of Opeth. The music doesn't have a very expressive technical edge except for the explosive Atheist-like "They Live" which is a great puzzler with stop-and-go rhythms galore. The rest isn't so striking although dynamic and more quiet sections have been aptly blended on almost every composition. The "gruff-clean" vocal duel isn't a disadvantage this time and ensures the requisite dramatism which goes with this kind of music.

Delusionist Full-Length, 2014

Official Site


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

Regret EP, 2005

My Space


Based on the "Purgatory" demo, this act serve energetic, also melodic, speed/thrash which reminds of early Helloween and Paradox the major annoyance being the semi-shouty death metal vocals which simply don't suit that kind of music. The sloppy production also hampers the proceedings although the very good lead guitarist soldiers on unperturbed by the unpropitious circumstances, and is by far the finest performer in the band. His colleagues match him on the first-rate shredfest that is the title-track which kin dof predates the melo-progressive flair the Death recordings would take a few years later. "Deceitful Future" is another cut worth mentioning the band changing the rhythm more often, producing a nice progressive composition with echoes of Paradox again.

Reign of Desolation Demo, 1991
Purgatory Demo, 1991
Terror Sight Demo, 1992


Brutal thrash/death with a curious technical "sting" which isn't fully developed due to the incessant speedy barrage which only slackens on the atmospheric doomster "731" and the short interlude "Res Cogitans". The final "Blackened Diplomacy" is the highlight with its twisting riff-patterns and the proficient leads the rifforama assisted not very ably by the very deep, guttural death metal growls.

Human Brutality EP, 2016

Official Site


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

Promo Demo, 2011

Official Site


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

Today We Rise Full-length, 2004

Official Site


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

Demencia Extrema Demo, 2007
Human Terror EP, 2009

My Space


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

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

My Space


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

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

Official Site


A promising debut of intense retro thrash/proto-death with perfectly captured pristine production which bars the guitars from sounding more expressive, but otherwise helps the band channel veterans from the South American underground like Holocausto, early Sepultura, Chakal, as well as Kreator's seminal "Pleasure to Kill". "Hungry For Violence" moves towards purer death metal with a portion of less restrained blast-beats, but the stylish leads, the stylish semi-technical insertions (the hectic "Slaughter Never Ends"), and the sparse melodic hooks ensure that this won't turn into a brutal bashing bore. The vocals are shouty with a mixed death/blacky blend reminiscent of early Mille, but more expressive and hysterical.
"Straight For The Jugular" doesn't betray the band's staple sound, but adds more technical touches "Mass Aggression" coming with some stylish Coroner-esque flair and a wide arsenal of tempo changes. "Between Heaven and Hell" admirably blends aggression with intricate mazey riff-formulas, a shredfest of the highest order; and "Domesticacion" is a hectic, not very predictable number with sudden time shifts and less adherence to speed. The title-track reminds of the Destruction instrumental "Thrash Attack" initially, but later the tempo variety is way bigger the guys never settling for a single rhythm for more than a few seconds. "Pain Is Pleasure" moshes with conviction and vigour, but the more elaborate decisions spring up before long the band boldly throwing in a couple of superb Atheist-like knots on top of intriguing melodic variations. "Wall of Death" has a most tantalizing scratchy beginning before more chaos ensues with Atheist coming to mind again the busy guitar work drawing great schizophrenic vistas of psychedelic proportions. The closing "Ruidos" follows a similar trajectory with echoes of Destruction sneaking in again, with briliant schizoid riffs filling in the whole space the speed reduced to an extent again in order for those clever arrangements to fully shine. This is a true revelation showing these youngsters in a really bright light, distinguished rivals to Vektor and the likes.

Slaughter Never Ends Full-Length, 2011
Straight For The Jugular Full-Length, 2017

My Space


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

Esto Es Lo Que Somos Full-length 1999
Caminamos Entre Ruinas Full-length 2003
Todos Vamos A Morir Full-Length, 2010

Official Site


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

Demo I Demo, 2008

My Space


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

Violencia Extrema Full-length, 2009

Official Site


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

Demented Full-length, 2005

Official Site


Aggressive thrash metal with hardcore elements (the title-track) reminiscent of the Evildead debut.

We Call It Quits Demo, 1988


This obscure outfit play edgy intense thrash which is both fast and stomping the chaotic leads giving this recording a somewhat more masterful aura than it actually deserves. The delivery recalls Evildead's debut and early Sacred Reich the main difference coming from the singer who is a brutal deathy shouter distantly echoing John Tardy (Obituary). There is a lot of vigorous bashing to be savoured here, and generally the guys know what they're doing especially when these surreally proficient leads spring up out of nowhere.

Pacification By Violence Demo, 1991

My Space


Wild chaotic thrash/crossover which isn't far from the exuberant aggression of Wehrmacht, but the guys here have a good sense of melody at times ("Dead Pig Joe"), and change the pace more often. On the other hand, the short pieces ("Guts And Beer") are pure death metal brutality and will literally raise the dead not without the help of the very shouty, to the point of hysteria, semi-death metal vocalist.

Demo Demo, 1988


A fairly nice obscurity paying tribute to the Floridian movement by inserting a healthy doze of thrash mostly for therapeutic purposes. he more technical embellishments cling towards Death and Nocturnus, and engaging shredders like "Existence Lies Beneath" and "Despair" can easily qualify for "Human" with their clever twists and turns. "Psychopathology" is a whirlwind of spastic, vitriolic riffs, and "Incisions" is only a marginally more linear headbanger. "Liquid Remains" thrashes with a lot of style, too, but it's "Geneticide" that steals the show with its spinning Coroner-esque rhythms and the delightful pounding excursions; an absolute stunner which alone certifies this album's presence on the very front row. The vocalist is the typical deathy shouter who doesn't take a lot of space, and is seldom overbearing playing secondary fiddle to the very good music. Later the guys regrouped under the name Beyond, and released another album of modern Pitchshifter-esque industrial.

Promises Impure Full-length, 1993


Based on the debut demo, this band play classic thrash with both power and speed metal elements encountered, but the rough sound quality doesn't do justice to the inspired musical approach. The guys thrash with conviction recalling their Bay-Area colleagues (Testament, above all) not focusing too much on the technicality, but bashing with vigour elaborating things a bit on the semi-balladic "The After Life". The vocalist hesitates between James Hetfield and Chuck BIlly, and does a fairly decent job as such maybe hitting the high registers more often than both.

Sand Castles Demo, 1991
Unhealthy Conduct Demo, 1992
DEMO Demo, 1993



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

Dementia Full-length, 1995


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

Watching The Dawn Full-length, 1995


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

Struggle for Rebel EP, 1985
Bang Hard EP, 1987

Vibrations of Doom


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

The Plague Demo, 2008

Official Site


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

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


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

Sun Goes Down Behind EP, 2009

My Space


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

Asalto Infernal Demo, 2007

My Space


Based on "Torment of the Black Synod", these folks serve evil sinister speed/thrash/proto-death metal which moves on hyper-speed for at least half the time, the guys moshing on full-throttle with "bombs" like "Nocturnal Rites" and "Necroforce" falling from all sides. "Soldiers of Black Steel" overdoes it a bit with a few less controlled blast-beats, but the good tone is seldom broken with a couple of more moderate speed metal hymns ("Fuerzas Malevolas") providing the requisite balance. "Maelstrom in the Skies" is the other untamed ripper coming with an over shade of black, the band lashing with less restraint near the end, the vicious black/deathy vocals only too eager to unleash more hellish tirades as a finishing touch.

Dementia-Violence-Blasphemy EP, 2011
Torment of the Black Synod Full-length, 2017



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

Burn the Moon Full-Length, 2012

Official Site


This is intense modern thrash with gruff, quarrelsome vocals. The music crushes not forgetting about the more dynamic side of the genre, and here come "I Hate My Fate" and "Dark Souls" to bang the head among the dominant officiant, steam-roller riffage. "Kill For Us Tonight" is a frolic crossover merry-go-rounder, preceding the atmospheric doomy closer "December The 19th".

Demifrag Full-Length, 2016

Official Site


Groovy post-thrash/post-death with a few doomy arrangements those bringing the sound not too far from Acid Death at times. Don't expect any fast-paced surprises although the dynamics are big, especially with energetic groovers like "Self Abuse" and "Suffer Will My Soul" around. The vocals are typical shouty death metal ones seldom interrupted by cleaner, more emotional croons.

Dark Inside Full-length, 1998

Official Site


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

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

Official Site


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

Prophesy Demo, 1991
Visions Demo, 1992

DEMISE (USA, Massachusetts)

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

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

DEMISE (USA, Oregon)

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

Devious Deception EP, 1992


This is cool intense speed/power/thrash in the spirit of the 80's American scene: think Laaz Rockit, Helstar, Have Mercy, etc. even Forbidden's debut is touched on the intense ripper "Extract". "Omega" is a less intense power/thrasher, but the longer "The Nothingsoul" comes out again with all guns blazing "shooting" fast fiery riffs with panache also making promises for the future band exploits. The singer has a forceful high-strung clean tember which touches Russ Anderson (Forbidden again) at times, but generally his delivery is less melodic and lower-tuned. The sole drawback would be the rough production which gives the guitars an accompanying chainsaw-like sound.

Demise Awaits EP, 2009

Official Site


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

The Demise Of Gideon Full-Length, 2010



Based on the full-length, this British band indulge in modern post-thrash which is on the heavy side for most of the time also acquiring some speedier tendencies ("Blood Of The Dragonmen", "Final Symphony"), but there's a lot of epicness involved as well ("Ride of the Norsemen") including a few merry rock'n roll rhythms ("Dressed To Kill") those recalling the last two Megadeth albums. For a dessert the guys serve a cool energetic cover of Annihilator's "King Of The Kill" done faithfully with panache.

Blood of the Dragonmen Full-length, 2011
Aftershock EP, 2013

Official Site


Based on "In the Midst of Stones and Fire", this act specialize in heavy modern power/post-thrash which has its moments although it's largely a plodding, not very imaginative affair which clings too much towards the balladic/semiballadic side consequently sounding quite doomy (check out the vintage doomster "Season of the Witch", or the excellent Cathedral-worship "Deadspeak") on quite a few times. The singer suits the seismic atmosphere with his gruff semi-shouty tember which he strains quite a bit at times.

Falling into Madness Full-length, 2011
Towards the Guilded Edge EP, 2013
In the Midst of Stones and Fire Full-length, 2015



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

Bastinado Full-length, 2005


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

Demiurge Full-length, 2004

Official Site


These German folks serve a decent blend of classic and modern thrash which mixes both sides not very evenly giving preferences to the latter also incorporating really cool melodies all over those more obvious on the longer material ("Bastard Walk") which borders on the progressive. "Schizophrenic Soulgrinder" is a smashing speedster arriving after a string of not very impressive long numbers, but its immediacy is cancelled by the closer "Rot in Pieces" which stomps forward in a march-like manner not varying the officiant mid-tempo a lot consequently pulling this effort towards the dull side in the 2nd half. The singer is a quarrelsome growler with a harsh, not very clearly heard at times, tone.

disease:mankind Full-length, 2013

Official Site


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

Lugubre Existencia Demo, 2011


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

Demencial EP 2009
Ni\'f1os de Guerra EP 2011

Official Site


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

Demo I Demo, 1989

My Space


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

Signs of the End EP, 2005

Official Site


Based on the EP, Demolisher are typical representatives of the modern thrash/death metal genre. These guys are perhaps more diverse offering heavy groovy sections ala Fear Factory and Puncture as well as parts which recall the Swedes Hypocrisy's slower doomy material, but the peace is often broken by furious, brutal blast-beating passages.
The full-length is a brutal death metal affair with sparce thrash insertions. There's a lot of atmosphere in the beginning on the opening duo which rely on heavy doomy breaks with sudden blast-beating passages which could also pass for adherences to black metal even. "Closed from the Mortals" is a nice short sinister piece which influences the remaining longer compositions where the moroseness becomes almost intolerable; and "Crusifix Head Crush" is more than welcome after that with its brisk technical thrash/deathy shreds. The closing "Covered With Files-Guarded by Reptiles" is a doom/death masterpiece, a high-octane cut with ship--sinking riffs and a few surreal decisions ala Morbid Angel. The singer is a brutal low-tuner whose rendings are at times not very easy to get into.

Deformation Demo, 2005
Enter the Suffering EP, 2007
Plague District Full-Length, 2012

Official Site


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

Strike Force EP, 2007
Kill Zone Full-length, 2011

Official Site


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

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

Official Site


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

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



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

Laserguided Freedom Demo, 2004
Demolition Inc. Demo, 2005

Official Site


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

To Live This Way Or Die Demo, 2006

Official Site


Based on the full-length, this band play merry-go-round old school speed/proto-thrash in the vein of early Exciter and Motorhead. "Unleash the Hordes" is a speed metal winner also recalling the Metallica debut later matched by another rousing speedster, "Metal Mayhem". "Hell on Earth" is an uplifting rockis hymn, but the rest is sustained in vigorous up-pace the musical approach aptly supported by clean high-strung, semi-shouty vocals.

Kill Your Boss EP, 2011
Unleash the Hordes Full-length, 2015

Official Site


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

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

Official Site


These Greeks pull out intense bashing classic thrash, but there are the requisite slower moments where the guys stick to less painful mid-paced riffs relieving the pressure from the other much faster material which is assisted by throaty semi-shouty hardcore-ish vocals.
The full-length is a paradise for the headbangers who will mosh around with a wide smile on their faces" a major statement of intent being the raging 6.5-min opener "Evoke the Pain". The guys keep the brutalities afloat and come close to the less bridled moments from the works of Rigor Mortis and Hallows Eve. At some stage the sound will inevitably bear some connotations to death metal ("Damnation Enslaved"), and the mid-relief "Tyranny ("Respect Your Life or Die)" will be more than welcome with its more friendly slower rhythms. From then till the end we have aggressive super-fast stuff excluding the heroic epicer at the end "Under Snow and Blood". This is a cool effort which sees a new rising star on the Greek metal horizon ready to conquer on a worldwide scale even.

Fields of Hate Demo, 2012
Morbid Terror EP, 2013
Evoke the Pain Full-length, 2014

Official Site


Based on the full-length, this band play modern thrash/death which is more on the friendly, playful side where the mid-pace rules, and the speedy escapades (the title-track, the cool progressive melo-deathster "Get What You Deserve") aren't that many. TThe steam-roller approach on the remainder creats a somewhat officiant tone summed up by "The Aftermath" at the end which is a nice doomy instrumental losing the brutal low-tuned death metal vocals.

Demon Seduction EP, 2015
Dissolution Full-length, 2017

Official Site


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

Oh, Lord, Amen Full-length, 2008

Official Site


The 2-song promo shows quite a capable speed/thrash metal outfit with a female singer relying on speed the way the Swedish acts from the near past F.K.U. and Cranium do. No complaints, the guys shred like crazy leaving a little room for a more laid-back speed metal sound on "Ataque de Locura Homicida" which will throw you directly in the early Helloween camp.
The "Metal is Me" demo offers a relentless speed/thrash metal attack all over, sometimes furiously thrashy ("Demona"), sometimes softer with a speed metal vibe ("Metal Is Me", which strongly reminds me of Piledriver's "The Executioner" from "Stay Ugly"). The old school spirit is nicely captured on every track, but some amendments in the vocal department are necessary: the singer, whose name is Constanza, and is the only band member at this stage, also playing all the instruments, pulls out a very thin emotionless clean tember which is simply not on par with the better music.
The full-length is finally ready seeing the band offering brand new songs not heard on any of her previous recordings. The dedication to speed is admirable the album capturing the unbridled spirit of albums like Angel Dust's "Into the Dark Past", Helloween's "Walls of Jericho" (but, please, don't expect any guitar pyrotechnics ala Kai Hansen) and Not Fragile's "Who Dares Wins" with both hands and holding it till the very end. She ahs also improved her vocal peformance now sounding both emotional and forceful and authoritative at the appropriate moment. This is one of the biggest entertainments to come out of South America in recent years: speed/thrash at its both catchiest and most headbanging best. It's another story how this approach will be accepted on a string of albums, but at this stage it works on all counts also producing more stylish "ecxursions" in to the genre: the engaging speed metal opus "Metal Through The Time"" which also sees the short introduction of male vocals. More aggressive thrash will befall you on "Poisoned" near the end, as well as the very cool cover version of the Germans Wardance's "Heaven is for Sale" "Don't Play with Fire"; this is a desirable tribute to one of the first female-fronted speed metal acts (and one of the finest speed metal albums of all times) on the scene Demona being obviously influenced by the emotional falcetto of Sandra Schumacher. This is a solid retro offering which doesn't sound stale or banal for a split second, and raises the flag of 80's speed/thrash higher than some of the most renowned practitiotners nowadays.
"Speaking with the Devil" is a constant speed/thrash downpour which makes this ac t one of the most dedicated to speed outfits on the scene right now. This is dirty "dirty speed metal" all the way, like the title of one of the songs says so well, but the sound quality is crystal clear and greatly favours the rapidfire riffs which will literally make you dizzy: there's hardly any stop from the high-speed train offered, except probably on the more moderate mid-pacer "Stronger than the Hardest Stone", and on the jumpy melodic avantgardism Caid Deceit, Demona", a cool offbeat composition. This is a highly entertaining effort that sees an act playing what they can do best without too many deviations from the chosen path.

Promo Single, 2008
Metal is Me Demo, 2009
Metal Through the Time Full-length, 2012
Speaking with the Devil Full-Length, 2013

My Space


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

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


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

Demonation Demo, 1992


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

Demonax Full-length, 2001


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

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

My Space


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

Violencia Exponencial Full-length, 2008


Based on the full-length, this outfit specialize in fast, remorseless classic thrash which relies on direct, simplistic riffs which are especially evident on "Human Thrash" which title very well exemplifies the approach here: basic, primal old school sound spiced by the more interesting galloping section ("Heretic Priest"), or the casual tribute to the Metallica debut ("Time to Get Wasted"). The singer is a semi-clean semi-shouter who pulls more emotional performance than the one which usually comes with the style.

Human Thrash EP, 2014
Kingdom Covered by the Darkness Full-length, 2015



Based on the full-length, these folks pull out quite cool speedy blitzkrieg old school thrash which is reflected in generally lengthy compositions (5-7min) although the delivery is pretty straight-forward for a large portion of the time although the title-track makes some claims at more elaborate ways of execution with the more meandering guitar work which also nods towards the death metal movement. Impetuous roller-coasters like "Cheating Destiny" and "Dimorphic Feelings" will definitely keep the headbangers happy all over whereas "Death Comes" will make the more serious sit and listen with bigger attention due to the several more intriguing decisions. The shouty semi-death metal vocals don't participate much leaving at times the impression that this is all-instrumental music going on.

Judgement of Death EP, 2012
Intemperance Full-length, 2017

Official Site


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

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


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

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

My Space


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

Demo Demo, 1988


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

Necromadness Demo, 2005
Demo Demo, 2006


This band is the "child" of none other than Mr. Hank Shermann, the Mercyful Fate guitarist, who has summoned under his flag members of Forbidden, one of whom is the Americans' founder and mainman, the guitar player Craig Locicero. However, the music concocted is just a decent mix of modern and old school thrash with a boosted modern production reminding of Overkill's "Killbox 13"; the delivery is mid to up-tempo with semi-groovy implements which are more audible on the slower tracks ("Luscious Damned", the semi-balladic "Palace of Glass"). "My Tongue" is vicious aggressive thrash, and "Alien Six" is close to the Destruction sound after the reformation in 1999, but the guys prefer to thrash in mid-pace most of the time often leaving the better faster aspect of their music aside.

Demonstrous Full-Length, 2010


Based on the demo, this band plays old school thrash with vicious, black-ish vocals, slightly recalling early Bathory. This is cool, fast-paced stuff, along the lines of early Destruction and Kreator. "Thrash Attack" surely fulfills the promises given with its title, being a smashing speed/thrashing killer which will remind you of the Destruction instrumental of the same name from "Infernal Overkill". "Hell of Hell" is more aggressive, a nod to Kreator's "Pleasure to Kill", and "Mental Torture" is another raging number jumping on the death metal wagon. This is a total headbanging delight which isn't too far from the blitzkrieg approach of the Japanese Fastkill as well.
The full-length is a more brutal affair with bold shades of death and black metal brutalizing the environment, leaving thrash on the wayside for a large portion of the time although the latter has the final say on the excellent more elaborate "God-Less", and ona couple of short blitzkrieg headbangers among which "We Are Demons" is the highlight with the longer and more intricate "Satanic Deadly Warlords" a close second. The Sodom cover of "Outbreak Of Evil" is also worth mentioning, a fairly faithful, punky rendition of this hit save for the hysterical blacky vocals.

The Holocaust Continues... Demo, 2003
Hell Metal Full-length, 2004
Bonded By Siamese Hellfires Split, 2006
Obey The Antichrist Full-Length, 2018

Official Site


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

Demon Full-Length, 2010

Official Site


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

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

My Space


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

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

Official Site


Furious thrash/crossover, which is obviously influenced by the similar exploits of Wehrmacht, but the hysterical screechy vocals will scare you, and these guys go over the top, with blasting pieces like "O Imperio come\'e7ou a Ruir" and "Assistindo o Fim". We can't talk grindcore here, but this is not too far behind.

Demoncracia 666


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

Demonnia EP, 2013


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

Riders of the Apocalypse Full-length, 2004

Official Site


This outfit play harsh abrasive modern thrash/post-thrash so this isn't exactly "old metal". Anyway, the guys march on with very heavy, abrasive guitars which bring this album to the industrial cohorts at times ("Open Wide And Scream", "Grind"). The noise comes as too much on some tracks, a situation partly relieved by the playful semi-clean singer who keeps the party going with his spiteful, but catchy antics.

Dominion Full-Length, 2015


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

Kneel Deep in Hell's Grasp Full Length, 1999


The Demonstealer (also the technical death metallers Reptilian Death, etc.) is the man behind this effort ("This Burden Is Mine"), and he lives up to his reputation providing intelligent, sophisticated progressive thrash which comes a bit overdone with the gigantic length of the compositions and the numerous nuances which sometimes come with a lot of gorgeous melodies ("When The Hope Withers And Dies"), at others shred with handsome technicality involved ("This Burden Is Mine"). "Frail Fallible" is not a very necessary tiresome ballader, and "Where Worlds End" is an epic rouser which retouches the mroe aggressive delivery from the beginning in top of some cheesy keyboards. The Demonstealer providesboth the brutal deathy and the very cool emotional clean vocals their "duels" always convincing without the pompous theatricality of many other similar performances.

...and Chaos Will Reign... Full-length, 2008
This Burden Is Mine Full-length, 2016

Official Site


An obscurity which offers classic power/speed/thrash with Paradox-esque echoes and a few atmospheric touches with the presence of keyboards. The music is not very fast (the exception being the maddeinig lasher "Gilotina"), and the guys definitely have ideas to pull it through, but the bad unrehearsed shouty vocals and the awful sound quality are major detriments for this effort to be considered seriously.

Osudnej Den Demo, 1991


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

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


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

Angel Slayer Demo, 2008
Necr\'f3lisis / Demonthrone Split, 2008

Official Site


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

Demo Demo, 2011
Cursed EP, 2012


Fast blitzkrieg retro thrash the band seldom switcihing off the speedy autopilot which also goes through several more brutal deathy transformations ("Peacemaker") as well as the odd hardcore-prone rager ("Amisha Mi Papa-Papa,Juctice"). "No Way Out" surprsingly provides a nice balladic respite, a tendency developed further on the more moderate power/thrasher "Parasites"; the rest is sheer speed the remorseless musical delivery topped by mean semi-declamatory vocals.

Forgotten Acts Of Aggression Full-Length, 2017


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

Conveyance EP, 2011


These Russians pull out a varied modern blend of death and thrash with strong Oriental undercurrents. The approach is also curiously semi-technical with cool meandering guitars ("Field Hospital") accompanied by unobtrusive keyboard implements (the closing title-track which also offers the only blast-beats on the allbum). The main vocals are gruff death metal-ish, but their performance is "obstructed" by more expressive raven-like ones as well as angelic female ones.

Cry Of My Soul Full-Lerngth, 2015


This German formation play intense classic speed/thrash which follows the patterns established by his compatriots quite faithfully. As a result we have another chapter from the movement reminiscent of early Tankard, Vectom, Exumer, Necronomicon, etc. There's a mellower crossover element running through some of the tracks ("Napalm Attack"), but the speed metal aesthetics never get lost, especially on total knockouts like "Eating People" and "Fatherland" which race with the speed of light. The closer "Only the Beast" even reaches death metal dramatism also helped by the throaty semi-death metal vocals which also resemble Tom Angelripper.

Soap Factory Full-Length, 2013

Official Site


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

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

Official Site


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

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

Official Site


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

Rape Of The Century EP, 1996


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

Antichrist President Full-length, 1991


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

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

Official Site


Based on "New Army For The New Revolution": these guys pull out heavy mid-paced modern thrash that isn't bad despite its derivative nature. Crunchy pounding riffs galore will one find here as well as tasteful, but sparse guitar work. Shades of 90's Flotsam & Jetsam are all over the album as well as echoes of the Black Album, 90's Chastain, etc. There's a lot of dynamics involved: the heavy aggressive "Rise"; the more diverse "Lazarus"; the energetic rock-ish "Red Threat", the multi-layered "F.E.A.R.", which is a nice combination of peaceful passages and hectic jumpy riffs.
"Let Them Burn" would be quite a surprise the band incorporating 90's power metal into the picture by retaining their biting thrashy riffage. The vocals (if those are the same ones) are more on the clean, more emotional side and fit the frolic power/thrashy landscape which now sits between the classic and the modern trends. The guys aptly mix contrasting numbers: the nice ballad "Garden Of Stone" vs. the intense headbanger "Constant Rage" before they bring some of the heaviness of the debut in the second half which may enchant the doom metal lovers (the imposing doomster "The Black Room") at times. Without re-inventing the wheel, the guys translate well on the contemporary music horizon by widening their scope without sacrificing much from their early repertoire.
"Freedom of Speech" carries on with the power/thrash vibe from its predecessor as the band have epitomized more laid-back, mellower elements into their arsenal, with hymns like "Don't You Know Me" and "Scarred Soul" staying more on the power metal side. "Domestic War" "courts" the groovy tendencies a bit more whereas "The Devil In Me" shows bigger musical prowess with touches of epic and progressive. "False Truth" is the only full-blooded speed/thrasher here if we exclude the bonus track which is a nice uplifting cover of Twisted Sister's "Stay Hungry".

7 Times Your Sin Full-length, 2005
New Army For The New Revolution Full-length, 2008
Let Them Burn Full-Length, 2013
Freedom of Speech Full-length, 2018

Official Site


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

The Future's Past Full-Length, 1999


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

Imperishable Ferocity EP 2007

Official Site


This is a highly entertaining band who speed/thrash in an ultimate old school manner, the main difference coming from the high-strung childish female vocals whcih give a very individualistic flair to the proceedings. The music is raging and fast, quite consistent throughout the albums featured here, with some virtuoso musicianship displayed on the side of the guitarists whose performance is not far from the one of their colleagues and compatriots from Sex Machineguns and Aion. This is really good stuff, inspired dynamic old school stuff, if you can get past these arousing child-like (or rather, teenager-like) antics which may actually excite you in a very good way...

Non-Human-Killer EP, 2007
Call of Elder Things Full-Length, 2010
??????(??) Full-length, 2011
??????(??) Full-length, 2011
??????II Full-length, 2011
??????? Full-Length, 2014

Official Site


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

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

Official Site


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

Pornoaliens Demo, 2009


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

Back on the streets Demo, 2004


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

First EP EP, 2009

Official Site


Based on the demo, this act provide rough intense thrash with a not very overt hardcore flair. The pace is mid with very heavy rhythms which border on proto-death on the wild chaotic basher "My World". The vocals are shouty with a deathy edge, but are mostly all over the place also screeching on occation.

Hanging Material Demo, 1988 Poverty Stricken EP, 1990
The Resurrection EP, 2006

My Space


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

Hanging Material Demo, 1988
The Resurrection EP, 2006

Official Site


This is the second stop for the mighty Pathos after the short spell they had as Valcyrie. The music is nothing short of outstanding again being assured progressive thrash which introduces the labyrinthine structures from the get-go with the unpredictable "A Fall From The Sky" which excels in the melodic lead guitar department. "Lady Beware" is a wilder thrasher, still pretty complicated, and "Dionysian Pneuma" is a quiet instrumental bringing serenity for about 3-min. "The Song Of Complaints" is an engaging, almost 10-min, opus which clings a bit more towards the semi-balladic/doomy side; and the closing "Beware" is aggressive speed/thrash without too many gimmicks, a fair epitaph to another exemplary display of musical mastery, and a sure-hahded rehearsal before the start of the Pathos career.

Elude The Decree Of Destiny Demo, 1992


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

Demo Demo, 2010

My Space


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

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

Official Site


Modern abrasive thrash which has both shades of hardcore and industrial; the created miasma works well with semi-technical jumps ("At War with Myself") provided as well on top of some ambitious progressive thrashing ("King's Gambit", "Parasites"). "Precious North" is a surprisingly vivid shredder with noisier build-ups introduced later the latter acquiring more officiant, doomier overtones for a string of tracks. The singer is a hysterical rending shouter who kind of suits the bleak futuristic musical landscape.

Chasing Shadows Full-Length, 2017


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

Suplicando Furia Full-Length, 1997

Official Site


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

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

Official Site


This enthusiastic duo deliver crisp classic thrash along the lines of Exodus, Testament and Heathen; in other words, the flag of the Bay-Area is raised high and the guys spare no energy keeping the headbanging going the whole time thanks to rousing anthems like "Typhon's Reign", the more complex and varied "Labyrinth of Hate" (watch out for the short lyrical deviation on this one), and "Left to Die". There's plenty of melody going together with the fast-paced arrangements giving this very good effort a fairly individual at times face (the Oriental semi-technicaller "March of the Proles") the latter also achieved through a few more aggressive death metal-ish moments allso reflected in the brutal deathy semi-shouts which cross with the prevalent shrill shouty, somewhat hysterical, main vocals.

Exorcism EP, 2011
Darkness Arise EP, 2012
Scars of Treachery Full-length, 2016

Official Site


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

Thrash Till Death Full-Length, 1987


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

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


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

Pressure EP, 2011
Gravity EP, 2013


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

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

Official Site


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

Premonitory Nightmare Demo, 1988
Place of Torment Demo, 1989


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

Steel Clad & Super Bad Full-Length, 2012


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

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


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

Altered EP, 2011

Official Site


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

Scars Of Time Full-Length, 2001


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

The Void Full-Length, 2012


Cool, competently executed classic thrash with speedy ripping riffs and shouty, slightly hysterical vocals; some more technical choppiness can be detected on the short shredder "Bachelor", and "Diesel" is an interesting quasi-progressive composition with complex arrangements developing on a volatile jumpy background.

Des-Poz Demo, 1989

Official Site


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

111mzd Demo, 1988

Fan Site


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

Corrosion (en la Nacion) Full-length, 2004
Es tu Error Full-length, 2005

Official Site


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

Demo Demo, 1988


One of the first 90's bands who rediscovered thrash metal's 80's roots; their style is quite consistent throughout their career, being black-ish thrash in the vein of Sodom, Destruction and the likes with power, epic, and even death metal elements thrown in. These guys are not meant to make a revolution in music; they just want to show to the world that there is nothing better than the good old thrash.
The debut is the band's least diverse effort concentrating more on black metal with majestic medieval atmosphere akin to mid-period Immortal, with a pinch of thrash metal thrown in ("Devil's Sword"). "Into a Magical Night" is exemplary atmospheric black metal with more extreme symphonic passages ala Dimmu Borgir, but the rest seldom leaves the mid-tempo being long on atmosphere and dramatism.
"Hellfire's Dominion" starts with the maddening black metal on "In the Ban of Satan's Sorcery", but soon after settles for mid-paced epic thrash with a few edgier moments: the intense Germanic thrash shred on "Expect No Release"; the brutal hyper-blasts on "Past...Present...Forever...". The end is too quiet for such a release the last two compositions being folk/epic opuses in the vein of Bathory's "Nordland" with the thrashy guitars taking a secondary role to the atmosphere.
"Tyrants of the Netherworld" begins in a similar to its predecessor fashion, with the more extreme black metal opener "Nekropolis Karthago", to make room for thrash metal for the forceful retro thrashers "Victim of My Force" and "Profanation" the latter a standout aggressive shredder with proto-death shades. Things only get better later, with the smashing speed/thrash fest "Sworn to Avenge". Time for more black metal with the furious Immortal-esque "Tyrants of the Netherworld", after which the thrashing madness carries on with the fine nod to the early German school "Call on the Beast". "Battle Oath" is the staple epic thrasher, followed by more blitzkriag thrash on the raging "Disciples of Darkness". The end is the traditional one for the band, with the calm epic/viking instrumental "Reign of Tyrants".
"Divine Blasphemies" again tries something more brutal in the beginning with the super-blasts on the opening title-track, but this touch is just for destraction of the listener since later on the music returns to the typical for the band mixture of black and thrash metal alternating the two sides throughout the album. The sound has become more melodic, a tendency shown with the mellower power/thrasher "Alliance to the Powerthrone".
"Angelwhore" is no different from the previous offering, serving the trade mark extreme black-ish beginning, before switching to retro thrash for most of the time with slow and fast tracks taking turns, with the closing "Revelation Genocide" being a nice aggressive Slayer-esque number.
"666 - Satan's Soldiers Syndicate" bears no surprises, starting with the explosive death/thrash on "Satan's Soldiers Syndicate", before moving onto more laid-back speed/thrash with an Exciter and Motorhead flavour ("Hellbangers"). Still, the sharper Germanic thrash is just around the corner ("Vile We Dwell") as well as the sparce brutal black metal outbursts ("Fate Forever Flesh"). The exit "More Corpses for the Grave" breaks the created a long time ago pattern of softer slower tunes, and continues the thrash metal mayhem in a vigorous German fashion.
5 years later the band are alive and well, and "The Arts of Destruction" shows no remorse from the very beginning opening with the furious black metal madness on the title-track which finds some time for more laid-back epic riffs ala Moonspell and mid-period Bathory amidst the raging blasts. The thrash/death saga starts with the next "Lacerate (With Rans of Doom)" which is a cool melodic headbanger. "The Splendour of the Idols" keeps thrashing on, but "Phantom Funeral" is another epic blacky cut, a very cool atmposheric song. Then the thrashing "carnage" begins reaching extreme death metal proportions on "At Hell's Horizon". "Possessed and Defiled" is a great epic hymn with doomy tendencies, an enchanting melodic composition which could stand for the highlight on this diverse offering which delivers in every department spanning several sub-genres all blended well, preserving all the staple characteristics of the band's encompassing style.
"The Oath of an Iron Ritual" is the next in line for the band larger-than-life conglomerate of styles and influences, but thrash plays a more prominent role here thanks to inspired roller-coasters like "End of Tyranny" and "The Cleric's Arcanum". "Haunting Siren" is the epic deviation, a heroic battle rouser cancelled by the short dynamic "Damnatio ad Bestias" and the more brutal, death-laced "Conquer & Contaminate". "The Denial" near the end is an epic blaster compensating for the relative lack of death metal until that point, the 7.5-min closer "At The Eclipse Of Blades" combining speed, power and thrash giving it a hefty epic boost to produce the definitive battle hymn of the new millennium.

A Touch Of Medieval Darkness Full-length, 1996
Stormbringer EP, 1997
Hellfire's Dominion Full-length, 1998
Tyrants of the Netherworld Full-length, 2000
Divine Blasphemies Full-length, 2002
Angelwhore Full-length, 2005
Infernal Voices EP, 2006
666-Satan's Soldiers Syndicate Full-length, 2007
The Arts of Destruction Full-length, 2012
The Oath of an Iron Ritual Full-Length, 2016

Official Site


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

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

Official Site


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

Request To Creator EP, 2007


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

Through the Eyes of the Burdened Full-length 2011

Official Site


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

Descendant Full-length, 2011

Official Site


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

Descendent Demo, 1994
Degeneration Full-length, 1995


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

Descending Into Chaos Full-Length, 2012


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

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

My Space


The debut: modern thrash/death metal with nods to the Swedish scene spiced with slower groovy sections in the Pantera-vein. The follow-up is more intense and edgier the guys thrashing more wildly with the obligatory more brutal deathy escapades. The groove is not as widely covered this time, but some playful tunes ("World Of Dreams") have sneaked in here and there to probably diminish the hard-hitting nature of the remaining material. This same playfulness completely overtakes the proceedings in the 2nd half despite the presence of isolated vicious blast-beating passages.

In The System Full-length, 1999
This Violent Reality Full-Length, 2007

Official Site


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

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

Official Site


Based on the first demo, this act provide raw dark thrash with awful semi-shouty death metal vocals which are put too up front and stifle the instruments to a big extent. The tempos change within the numbers, but there is not much musical proficiency to be witnessed the guys achieving a dark sombre mood with little skill involved the rare more apt attempts at play hindered by the really bad production.
The "Moonlight Slaughter" demo shows the band having made a huge step forward now pulling out cool, still dark, mid-paced thrash which shared some of the morose doomy qualities of Nightfall's early efforts. "Seed Of Failure" is an ambitious, largely instrumental, progressive opus which shreds in a solid mid-pace adding good melodic lead sections where the rhythms also become faster; some admirable bassisms also sneak in; in other words, this effort should have catapulted them to the official release stage, but the band sank almost without a trace with some of the musicians later resurfacing with the doom/death metal outfit Darken for an album release in 1997, before changing their name to Dark-N and epitomizing a more melodic gothic metal sound.

Demo Demo, 1992
Moonlight Slaughter Demo, 1993


This formation serve a modern blend of modern and classic thrash which is not very even also clinging towards the epic power metal side ("Seven") here and there. Generally there's quite a variety at display here as the album loses its initial bite gradually moving towards the power/post-thrash, and also semi-balladic and epic, arena without offering anything too striking, and the listener may lose his/her interest in the proceedings the ripping riffs on the cloer "Across the Ages" a partial return to form. The vocals are not bad, though, their passionate clean dramatic blend suiting well the melodic musical approach.

Defying Gravity Full-Length, 2014

Official Site


Based on the "Arranger of Disorder" demo, this outfit pull out intense Kreator-esque thrash the rapidfire delivery interrupted by cool melodic lead guitar work. "Minds of Justicia" is a more ambitious attempt at semi-technical thrash, but on a short effort like this those tendencies can hardly find a fuller realisation. Some of the band members were also active with another thrash metal outfit, Equinox, around the same time.

We Only Make Jokes...We Made You! Demo, 1988
Arranger of Disorder Demo, 1989
Lonely Disgrace Demo, 1989


Based on the "Mental Massacre" EP, this act plays good speed/thrash metal which "courts" both the modern and the classic school. At times the music is heavy and pounding ("Overpowered") with a late-80's Metallica influence, at times is uplifting and speedy (the excellent short instrumental "Shizzle"), but at their best the guys pull out awesome semi-progressive speed/thrash (the 8-min opus "Mental Massacre") ala Manticora and Hellfire. The lead guitar work is good without taking too much space, and the singer delivers with his mid-levelled clean tone, although more emotion and the casual higher-pitch for the future would be beneficial.
The full-length is a sure-handed beginning for the band offering music similar to the EP with two tracks ("Trapped" and "Overpowered") also included there. "X-Machine" is an energetic mid to up-tempo speed/thrasher with heavy sharp riffs, and "Altered Creations", albeit slower, is another fine piece of hard-hitting thrash with forceful rhythms and good leads and melodic hooks. "Power Trip" is all-out headbanging thrash, and "Rising Terror", despite its formidable title, is calmer with a nice balladic interlude and technical overtones reminding of Helstar's "Nosferatu". Then comes the aforementioned "Trapped" which speeds up again, a tendency preserved on "The End" which is a nice blend of speed and technicality before the crushing pounding riffs of "Overpowered" "overpower" you in the best tradition of "Leper Messiah" ("Master of Puppets") offering a slight faster twist in the middle. The singer here sounds better with a more dramatic and attached delivery although his tember isn't too different from the one on the EP. Although both efforts are good and proficient, it seems as though the guys are yet to develop their full potential; those technical moments can be elaborated on in the future, and the leads could probably be given more space; the guitarist can obviously show more like he already has on the longer compositions.
"Of Death and Damnation": the speed/thrashing saga continues here although the approach is much more modern coming with a pinch of melo-death as well. The band thrash with power, but now the delivery is a bit trite and not very inspired, and the cool riffs don't flow as naturally as before the death metal implements breaking the monolithic listening experience. Things drag even further on the clumsy mid-pacer "No Salvation" near the end, and on the equally as inept closer "The Gift of Pain" which also refuses to speed up reducing the album's score placing it in the below the average category.

Desecrate Full-length, 2005
Mental Massacre EP, 2008
At the Edge of Sanity Full-length, 2012
Of Death and Damnation Full-length, 2015

Official Site


Classic thrash/death crossing the early Swedish with the Floridian school the guys trying to mix a few paces within a single song. The "therapy" works with echoes of Asphyx and Bolt Thrower ("Sewing the Head Back") coming from the several doom-laden cuts which still can't stand a chance against the dominant blitzkriegers as exemplified by the short ripper "Filth". The vocals are very close to the ones of Dave Ingram (Benedicion), maybe a tad higher-pitched.

Lord of Insects Full-length, 2017

Official Site


Furious modern thrash/death with a strong Gothenburg "sting"; the guys shred with gusto leaving wounds all over your body from the lashing guitars which seldom try the mid-paced waters. The songs are longer, but the incessant mosh never stops and nothing technical springs up. "Soulless" is the mid-tempo deviation which is a dramatic piece with steam-rolling riffs. "Avenge the Dead" is a formidable galloper which energetic easthetics are contagious, apparently, and here arrives another similar horse rider, "Dark Holocaust", before the closing "Buried Alive" "buries" you alive with the final portion of fast brutal riffage. The singer is the staple deathy semi-shouter, another predictable addition to this inspired, but fairly derivative, effort.

Wretched Full-Length, 2014

Official Site


Claasic thrash metal with a boosted modern production; there are moments of the 90's scene, but overall the guys mosh fast and tight in the spirit of Dew-Scented with the odd tribute to their American peers (Slayer, in this case): "Mental Anesthesia".
The full-length wastes no time breaking the ground floor with its rapidfire approach the band thrashing with gusto and a lot of speed which is at a maddening rate (check out "State Terrorism") at times reaching death metal horizons on "No Gods, No Masters". The final hit is a cool cover of Sodom's "Agent Orange" the forceful shouty death metal vocals suiting the approach although still being far from the more emotional tirades of Tom Angelripper.

Lords of Misery EP, 2011
Scorched Earth Full-Length, 2013

Official Site


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

Who's in Control EP, 1987


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

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


Based on the full-length, this band pulls out competent retro thrash which is pretty dynamic evidence given with the very first track: "Til Death" which is a prime relentless headbanger with nice melodic inclusions. "1800 Volts" after that is a dramatic galloper with very cool melodic leads, and "Bred, Fed Then Dead" is another more direct smasher with speed metal tendencies. The thrashing assault reaches Slayer-esque proportions in the middle, on "Slaughtered in Masses", despite the more relaxing mid-break, and "Serpents Return" is another galloping "horse" with more aggressive slamming passages. The mosh carries on until the end, making this effort a sure-handed entry into the quite voluminous classic thrash metal catalogue of recent years. The singer is a good forceful mid-ranger not far from Phil Rind (Sacred Reich).
"To the Gallows" is another entertaining roller-coaster which lifts the spirit immediately wirh the vigorous opening title-track, and later on the band don't spare themselves with blistering speed/thrashing delights like "Red Steel Nation" and "Serpents Return". "As I Die" is the quiet interlude being a nice ballad, but prepare to run for cover on the destructive headbangwers "Hellhound" and certainly on "Thrash Is a Verb". "Brainscan" is an ambitious progressive closer which manages to keep the highly energetic thrashy atmosphere the whole time.

Desecrator EP, 2010
Live Til Death Full-length, 2011
Down to Hell EP, 2013 To the Gallows Full-length, 2017

Official Site


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

Terror Nuclear Demo, 2010

My Space


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

Wake The Dead Demo, 1989
Black Sermons Demo, 1990

My Space


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

The Nightmare Calls Demo, 1987


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

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

My Space


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

Metal For Demons Full-length, 1998


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

Demo Demo, 1989


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

Promo Demo, 1999

Official Site


The debut: this young Greek outfit specialize in modern power/thrash which sounds epic and battle-like with the machine gun riffs on the formidable "The Healer" leading the pack. The guys aren't very fond of speed and the album moves forward in a steady volcanic mid-paced fashion the dramatism reaching heights on "The High Pass" and on the final opus "The Desert Near the End" which would inspire many disheartened soldiers to go into battle immediately. The vocalist isn't bad with his forceful semi-clean tone who could add more melody on future efforts. The band were previously known as The Eventide where the music was mellower heavy/power metal reflected in a self-titled album released in 2007.
"Hunt for the Sun" is harder and faster than its predecessor by preserving the more elaborate character of some of the songs from there. Thrash is way better covered here and the hard-hitting sharp riffs are served to no end making cuts like "A Sunset of Our Own" and "Angel of the Deep" a regular presence in the modern thrash metal fan's menu. The more technical character of tracks like "Road to Nowhere" show another, not yet explored side of the band which only settles for a more epic execution on the penultimate "Eastern Path" which is a sure-handed battle instigator. The closing "A Distant Sun" is an eventful 8-min opus with echoes of early-Iced Earth and Manticora, a glorious speed/thrash hymn with a strong progressive flair never losing the intensity for a split second exiting this pretty cool album with aplomb, making this talented outfit the next hot proposition from The Balkans.
"Theater of War" is the next in line hyper-active mixture of thrash and death the guys lashing aggressive riffs relentlessly with odd flashes of melody. More carefully plotted compositions ("Under Blackened Skies", "A Martyr's Birth") again hint at possible progressive heights to be conquered later, and the last string of longer numbers partly fulfills these promises, especially the hard thrashing diverser "Theater Of War" which compensates for the mellow nature of the balladic closer "At The Shores".

A Crimson Dawn Full-Length, 2011
Hunt for the Sun Full-length, 2014
Theater of War Full-Length, 2016

Official Site


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

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


The full-length serves vigorous intense retro thrash with furious, spinning riffs which are missing from the officiant stomping instrumental opener "Darkening Clouds over Utopia", but start pouring down from the next "Urban Gehenna" and never stop till the gory end even entering death metal territory with the brutal shredder "Carnal Carnival". "Cry of the Forsaken" is an excellent progressive speed/thrasher ala Paradox, and the closing "Warscar" is another more ambitious composition the guys providing several mellower passages to alleviate the very big dynamics which is accentuated by the vicuous raspy deathy/blacky vocals.

Chernobyl's Beauty EP, 2014
Coils of the Lesser Serpent Full-length, 2017

Official Site


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

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

Fan Site


This band play modern thrash/death which is both melodic and aggressive. There are a few more interesting moments ("Ruination") present, but the delivery is more orthodox and linear; the same applies to the shouty death metal vocals which overdo it at times. "Psychosomatic" is a proto-blasting brutalizer, but "Moonhound" after it offers immediate respite with more laid-back optimistic riffs also supported by the closing "Dark Wings, Dark Words" which includes a calm balladic interlude alongside some really impetuous progressive guitar play.

Chronicles of Confinement Full-Length, 2015

Official Site


Artillery and Invocator could have had a strong competition if these guys had managed to "break the ice" and leave the underground. They are actually one of the first thrash metal bands from Denmark, second only to Artillery. Based on the 1987 III demo, the band's style is similar to early Slayer (the period before "Reign In Blood") mixed with crossover/thrash along the lines of Rumble Militia (who appeared later).
The "Fat Boys Wanna Rock" demo follows a similar Slayer-eque pattern with the less serious crossover gimmicks still "floating" around including on the 8.5-min behemoth "Cloth Society" which is expectedly a varied offering the guys inserting a couple of more melodic embellishments some of which come from the lead department. "Deception" is a sudden trun to a more technical song-writing with a few delightful more twisted riffs, and "Sardonic Laughter Before Nothing" is an interesting more stomping exercise in sinister semi-bashing thrash with echoes of Slaughter, and macabre doomy deviations. The singer semi-shouts in a forceful semi-clean fashion and leads the show with panache without actually singing too much. The "Pana Wichee Salitu" demo displays bigger musical proficiency,and all the sngs are lengthy complex exercises in diverse, albeit not very technical or progressive, thrash the band trying to cover wider ground, eventually succeeding in elevating some of the material (the 10-min saga "Synthetic Rise") to loftier dimensions with more inspired fretwork despite the muddy sound quality.

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


This act provide dry indusrialized modern post-thrash which is not very one-dimensional, but contains a lot of dynamics reflected in a frequent change of tempos. There are even a few fast-paced moments ("Code", "Memory Lapses") which are directly taken from the Swedish school. The heavy mechanical guitars may tire the listener towards the end as melodic reliefs are not offer aplenty here the guys dirgeing forward with no hesitation managing to capture at times the manic stylishness of their compatriots Glacial Fear.

Collapsing Colors Full-Length, 2014

Official Site


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

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


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

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

Official Site


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

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


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

Theological Void Demo, 1987


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

Human Wreck Demo, 1992

Fan Site


Based on the full-length, this act provide speedy blistering old school thrash/crossover reflected in relatively short explosive cuts which also carry quite a bit of melody along with the lashing riffage. "Thrash" and "Madeleine" are the leaders of the "pack" here the hyper-active melee adeptly accompanied by shouty hardcore-ish vocals.

Testimonio de sangre EP, 2013
D.T.N. Full-length, 2017

Official Site


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

No Apology Full-length, 1995

Official Site


Melodic gothic power/thrash which faitfully follows the path carved by their compatriots and peers Septic Flesh. "Discoloration of the Iris" is a great formidable pounder which perfectly exemplifies the dominant delivery which is quite interesting with progressive build-ups and occasional speedy escapades ("Beneath My Skin") not far from another Greek outfit, Dakrya. The main clean dispassionate vocalist is often interrupted by more brutal deathy throats the latter missing from the more imposing doomy cuts ("On the Verge"). "Shadow of Eternity" is a nice progressive thrasher with atmospheric balladic breaks, and the title-track is an excellent more dynammic shredder with a fine duel achieved between the guitars and the keyboards. "Parasite" is full-blown gothic drama with heavier thrashy guitars, and "Taming an Inner Storm" is a superb dramatic semi-ballad which influences the following closer "When Birds Gather Low", a moody minimalistic "sleeper" that finishes this very good effort in a somewhat downbeat, but strangely fitting fashion.

Practicing the Inner Arts Full-length, 2017



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

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

Official Site


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

In A World Of Terror Full-length, 1992


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

Thrashers Never Die Demo, 2006

Official Site


Opening an album with an 11.5-min composition ("Relinquishing Oblivion" is the title) is a feat worthy of acts like King Crimson and Pink Floid; the guys here have tried hard, and have managed to come up with complex modern thrashism which has both dynamics and complexity. Howver, the band find it hard to retain the contrived plot and the sound soon turns to more ordinary thrash on the rest of the material. Regardless, the hard-hitting riffs will be a delight to listen to for most of the time, as well as the glimpses of technicalirty caught on more stylish pieces like "Temple of Hatred" and "Edge of Sanity, part 1". The other musical behemoth, the 10-min "The Executioner's Calling", is not as satisfying overdoing it in the calm balladic department in the middle, and generally featuring less exciting riffage. The vocals are gruff shouty death metal ones and try to take quite a bit of space.

Monarch Full-Length, 2015


This UK trio provide abrasive old school thrash which is obviously enchanted by the early days of the German movement the band thrashing with gusto unpretentiously and effortlessly doing the major damage in the bass department where the guy really excels at times with his vociferous omnipresent support. The end is preserved for the slightly careless crossover version of Tankard's "Empty Tankard" who are arguably the most evident influence on the band.
The full-length is indeed a "total attack" on the listener who would enjoy this brutal, bordering on death metal at times, bashing the short explosive, aptly-titled, "Speed Killer Maniac" leading this collection of invigorating anthems some of them ("Toxic Assault") with a curious buzzy sound which makes them sound different from the rest as though they have been recorded earlier. "High Speed Hangover" is an enjoyable roller-coaster speed/thrashing with passion for 6.5-min, a glorious tribute to the aforementioned German beer drinkers with shorter numbers giving the album a more individual face some of them ("Aggression Possession") being unbridled hardcore outrages; others ("Thrash Of Fuck Off") are brutal Salyer-esque thrashers with a direct clear message ("thrash or..."). More complex diverse thrash, again with a pinch of death metal intensity, arrives with "Survival of The Richest", but the buzz returns for a string of more immediate songs before the band wrap it up with a jolly crossover hit "Thirst For Freedom". There will be a wild moshing party on this frenetic eventful offering which sees the guys partially stripping away their initial influences and branching into something which may be hard to predict on future releases.

Demo Demo, 2011
Total Attack Full-Length, 2013

Official Site


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

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

Official Site


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

Desolution EP, 2009

Official Site


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

Desordeiros Do Brazil Full-Length,1990


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

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

History of Hate Full-length, 1988
Decay of Humanity Full-length, 1990
Slow Death EP, 1991
Beyond All Reason Full-length, 1992

Vibrations of Doom


This is rough intense thrashcore which is played in a constant up-tempo with a few stylish lead inclusions and hysterical shouty vocals. The music has its echoes of Motorhead, but is more bashing and direct abandoning the simplistic formula on the more cleverly-constructed "Reject The System" and the monotonous mid-pacer "The Bomb". The sound quality is awful, but kind of suiting the raw character of the music.

Demo Demo, 1986


Based on the full-length, this act provide slightly eclectic punky thrash/crossover which covers all possible tempos with both female and vocals, or rather semi-recitals, cross each other incessantly creating a lot of optimistic dramatism in the process as really hard-hitting thrashers arenot an option here.

Sexless Restless and Cruel EP, 2012
Gorgon in a White Dress Full-length, 2017

Official Site


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

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

Official Site


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

Invasion Full-length, 2012

Official Site


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

Twisted Full-length, 1993


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

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

Official Site


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

Despotic Robot EP, 2006

Official Site


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

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

Official Site


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

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

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

My Space


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

Destiny Denied - The Unofficials Demo, 2006

Official Site


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

Exhumed Demo, 1989


A 2-track promo of energetic old school thrash metal in up-tempo with screaming leads and a very sparce participation of hoarse drunken dirty vocals. There are nods to the Metallica debut, mostly on "The Rhythm of Horses" (the song-title could be another reference to the Americans), and the guitar work is generally playful with a shade of crossover. All the band members except the singer take part in the heavy/speed/thrash metal outfit Xi-Void.
The EP is 3 songs of energetic retro thrash with good melodic guitar work which is boosted by the crystal clear sound quality. The tempos vary some of them being intense speedy ones ("Genesis") with a pinch of Forbidden and Exodus. The singer leaves a more positive impression now taking more space as well, but showing more professionalism with a more attached cleaner delivery.
"Beware the Fury of the Patient Man" is to be expected after the guys have been accumulating inertia for several years, and the effort here doesn't disappoint although it's more on the melodic, and also somewhat modernized, side the guys mostly relying on heavy mid-paced riffage which, when combined with faster rhythms ("Rhythm of Horses"), brings much better results. The guys having realized that at some pint, start serving more energetic cuts: the "vigilant" "Vigilante", the optimistic speedster "Guilty Until Proven Innocent", the ambitious closing title-track, which is an overdone concoction of speed, thrash, power, and death metal trying to enter a Children of Bodom ground to mixed impressions.

Promo Demo, 2009
The Human Error EP, 2011
Beware the Fury of the Patient Man Full-Length, 2014

Official Site


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

Demo Demo, 1992


This is bashing lashing old school thrash which doesn't win much from the harsh guttural death metal vocals. Less tamed propositions like "Goat" bring the winds of death, but the dominant delivery is more disciplined with officiant pounders like "Morbid Fate" and "Atomic Winter" pacifying the environment at least until wild proto-blasters like "Machine of Death" and "In the Glare of the Mighty One..." invade the aether with strong shades of black metal. Some of the musicians are also active with the melodic death metal outfit Earthgrave.

Propaganda Full-Length, 2018

Official Site


The debut: modern thrash/death metal with a technical twist mixing a more direct headbanging material with dry mechanical riffage; the mix kind of works although at times sparce metalcore borrowings can be caught, and the very tender clean vocals are simply no match for the aggressive angry main shouts. The tempos change too often within one composition, and that's why the less diverse tracks work better: the nice straight speedster "Digital Abuse", the opening Trivium-esque "Trash for Sale".
"The King Is Fat'N'Old" is a much inferior effort offering timid melodic modern thrash metal with a little edge bordering on metalcore quite a bit stretching indefinitely into the fields of ballad to the point of oblivion near the end. There is very little to connect this bland work to the vigour of the previous album, and often do the guys sound like an almost entirely new band.
"Are You Kidding Me? No." shreds forward with more clever, almost technical at times, riffs, but the approach is again mellow without any hard-hitting moments. Metalcore is still roaming around now accompanied by post-thrash their symbiosis seldom creating anything too meaningful the exception being the nice progressiver "Where the Things Have No Colour" which is rich in mood and atmosphere, but again misses something in the aggressive department.

Urban Being Full-length, 2009
The King Is Fat'N'Old Full-length, 2010
Are You Kidding Me? No. Full-Length, 2014

Official Site


Heavy classic power/thrash, reflected in whole 10 tracks, with a heavy bass bottom and good emotional clean vocals. Speed and melody are nicely intertwined on "Misterio", and "Resisten" is a cool epic anthem with impetuous galloping rhythms. Later on we have "Demostrándote el Terror" which is a seismic squasher, and the closing "eagle fly free" hymn with a nice semi-thrash engine to lift the spirit high.

Fuerzas Del Mal Demo, 2012


A rough, not very rehearsed sound with obvious aspirations towards the early death metal hordes, but the awful sound leaves very little to be enjoyed from this very intense recording which still finds time for more sensible music on the longer and more thought-out "Oxygen Mask". The rest forms a noisy wall of sound from which the gruff deathy vocals stick out. Some of the musicians now operate in Gammoth, a more death metal-oriented band with one full-lengths and two EP's released in the new millennium.

Demo/Rehearsal Demo, 1989



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

Destroy Demo 2011

Official Site


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

Access Denied EP, 2002

My Space


This band play intense modern thrash which borders on hardcore on the harsher moments despite the several engaging melodic sections (check out the title-track). There's a lot of energy put into the making of the album, and although there's hardly anything original here the listener should be able to mosh out on at least half of the tracks, also being mildly amused by the cool melodic lead sections.

One Step-One Decision Full-Length, 2013


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

The End Single, 2009

My Space


Based on "Becoming Wrath", this act indulge in crusty deathy thrash/crossover topped by very shouty aggressive death metal vocals. The delivery is fairly energetic, albeit pretty one-dimensional and not thoroughly engaging; that's why deviations like the spontaneous grindy "The Scarabs Nest" are more than welcome to dissipate the noisy boredom. Some of the musicians also play in the sludge/grindcore "monstrosities" Mange, and the death metal/grindcore outfit Eat the Living.

Critical Failure Full-length, 2010
Becoming Wrath Full-length, 2012

Official Site


Based on the "Dark Command" EP, these guys pull out good speedy thrash metal of the early German school and the Portuguese Alastor; cool up-tempo stuff with a simplistic guitar sound and low mean, black-ish vocals. The last song ("Funeral") is slower, almost doomy, with a worse sound quality.
"Prepared For Discharge" is classic speed/thrash metal with the German trends again covered the widest. The music develops in a flying speedy fashion the whole time, at times moving onto pure speed metal ("Destroyer") although the vocals remain sinister and evil throughout, with a clear black metal edge. "Pornographic Death" actually slows down to power/thrash metal dimensions, but one would hardly notice this that same track surrounded by furious fast explosions one of which is "Funeral" from the EP (as a matter of fact, all the three songs from the "Dark Command" EP are featured here). The guitar sound is dirty obviously made this way to recall the early years, and succeeds as such although the leads are hardly favoured by that sounding quite screamy and unmelodic.
"Dark City Hunter" lashes harder and faster touching death metal ("Stages of Demonic Possession III-Demonic Possession") on occasion, and the listener should give them kudos for the inspired delivery which doesn't re-invent the steel, but at least provides good moshing fun not far from Kreator's "Pleasure to Kill" or Hypnosia's "Extreme Hatred". Near the end the bash becomes more violent with "Tren al Infierno", but the bonus track "Porno War Machine" is a fine more restrained speed/thrasher with great melodic tunes.

Destroyer Demo, 2004
Alcoholic Rites Of Metal Split, 2005
Dark Command Single, 2006
Prepared For Discharge Full-length, 2010
Dark City Hunter Full-Length, 2015

My Space


These guys have no illusions and stick to the best exemplified by their motherland classic speed/thrash without any deviations from the righteous path. The guys shred with competence their dynamic approach also having its more carefree side (the frolic crossover winner "Slashing Metal" which is not exactly what the title promises; the mellow power/speed metal distraction "Screams from the Coffin"). Otherwise the album is carried by the shorter, more intense material: "Unstoppable Thirst", the Angel Dust reminder "Slasher", the maddening headbanger "Stiletto Ripper", the shredding speedster at the end "Alcoholic Apocalypse" etc. The singer is a semi-shouty death metaller, and doesn't quite match the more friendly nature of the music. Some of the guys also play in the death metal outfit Mandatory.

Slashing Metal Full-length, 2013

Official Site


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

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

Official Site


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

Budusti Net Full-Length, 2012

Official Site


This band is often considered the leading metal band of Australia for the past 10 years. From the rawer, old school mixture of black, thrash and death metal on the first works the band managed to develop a really interesting sound, which later incorporated more melodic epic/viking metal elements that increased their appeal. This is music which will find its way to the hearts of fans from all walks of metal.
Being busy helping hordes of acts in and out of Australia, the guys have finally found time to record something new again. "Defiance" is a cool mix of the basic extreme styles (thrash, black and death metal- for the uninitiated), but the more recently acquired epic approach has been well covered as well: "Blood for Blood", "Stand Defiant", the mid-period Bathory worship "A Path to Conflict", and although the speed there gets lost completely, the nice melodic lines deliver on all counts, and rest assured that the next blasting black/death explosion is just around the corner: "The Barricades Are Breaking". Seldom are the two trends mixed into one composition: "A Thousand Plagues". The closing "A Sermon To The Dead" is excellent elegiac epic doom, again recalling Bathory, but clinging more towards "Twilight of the Gods" this time.
The "See You In Hell" EP is just 2 songs both sustained in a heroic epic/viking spirit with Bathory a very close soundalike again, bordering on doom with memorable sing-along choruses. The complaint comes from the sound which is very fuzzy, and is a hindrance for the listener to appreciate the guitar work.
"Wildfire" really begins "wildly" with the sweeping "Traitor" and later the guys only show a little mercy alrthough there's an overabundance of great melodies which give the album a strong operatic "colouring". "Hounds at Ya Back" is a great epic hymn, whereas the actual "hymn", "Hymn to Dionysus", is a viking doomster in the best tradition of later-period Bathory. The title-track is the other short brutalizer, before "White Line Fever" enters with epic melodies and marching rhythms to a really imposing effect the latter also handsomely achieved on the closing "Tamam Shud", a pagan doomster with a nice memorable chorus.

Violence Is the Prince of This World EP, 1995
Unchain the Wolves Full-length, 1997
Satanic Speed Metal EP, 1998
King of Kings/Lord of the Wild EP, 2000
Phoenix Rising Full-length, 2000
Cold Steel...for an Iron Age Full-length, 2002
...Of Wolves, Women & War EP, 2002
Terror Abraxas EP, 2003
Defiance Full-Length, 2009
See You In Hell EP, 2010
Wildfire Full-Length, 2016

Official Site


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

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

Night Of The Lustly Queen Full-length, 1989
The Miseries of Virtue Full-length, 1991


These Potruguese "destroy it all" with their brand of abrasive energetic modern power/thrash which has both aggression and melody mixed together on almost every song. Things get seriously technical on the unpredictable jumper "M4", but the closing "Astral Projection" will drown the listener in spacey progressive arrangements with sudden faster breaks "tearing" them apart to a fairly positive effect. The delivery is more elaborate than the usual one and the band can easily capitalize on the quality material presented here.
The full-length fulfills all the promises concentrating on the modern progressive side also inserting the odd more brutal death metal riff ("The Pain that Feeds"). Again the technical exploits are a rarity the title-track being one, a consummate shredder with blazing guitars and ripping tempos. The orchestral motifs on "Death Healer" give the album a larger-than-life decoration, intentionally or not, also strongly accentuated on the closing 12-min opus "Day of Reckoning".

Into The Fire EP, 2013
Bleak Fragments Full-Length, 2016

Official Site


This is modern mechanized thrash/death with some semi-technical tendencies at times. Things take a nice progressive turn on the diverse "Contagion Effect", and "Dead Man's Switch" is a wild headbanger of the less ordinary kind. "Righteous Indignation" moves towards the death metal side with less controlled rhythms bordering on the blast-beat. The singer is a pure death metal shouter, but his rendings are intelligible, and could be considered a valuable addition.

Destroythm EP, 2014

Official Site


Based on the debut, these guys provide a calm mix of modern and classic power/thrash which expectedly borders on Hermetica and Horcas on the more inspired moments which are intercepted by less imaginative groovy passages. There is a good sense of melody applied ("La Bala Perdida") here and there, but the heavy rhythm-section doesn't give them many chances to shine. The vocals are gruff and moderately angry and semi-clean becoming deathily aggressive at times.

Destrucci\'f3n En Cadena Full-Length, 1997
Actitud Extrema Full-Length, 2010


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

Homenaje AV8 Full-Length


Arguably the greatest German thrash metal band; at the time when Sodom and Kreator were still not sure what direction to take, Destruction put German thrash metal strongly on the metal map with "Sentence Of Death". The next two albums are nothing short of the essence of European thrash metal- aggressive and even semi-technical at the same time. Mentioning technicality, this is the key word for the band's next efforts; "Release From Agony" took part in the establishment of the technical thrash movement in Europe together with the same year's works of Living Death, Mekong Delta, Target and Coroner. With a drier more clinical sound, this album pulled back some of the Destruction's old fans, but won them many new. And then came the big strike on the band's career, with the leaving of Marcel ``Schmier``. Andr\f1\'e9 Grieder from the Swiss colleagues Poltergeist was invited to help with his vocals during the recording of "Cracked Brain", which took the band's infatuation with technical playing even further. A strong effort on all counts, it was largely ignored by the majority of their fans mainly because of Schmier's absence.
Mike Sifringer tried to keep Destruction alive during the 90's, but the two EP's and the one full-length, which were released during those troublesome times, had better be forgotten, being modern, below average post-thrash with very few merits. "All Hell Breaks Loose" saw the return of Schmier in the band, but failed to capture the uniqueness of the band's previous output, and sounded more like a more aggressive version of the Headhunter debut "Parody of Life" with a boosting modern production, also featuring a re-mastered updated version of their early hit "Total Desaster". With the fans' illusions left aside, one can not help but admire the visceral power of the monstrous "The Antichrist": the finest achievement of the band since the reunion, and one of the best thrash metal works of the past 10 years. Unfortunately, it also made the two following albums sound too meek and average.

"D.E.V.O.L.U.T.I.O.N." doesn't betray the razor-sharp delivery of the preceding couple of albums, and is another heads-down retro thrash metal affair, this time with a bigger number of slower, mid-paced tracks which alternate with the staple blitzkrieg thrashers, and sound kind of more interesting, with clever guitar hooks involved ("Inner Indulgence"). The Headhunter influence, which album was released a few months earlier, can be felt on more speed metal-based numbers, like "Odyssey Of Frustration", but hopefully the two acts won't merge together music-wise, like it happened with other renowned bands in the past, "ruled" by a celebrity (remember King Diamond/Mercyful Fate in 1998).
Well, one first have to settle for the fact that after the climactic "The Antichrist" the band would not be able to produce another album of a similar seismic quality. With this fact well settled in, the listener can indulge in the next chapter, called "Day of Reckoning" in this case, from the band's career which actually shows the guys hungry to thrash their souls out once more, and they manage to do this better than on the previous one. "The Price" is the staple fast-paced opener, but later on the picture is more varied with slower compositions, as well as some which sound as though having been written for Headhunter (the speed metal winner "Devil's Advocate"). One may catch touches of a more stylish play on "Sorcerer Of Black Magic", for example, but it's more direct thrashers like "Misfit" and "Church Of Disgust" which get the message through more efficiently; and fortunately this is where at least half of the material clings to. Schmier and Co. would hardly disappoint their fans with an off-the-path release in the near future, but at the same time they should not expect their idols to come up with "Release from Agony 2" (or is it "Infernal Overkill 2"; or "Eternal Devastation 2"? You make your choice!).
Your favourite teutonic thrahser is here again and it seems as thoguh he plans to compete with Rage and Tankard in terms of productivity. "Spiritual Genocide" is the next chapter in the band's history, and it has a heavy boulder to carry because with a fifth consecutive mediocre effort the veterans could find themselves very near the bottom of the list, a humiliation which would be really hard to make up. But before one asks the question, "Does anyone really need another Destruction album so soon?", he/she should give a listen to the shattering opener "Cyanide" which is a neck-sprainer second to none. Hopes for another "Antichrist" arise at once, and "Spiritual Genocide" will keep those hopes floating around with its inspired speedy barrage with a pinch of elusive technicality. Things become even more interesting on the next "Renegades" which is more complex and serious still keeping the voltage high with a few portions of fast-paced rhythms. The more technical patterns stay around for "City Of Doom" which is graced by a few speed metal sections to only a positive effect (no doom metal here, folks). Time for more direct ripping thrash with "No Signs Of Repentance" which will lift up the spirits big time and will set the scene for "To Dust You Will Decay" (which is not an Angel Dust cover), and slows down a bit at times also full of plenty of atmosphere. The rest of the songs acquire a slightly mellower tone before the coming of "Riot Squad" (which is not a Paradox cover) which is another invigorating speedster although it sounds quite soft compared to the brutal closer "Under Violent Sledge" which will mosh your world in a way last heard on "The Antichrist". This is not the end, though: it's the cover version of Saxon's "Princess of the Night" done in a surprising speedy/crossover manner giving it a nice desirable individual touch. Then comes a second version of the number "Carnivore" with Tom Angelripper and Gerre (Tankard) helping Schmier ("Teutonic thrashers from all parts of Germany, unite!" this is an example well set); otherwise this composition is offered without any alterations from the original. As a result we have the best Destruction album since the aforementioned "The Antichrist", a strong effort which Schmier and Co. really needed in order to keep with the strong competition in their homeland (Paradox, Kreator, Tankard, Exumer, plus numerous younger practitioners) after the string of not very impressive albums of recent years.
"Under Attack" starts with the ABBA cover of the same title... kidding, of course!; our favourite German thrashers will never betray their devoted fans (their mid-90's abominations don't count), and waht we have here is the umpteenth classic thrashy roller-coaster served in a more carefree speed metal-ish manner quite reminiscent of the preceding opus. The title-track inaugurates the roller-coaster with trippy uplifting rhythms which should keep everyone happy. A headbanger after headbanger follow suit the guys moshig quite hard on "Dethroned" recalling their magnum opus since the reformation "The Antichrist". "Getting Used to the Evil" is the obligatory reminder of the Headhunter legacy with a semi-balladic motif which could be quite a drag to some. No complaints since right after comes "Pathogenic" to sprain your necks which may straighten a bit on the other exercise in more compex speed/thrash "Second to None" with another wink at Headhunter. "Stand up for What You Deliver" gallops with the finest 90's heroes out there, anotehr sign that the two acts, Destruction & Headhunter, are on the way to merging which to the band's die-hard fanbase may be equal to a heresy. To these ears this tendency is still debatable and at least gives a fresher approach to an already overly familiar formula. And, let's not forget the Venom cover of "Black Metal" served at the end turned into a frolic speed metal hymn, again at this stage a wise decision.

Sentence of Death EP, 1984
Infernal Overkill Full-length, 1985
Eternal Devastation Full-length, 1986
Mad Butcher EP, 1987
Release From Agony Full-length, 1987
A Black Metal Night EP, 1989
Cracked Brain Full-length, 1990
Destruction EP, 1994
Them Not Me EP, 1995
The Least Successfull Human Cannonball Full-length, 1998
All Hell Breaks Loose Full-length, 2000
The Antichrist Full-length, 2001
Metal Discharge Full-length, 2003
Inventor of Evil Full-length, 2005
D.E.V.O.L.U.T.I.O.N. Full-Length, 2008
Day of Reckoning Full-length, 2011
Spiritual Genocide Full-Length, 2012
Under Attack Full-Length, 2016

Official Site


Based on the "Mind Your Own Business" demo, this band play stylish semi-technical thrash which bears resemblance to the early attempts at the style from the same country: Ulysses Siren, and Have Mercy, but offering faster more aggressive rhythms as a whole only lacking in the production department where the guitars sound a bit muffled. The guys bash with brains and even the shorter cuts are technically-charged whereas the longer ones ("Bed Of Nails") are virtually invincible with their cleverly-changing tempos and intelligent screamy leads. The final track "Guilty Of What!?" was later used in the guys' other formation, Harms Way, to whom the approach here is quite reminiscent at times. Some of the musicians also had a one demo spell in the early-90's under the name Present Absence.
The debut demo is three songs, but the musicianship is sloppier and not as sharp the band speed/thrashing in a more relaxed fashion still producing the perennial headbanger "Acceleration Attack" in the vein of the Metallica debut. The sound quality is muddy boosting the bass for the sake of the guitars.

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

My Space


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

Prepare to Die Full-length, 2005

My Space


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

Endless Violence Split, 2011


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

Sacred Path Of Hate Demo, 1997


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

Extreme Genocide Force Full-Length, 2009


This is classic thrash/crossover with jocund frolic tones; the guys have fun not thrashing with much force, but the fans will have their portion of more intense moments ("Black & White", "Stockholm Syndrome") despite the not very accentuated edge of the guitars. The singer has a nonchalant clean tember in the mid-ranges, and he is often helped by his comrades on the shouty choruses.

Destructonomicon EP, 2013


Despite the obvious enthusiasm and energy put into the recording of the debut, the lack of certain music skills is the reason why it's hard to put this work on the same level with the same year's "Bonded By Blood" or "Hell Awaits". The style is speed/power/thrash metal which could have developed into something better in the near future, but the band split up. They returned in 2003 apparently encouraged by the thrash metal revival with "Sonic Bullet" which is an obvious improvement over the debut with a better production and a slightly more proficient musicianship containing an entertaining cover of Hawkwind's "Master of the Universe" in the middle finished with two recent live versions of two songs from their ("Pounding Evil " and "Iron Curtain").
"Forever in Leather" has its good speedy moments, but some of the songs lack a punch and pull the sound towards the power/heavy metal arena. The album starts in an awesome fashion, with the first two tracks "Tear Down the Heavens" and "Skull Splitter" being mighty speed/thrashers, but loses steam little by little with sparkles of aggression here and there. The guys could be excused; after all, they have never been a full-fledged thrash metal band in the first place, and the final impression from this effort is actually more on the positive side.
"Back in Bondage": the guys are back after a really long break, and their staple power/speed/thrash mix is pretty much intact with a more elaborate approach this time, but not to the point of progressiveness. "G-Force" is the good old 80's speedster, and "N.B.K." is the contrasting to it power/doomster, both sides expertly handled. "Powerslave" is not an Iron Maiden cover, but is a rousing power metal hymn with epic touches. The more ambitious epic side is evident on the 9.5-min opus "The Shedding of Blood and Tears" which may be too balladic for some tastes; but wait till you hear the very aptly-titled "Tornado", a full-on thrasher with raging guitars; and the excellent closer "The Triangle", another aggressive cut, a wild speed/thrasher recalling the Rigor Mortis exploits with a twist. Dave Overkill's performance behind the mike is traditionally impressive, and his dramatic deep baritone antics are another nostalgic plus on this really cool recording.
"Decibel Casualties": the guys are intent on making up for the lost time, and here is this next offering which sees them riding the wave of the good old speed/thrash with the energetic vigorous opener "Restore Chaos". "Keep the Faith" is a more restrained speed metal anthem, and "Metal Spike Deep" thrashes harder with a more diverse rhythm-section. "We Are Ready" recalls the US 80's power metal scene with the bouncy riffage and the friendlier "demeanour", and "The Last Days" is the next in line heroic speedster aptly supported by the short instrumental galloper "Fiery Winds". "Metal Till Death" mixes all the three genres into one compelling "melting pot" clinging more towards the power metal sside which disappears for the closing "In Hell", a speed/thrashing roller-coaster which also throws in a fine melodic lead section, but only to slightly dissipate the headbanging melee on this worthy finale to a diverse entertaining album.

Maximum Destruction Full-length, 1985
Sonic Bullet EP, 2003
Storm of Steel EP, 2007
Forever in Leather Full-length, 2007
Back in Bondage Full-Length, 2016
Decibel Casualties Full-length, 2017



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

Destructive Rehearsall Demo, 2006
Violent Rehearsall Demo, 2007

My Space


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

Rebeldes Somos EP, 2005

Official Site


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

MecanicAmoral Full-Length, 2012


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

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

Official Site


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

Coer Profana Demo, 2009

My Space


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

Masters of Hate Full-length, 2012

Official Site


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

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

Official Site


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

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

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

Official Site


Based on the debut demo, these folks play aggressive thrash/death with expected echoes of Loudblast and Massacra. The musicianship is rather amateurish, though, and the sound quality is very muddy stifling all participants who try to produce something sensible on the stylish semi-technical "Absolute Fanaticism". The vocals are deep guttural death metal growls merging with the violent musical melee. The guys played in other acts in the 90's: the death metal formations Corpses and Cantar, but never managed to reach the official release stage.

Destroy It! Demo, 1990
Other Side of Reality Demo, 1991


These guys have definitely have original ideas, but their enthusiasm to show them to the world is much bigger than their actual compositional skills. There's so much put here that if they had left some of it for another album, things would have been a lot better. Almost all of the songs start in a fairly good manner (except the opener "Live!" which could seriously pull you back), but then come the tempo-changes, the weird riffs and the awkward, "what-was-that" parts (check/don't check the 12-min long opus "Maybe The Darkest Spot On One": my god!), and things get seriously perplexing, both in a good and not such a good way. Add the indifferent, very sloppy unrehearsed vocals and things get considerably mish-mashed. Progresive thrash this is, no doubt, and the best description would be "Mekong Delta and Deathrow's illegitimate offspring" which can still be considered a compliment. This is a very eventful and occasionally fairly intriguing, but ultimately flawed, entry into the progressive/technical thrash metal movement which was making waves at that time in Germany. A few years later some of the band members appeared with their new outfit: the death metallers Sudden Death, with whom the guys have two full-lengths and two EP's released; and early in the new millennium another act: Brett Pit, sprang up, too, involving the same musicians where the style on the only full-length so far ("Tritonus", 2001) is a more conventional form of thrash.
The demo contains some very good music with genuinely intricate arrangements the opening "Seductive Madness" along winning the price of admission with its intense technical delivery. Jumpy, not very predictable riffs arrive with title-track which also finds time to thrash out with the best in the 2nd half. "Beyond The Wall" is a technical accumulator second to none, an obvious emulator of the hectic Deathrow style on "Deception Ignored", and quite aptly done at that. The final "Legacy Of The Dead" is on the slightly more conventional side also boasting admirable bass implements. The singer is nothing special again his dispassionate clean singing pulling this very good effort down in a way similar to the full-length.

Obey Today Demo, 1989
Re-invention Full-length, 1994


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

Thundersteel EP, 1990

Official Site


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

Arts Of The Insane EP, 2007

Official Site


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

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

My Space


Melodic modern power/thrash which covers a wide gamut of moods and tempos "Blight" being the leader with its intense speed/thrashy rhythms. On the rest the speed is not so extensively covered, but "Trenches" is another ripper later on the "eagle fly free" status of the album firmly sealed by the soaring melodic anthems "Exorcism" and "Blood Feud" (check the leads on this one). The singer is quite an asset with his excellent soulful clean tember recallig both Michael Kiske (Helloween) and Jeoff Tate (Queensryche).

Dethonator Full-Length, 2010

Official Site


Prime direct modern-ish thrash stifled by the guttural brutal death metal vocals; the guys thrash on rigorously "flirting" with more melodic decisions ("Whisky Warrior") from time to time, even attempting something more progressive ("Paltriness", the excellent technical shredder "Visions") which ranks as high as the fienst headbangers here like the explosive closing title-track "Assault Bombardment". Some of the musicians are also active with Bury Your Dreams.

Assault Bombardment Full-Length, 2017

Official Site


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

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

Vibrations of Doom


THrash/death metal with a cool classic shade with just a few inevitable Gothenburg leanings; the guys know thier craft well pulling out sure-handed headbangers, like the "break-facing" "The Facebreaker", or the sweeping death/thrashterpiece "The Global Profit". "When I Decide" is a typical early In Flames-worship, and "Forced Paranoia" is a less typical dry, mechanical shredder with Meshuggah-sque echoes. The singer is a throaty semi-shouter providing standard death metal vocals. The guys were previously known as Amygdala where the style was more conventional Swedish death metal.
The full-length clings more towards the modern side with Swedish death metal now "saying its opinion" more often although the thrashy side of the guys' repertoire is still pretty much here with intense ragers like "Deathwish" and "Greed". Whichever direction the sound swings to the band never let the speed drop the fiery riffage delivering, acquiring more epic tendencies on the long encompassing progresive closer "When I Decide". The vocalist now shouts more expressively creating quite a bit of noise when in action.
"Incinerate All" will surely "incinerate all" raising the flag of modern thrash/death high this tima balancing things better as thrash is more widely covered. The riffs cut like a knife also hinting at something more technical (the cool mechanical shredder "Rat King"). "Morbid Existence" is a frolic laid-back speedster, but the approach is way tighter on the rest with blast-beats ("Spiritual Deception"; the ripping shorter "Where Darkness Dwells") appearing more or less expectedly.

Dethrone Demo, 2011
Humanity Full-Length, 2013
Incinerate All Full-Length, 2016

Official Site


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

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

Official Site


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

Death on a Thrash Demo, 1987


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

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

Official Site


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

Traveller To A Nonexistent World Full-length, 1992


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

Demo Demo, 1990


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

Fucken All Demo, 1992


Based on the "The Burning Inferno" EP, these Swedish "detonators" serve heroic modern speed/thrash with progressive leanings which are accentuted by cool, soaring melodies and sparce very cool technical guitar work ("Cyanotic"). "In Awe They Come" is a nice dramatic stomper, and "Ikaros" is the only more power/speed metal-based number. The sound quality isn't great, though, making the drums hiss with a reverberating noise, also hampering the otherwise pretty cool clean vocals.

In Solitude-Reborn EP, 2013
The Burning Inferno EP, 2015

Official Site


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

Age of Chaos Demo, 2008

My Space


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

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


These Brits pull out dynamic classic thrash with a Bay-Area flavour which is both fast-paced and pounding as the mos tinteresting moments are on the nice progressive cut "Midnight Rush", the diverse pounding shredder "Declaration", and the elaborate speed/thrasher "Thrash 'Till Death" which is an obvious nod to early Metallica, the band's main influence. The singer doesn't disappoint with his hoarse semi-clean blend which he at times tris to model after James Hetfield.

Victims Full-Length, 2014

Official Site


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

Demo Demo, 1989


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

Surreal Full-length, 2003


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

Perpetual Defiance Full-length, 1990
If But For One Full-length, 1993

Fan Site


A not very known act who pull out quite competent old school thrash bordering on proto-death on the more brutal moments ("Blizinec", the short rager "Tvrdz Pirty"). The guys shred with competence seldom letting the pace go down shooting short lashing numbers accentuated by a very good bass bottom and weaker semi-declamatory vocals. There are 14 whole pieces here and the fun is guaranteed all over despite the muddy sound quality.

Yesterday, Today and Tomorrow Demo, 1991


Based on the "Perpetuum Debile" demo, these obscure Czechs pull out pretty cool speed/thrash metal with crisp energetic riffage and good memorable choruses. All the four tracks are intense speedsters "Perpetuum Debile" featuring the odd more technical hook, and "Thrash And Roll" being an entertaining mix of merry rhythms and brutal shred.

Tanec ve Spaneclskidch Botech Demo, 1988
Zlej Tejden/Tanec Ve Spanelskych Botach Single, 1990
Perpetuum Debile Single, 1991


Modern industrial thrash/death metal with frequent nods to Fear Factory; the music is more complex, though, with fast thrashy sections alternating with peaceful balladic ones which are ably assisted by nice clean emotional vocals as opposed to the typical main death metal semi-shouts. There is a lot of dynamics involved, although the doom-laden depressing "Apocalyp-Tech" and the more moderate gothic-tinged "H+" instrumentals deliver the goods no worse.
"Collapse" is another futuristic "animal" a bit softer this time the band spicing their approach with more ambitious orchestral arrangements ("Bathed in Dark Matter") and with a bigger presence of clean vocals which are quite good, by the way. "Ecophagy" is a creepy atmospheric industrial opera which grows into the brutal death metal "decapitator" "Reduced to Planck Length" which is pure unbridled fury all the way. "Omniversal" is a mroe lyrical offering, almost balladic at times, again wrapped in atmospheric sinister undercurrents also aggravated by the scary tortured shouts used. More optimism with the merrier shredder "Pathogen" before the final string of tracks brings the sound close to later-period Strapping Young Lad with its over-the-top structures and more adherence to thrash (check out the lashing closer "The Broken").

Transhuman Full-length, 2008
Collapse Full-Length, 2012

Official Site


Based on the full-length, these Mexicans offer intense classic thrash which is both aggressive in a way not far from Devastation and Morbid Saint, and more cleverly-construcred on the longer compositions ("Ode For the Ultraviolence (2nd Movement In E Minor)"). The stripped-down bash is more widely covered, but surprisingly "Thrashing Terror" is a more technical number, not as vigorous, featuring a few intriguing riff-sections. The following "Labyrinth" tries to deserve its title with another portion of more complex decisions, and is another less ordinary cut. "D.E.M.E.N.T.I.A." is an engaging all-instrumental opus lasting for 8-min revealing a potential which is yet to be realised fully since later on the band engage in more straight-forward mosh which acquires more carefree crossover tendencies on the penultimate "Nothing". The closer "A Blinding Shade" is a potent mix of direct and more elaborate rhythms, a fitting finish to this not very predictable tribute to the old school also boasting good rough semi-declamatory vocals ala Max cavalera (Sepultura).

Fields of Death EP, 2010
Standarized Full-length, 2012

Official Site


A nice mix between classic and modern thrash; the guys prefer to pound with heaviness rather than going for the speedy numbers. Still, on a long song like "Warmonger", which lasts for more than 8-min, more intense riffage can be expected. "A Heretic Prayer" successfully tries to preserve the dynamics although the hammering mid-paced riffs and the stylish Oriental-laced solos steal the show. "In Memoriam" is a cool acoustic interlude with very good emotional female vocals, before "Inside" wins you over with another portion of crushing, this time even doomy riffage. "Visions Blind" is a nice closer adding more speed and technicality as well as angelic female vocals ala Liv Kristine (Theatre of Tragedy), and is the only more openly modern-sounding number.

The War Inside Full-Length, 2008


Chaotic modern thrash/death metal with excellent lead guitar work and several intriguing abstract technical aspirations. Unfortunately, the band are eager to attract the modern crowd, and here come the numerous metalcore "decorations" to kill the joy from this otherwise diverse material which is served in the form of overlong (8-10min) compositions which twist and turn into many directions to keep the ship sailing, some of them pretty interesting, actually; but again, those metalcore leanings....

Staged In Awaiting Full-length, 2010

My Space


On their only demo this band plays fast intense death/thrash metal with a slightly rough guitar sound and good forceful death metal vocals. The guys bash with no mercy until "Errant Legion" which is a mid-paced pounder with Celtic Frost overtones. Those overtones remain for the rest of the material which is a mix of fast and slow passages finished with the explosive thrash/deathfest "Same Destination... Death" which is vintage early Death.

Ominous Eyes Demo, 1993

Fan Site


A 4-track demo of thrash/death metal of the old school, alternating between heavy slower and faster sections (on those the sound comes close to Benediction); "Kult of the Horned Snake" is a very cool speedy number with nice melodic guitar lines, shades of epic, and a few great slower thrashy sections.
"Murderer" doesn't betray the sound from the demo although the guys slow down more than now and then, but those moments are well worth hearing recalling Celtic Frost in their prime, among the purely epic references ("Thousand Arms of the Dead") which, albeit interesting, stifle the sharp guitars, bringing with them the taste of viking/black metal. The obvious loss of intensity may disappoint a bit, but large on atmosphere tracks, like the cool closer "Murderer", compensate for that. The band members spend more time with their full-time occupations: the classic speed/thrashers Victimizer and the more aggressive death metal-inclined Hideous Invasion.
"Godless" is the next chapter in the band's discography and as such bears no surprises the familiar thrash/death hybrid brought forward without many innovations except for the several atmospheric sections (the operatic one on "New Dawn" is truly a revelation and will remind of Immolation's heydays) which bring spice to this otherwise pedestiran affair which also shines for a bit on the orchestral black metal-tinged "Cast from Heaven". The singer isn't very pleasant with his ultimately brutal low-tuned growl which is not very intelligible for at least half the time.
"Rise" will "rise" you all over the band now sounding way more aggressive with death metal implements inserted quite often blending with the doom-laden sections the latter gradually taking over the doomy "shadows" dissipated by the brisk speedy "Walk the Shadows". "Stand Up and Fight" is a friendly catchy hymn, but "Will and Fear" is another brutal whirlwind of vitriolic guitars which leave the stage for the closing "Fall of the West" which is more on the calmer, mid-tempo side also featuring a couple of cool melodic licks.
"Opposer" "opposes" to the more peaceful histrionics of past recordings, and branches out into more aggressive thrash/death ranging from unbridled blasters ("Kneel") to quite cool semi-technical speedsters ("Haunted") with echoes of Paradox even. "Towering Flames" is a surprising atmospheric doomster, but the title-track is a raging "beast" with a more overt death metal flavour. "Greater Horror" also favours the latter more, but is full of gorgeous melodies which overshadow the less striking stomping closer "March of the Unworthy".

Death Lives Again Demo, 2007
Murderer Full-length, 2010
Godless Full-Length, 2012
Rise Full-Length, 2014
Sis Mortuus Mondo EP, 2015
Opposer Full-length, 2017

My Space


Based on the "You're Only Meat" demo, this act indulge in cool, albeit a bit uneven technical/progressive thrash which follows the illogical, clinical histrionics of Mekong Delta which on the opening "Maso" are accompanied by great stylish leads and tons of interesting time-signatures. "Sastny Blazon" is even more outlandish reaching progressive heights among sudden more orthodox riff-patterns, more great lead sections, and weird labyrinthine riff applications which become quite hectic at some stage, nearly causing dizziness. "Tancuj a Vykrucaj" is a speedier and marginally more conventional affair with the leads taking more space, also sounding more twisted. "Nech Zomriem" is a surreal psychedelic shredder without much thrash participating, and "Hornych Desa" is a chaotic fast-pacer nearly reaching proto-death parametres. The rest of the material loses the technicality completely opting for a mish-mash of styles among which the more aggressive bash is by far the better option. The sound quality is quite muddy, and the vocalist is just a rough semi-reciter who tries to give more edge to his tirades by shouting at times.
The "United Shit's of America" demo is another mixed bag, quirky progressive metal without any relations to thrash.

You're Only Meat Demo, 1991
United Shit's of America Demo, 1993
Chaos in My Head Full-length, 1996

Official Site


Although "Soul Assault" is listed as an EP in their discography, this is actully more of an LP with its impressive length of 35-40min. And this is very good because the guys offer smashing power/thrash metal ala Wargasm's "Why Play Around" with certain technical tendencies the latter touching Forbidden's "Twisted Into Form" at times. The opener "Waiting for White" starts as a ballad, not raising the hopes high, but it finishes in a great headbanging fashion. "Deus Vult" takes no prisoners with its fast intense pace, boasting great chorus and a genuine technical break in the middle. The remaining songs carry on in the same fast-paced pattern, but slow down more frequently, keeping the catchy chorus lines. The technical edge is more clear, especially on the last two tracks which are more varied coming with swirling, screaming leads.
The 1991 demo is just 2 tracks which sound like being left out of the EP being intense technical power/thrashers with plenty of stylish riffs and unexpected twists, especially the short 3.5-min instrumental "Transformation" which can literally "transform" you into an avid fan of the band in case of you haven't already become one at this point.
The 1989 demo is still on a more pristine level the guys thrashing in a more simplisitc manner except for the excellent shredder "Instrumental Case" which is not exactly an instrumental, but is a really cool technical composition with heavy steady riffage. "Let It Be Known" jumps up and down creating at least a semi-technical feel, and "Sound And The Fury" is full-on headbanging thrash with dramatic, proto-death build-ups. "After The Fall" is a short speed metal delight, and the closing "Silent Spell" moshes out in an intense mid-paced fashion "flirting" with a few more technical quirks in the second half.

Demo Demo, 1989
Soul Assault EP, 1990
Demo Demo, 1991

My Space


Based on "Deathbed Poetry: Hope Against Hope", these guys offer modern melodic thrash/death with echoes of Dismember and early Entombed. The band thrash with conviction often speeding up beyond the realms of thrash, but this is not a pullback since there's plenty of energy on display as well as the obligatory breaks from the intense delivery: the pensive semi-balladic elegy "Alive Immortal" which features a captivating melodic chorus; the heavy proto-doomster "Sun and Moon". The singer has an expressive shouty tember quite reminiscent of Lars Goran Petrov (Entombed). Some of the musicians also play in the stoner metal formation Stoner Kings.
"The Amen" is a much more relaxed affair the band now semi-thrashing in a soft radio-friendly fashion the mellow riffage giving plenty of space for balladic and semi-balladic moments to sneak in. As a result there's not much thrashing to be savoured the guys never speeding beyond the serene predictable mid-pace relying on the pensive gothic atmosphere to pull it through, something with which their homeland is quite renowned.

Tribal Eagle EP, 1997
Street Corner Queen Full-length, 1998
Here to Stay Full-length, 1999
From the Midst of the Battle Full-length, 2008
Retaliatory Strike EP, 2009
Deathbed Poetry: Hope Against Hope Full-length, 2011
The Amen Full-Length, 2013

Official Site


Based on "Disrespect", this band offer modern abrasive thrashcore whihc surprisingly clings more towards the mid-paced delivery and consequently becomes clumsy and repetitive somewhere in the middle. The singer quarrels throughout, but his rendings may seem the main asset on this decent unimaginative release.

Emotional Breakdown Full-length, 2006
Disrespect Full-length, 2014

Official Site


Modern seismic abrasive thrash which is constructed around volcanic mid-tempo riffage; more intriguing melodic guitar work ("Sick World") sneaks in here and there, but the steam-rolling nature of the rest doesn't give too many chances for such escapades to shine although the closing "Aamon-Come to Hell" is another admirale attempt at a more flexible, gothic/doom-prone song-writing.

Fear of Being Born Full-length, 2017

Official Site


Based on the full-length, this formation indiulge in fast blitzkrieg classic thrash which is not totally devoid of death metal influence both styles intertwined in lengthy song-structures where several tempos alternate without creating too much progressiveness, but helps reduce the high-speed approach from the beginning the songs in the 2nd half being more controlled, but also not very interesting. The singer has a cool inebriate semi-clean tember which holds both melody and anger in equal dozes. Som eof the band members had a one demo spell with the classic thrash outfit Smoking Valves.

Peace Was Never an Option EP, 2011
Planet Earth: Ground Zero Full-length, 2013

Official Site


Based on "...Que Lo Pario!", this band plays good aggressive thrash bordering on death metal on the most intense sections, reminiscent of early Pestilence, Torture, Massacra, etc. This is fast-paced stuff with occasional slow moments (parts of "Pata, Sudor Y Sangre", which are compensated by the very few blast-beats used). The guitar work is excellent with a nice technical edge.
"Resistiendo al Enga\'f1o" is a bit more varied with more slow sections, but fast-paced headbangers like "Humanidad" and "Eternos" are still the order of the day, both nice blends of technical and melodic riffs. "En El Ojo Del Piquete" is a nice epic thrasher with very cool leads, but its serenity is totally cancelled by the furious "Politica Mierdera", although the balladic "Tributo" is just a song away.

...Que Lo Pari\'f3! Full-length, 1999
Resistiendo al Enga\'f1o Full-length, 2007

My Space


Thrash/death influenced by Morbid Angel on the more intense moments, among others, which means that here you will get a stylish technical play as well as very brutal fast sections. The music of the Colombians is probably more thrash than death metal, but the blast-beats are too frequent for a full-blooded thrash metal release; there are straight parts where there are no traces of any technical guitars, and this creates the impression that various songs from this album have been recorded through different periods of the band's career; a slightly uneven effort, but it definitely has its headbanging moments.

Armies of Hate Full-length, 2006

My Space


Based on the full-length, these Austrians offer fast relentless modern thrash/death metal with a strong sense of melody. Early Dark Tranquillity are a very close soundalike music-wise whereas in the vocal department one will encounter a very deep brutal growler. When the guys slow down they manage to sound even technical ("As Bloodshed Begins"), but those moments are not very frequent, although near the end the sound acquires certain mid-paced semi-epic tendencies also recalling Amon Amarth.

The Gods Of Reason EP, 2009
The Fallen Prophet Full-length, 2011

My Space


Despite the bad sound quality and the weak, strained vocals, these guys manage to come up with cool speed/thrash on both demos, in the vein of Paradox, early Destruction, the Exumer debut. The last track from "The Upcoming Mayhem" is a cover version of S.O.D.: "United Forces", but the music has almost no traces of hardcore. Another cover awaits you on the other demo: the punks Discharge's "The Possibility of Life's Destruction" (both a little strange choices, since the band's sound has almost no ties to hardcore/punk). The sound on that second demo is more aggressive and faster, recalling even Slayer, but the musicianship on both efforts is not that striking, but catchy and enjoyable: just simple and direct riffs.

The Upcoming Mayhem Demo, 1987
The Possibility of Life's Destruction Demo, 1989

My Space


The debut: this young Belgian band provide cool classic speed/thrash sustained in a vigorous, energetic pace with the casual nod to death metal ("License to Chill"). The music has a big headbanging potential so the fans will spend plenty of time moshing around, the way the acts from the early German school had made you to (check out the perennial speed/thrash metal classic "Leather Jack Maniac", in the best tradition of Necronomicon and early Destruction). The singer shouts in an appropriate semi-hysterical fashion in the vein of early Mille. These guy would "thrash" even "in hell", like the title of one of the songs says; this is a cool addition to the Belgian metal scene and could soon rival the thrash masters From Beyond and the recently resurrected Channel Zero for domination at home.
"Pussy Juice Blues" is no-bars-held blitzkrieg thrash sweeping you from the very beginning and never letting you loose. The "carnage" never ends "Pirate Trash" and "Burnout in Your Face" even going towards proto-death metal territories. As a whole this effort is more aggressive the sole relief being the short crossover deviation "Rudolph, the Badass Reindeer" which is still performed at the speed of light slightly influencing the following "Toiletface", before the final "Who Stole my Beer" brings together Slayer and Kreator for one final melee of intense retro thrash.

Leather Jack Maniac Full-length, 2011
Pussy Juice Blues Full-length, 2015

My Space


This band were no less talented than their namesakes from Texas, but they only managed to release one full-length. Their music was definitely more mature compared to the early messy efforts of the other Devastation; it is well executed aggressive thrash, not too far from the other band, with an early incarnation of the death metal vocals acquired by so many bands later (could have been an influence), and an overall more intense sound than the other extreme acts around (Possessed), acquiring proto-death metal tendencies on their second demo and the full-length. Later members of this band went on to form another one- Sindrome, but the style remained pretty much the same.

A Creation of Ripping Death Demo, 1986
A Re-Creation of Ripping Death Demo, 1986
Dispensable Bloodshed Full-length, 1987

My Space

DEVASTATION (USA, Corpus Christi TX)

The band started in a very humble and unpromising way, to put it mildly, with primitive raw thrash and declamatory vocals, something which one might have problems calling singing. "Signs of Life" is so much better that one may want to check the debut once again; but, seriously, don't bother... From the very beginning, with the furious, and even slightly technical "Eye for an Eye" the listener knows that this is one of the cases where the band has quickly discovered the way leading to the top, after an embarrassing start. The awesome beginning has its match on the following direct smasher "Desolation". "Signs of Life" is relatively more controlled, with more clever riffs, which remain for the explosive "Retribution": thrash without mercy... "Tomorrow We Die" shows again the more intriguing, technical side of the band in the beginning, but relentless moshing is what follows later. "Contaminated" is 2.5-min of all-out aggressive thrash, followed by the much longer, 6-min "Fear of the Unknown", which is a nice diverse composition, finally offering something slower as a pause from the intense delivery. "Escape to Violence" is 2.5-min of heads-down brutal thrash, closing this impressive effort, paving the way for the band's magnum opus.

"Idolatry" arrived at a time when thrash metal had begun to fall from grace, and many 80's acts were changing their "clothes": embracing other styles (death metal, post-thrash, etc.). Well, in this case we have another great offering of unadulterated classic thrash: extreme aggression all the way, spiced with a pinch of death. The uncompromising opener "Deliver the Suffering" hits you like a hammer, filling you with gratitude and bliss that thrash is still pretty much alive and well. "Freewill" is less intense with slower deviations; there is a lot of headbanging on this one as well. "Forsaken Hatred" creates illusions in the beginning that this might be an entertainment of the more technical kind, but the brutal guitars take over very soon after. "Souls of Sacrifice" finally fulfills the promises for a more elaborate, technical song-writing, bringing about loads of time changes and clever stylish guitars; the high level of musicianship displayed on this one would hardly make anyone notice the reduced amount of aggression. "Idolatry" starts with a nice acoustic intro, and later on relies more on heavy crushing mid-tempo riffs. "Legacy of Faith" goes back to the more intense patterns, thrashing all the way to "Subconscious", which carries on in exactly the same vein, going up a bit the aggression scale with death metal-laced sections. "Never Believe" closes the album exactly in the way it started: bashing thrash/proto-death, kind of a precursor for an eventual future transformation into a full-fledged death metal outfit. This transformation, however, never took place, since this was the last album the guys released. Still, hats down to them for making a more than a worthy exit from the scene, without messing it up like many other bands before and after.

Violent Termination Full-length, 1987
Signs of Life Full-length, 1989
Idolatry Full-length, 1991

My Space


This is your average modern thrash played in a workmanlike, dispassionate fashion. The guys possess all the requisite tools of the trade, but this is all too predictable and derivative to really strike a cord. You have the lashing guitars, the "fast-slow section" alternation, the gruff death metal vocals, even the odd more stylish lead (the closing "Shudder"): all is here to produce a painfully strong feeling of deja-vu. Some of the musicians are also involved with the formation 11:34 where the style is pretty much the same.

Nation of Extinction Full-length, 2011

Official Site


This is pretty decent energetic retro thrash ala early Overkill and Exodus with less expressive than those two bands, mid-ranged semi-clean vocals. The band thrash with gusto mixing the pace, but more often going for the fast-paced melee. "Justice Pattern" is sure speed metal winner ala the eary German scene also boasting a very cool chorus, the highlight here. "Behind the Riverside" is another intense roler-coaster leading the pack in the 2nd half which also comprises the more serious pounder "For the Liberty I Kill" and the closing semi-balladic progressiver "Between Dream and Nightmare".

No Way for Salvation Full-length, 2016

Official Site


Mid-paced groovy thrash with elements of stoner/doom with catchy hooks ala early Six Feet Under and brutal death metal vocals; "Savage Wasteland" livens up in the middle to justify the album-title, but is completely cancelled by the very tender blue-sy instrumental "Waste" (yeah, waste it is, at least on a metal album). The sound is very fuzzy, and spoils the impression, especially on the more intense doomy numbers one of which is high-octane doom in the best tradition of Saint Vitus: "Yea Though I Walk".
"Fragile Messiah" is a modern groovy post-thrashy steam-roller, at least for half the time, which becomes strangely dancey and rock-ish ("Dirty Laundry") to the listener's shock, among other annoyances exiting the field at will on at least half the tracks. The singer rends his throat with his ultra-shouty delivery trying to seemingly compensate for the very mellow nature of the music which may have no relations to thrash whatsoever on the next recording. Some of the band members play more serious death metal stuff with Asphyxiation.

Savage Wasteland Full-Length, 2008
Fragile Messiah Full-Length, 2013

My Space

DEVASTATOR (ITALY, Lucca, Tuscany)

Classic thrash with annoying, hysterical vocals which don't really sound like anyone else, maybe if you remember the ones used by Tourniquet on their first two albums: the high-pitched screams, these are close; lower ones in the hardcore-vein are added from time to time to perhaps lessen the shock. The music has influences from all over the spectre: Slayer, Kreator, Sodom (they also make a very energetic cover of "Agent Orange"), but... again, these vocals.
"Andatevene Tutti Affanculo!" is 4 songs of playful roller-coaster hadrcore-ish thrash; this is fast samey stuff which doesn't hide its fascination with punk ("Sfilata Di Moda") at times, although the hoarse semi-death metal vocals are hardly the most suitable ones for the latter style.
"La Musica fa Schifo" is a total take on the good old thrash/crossover, the guys producing a very diverse affair with nods to classic heavy metal, funk/jazz, hardcore, grind as well. Enjoyable, multifaced stuff as a whole, which begs to not be taken seriously.

Live to Make War Demo, 2003
Alive From Devastation Live album, 2005
Thrash 'n' War Full-length, 2005
Alcoholic Assault Full-length, 2007
UNderground 'n' Roll Full-length, 2008
Andatevene Tutti Affanculo! EP, 2010
La Musica fa Schifo Full-length, 2011

Official Site


Based on the "Crush and Kill" EP: cool 80's speed/thrash metal recalling Blessed Death and Anvil Bitch, but only music-wise (not in the screechy vocal department); "Burn the Beast" is much more satisfying, a more aggressive offering now seeing the guys thrashing out with the best out there. The sound has now moved towards the Bay-Area with the legendary "Bonded by Blood" an obvious influence. The music is fast and energetic seldom leaving the up-tempo, adding a couple of cool technical twists ("Slaughtered Like Pigs": yeah, you wouldn't expect that on a song of such title). "Rise of the Undead" gives new unexpected more extreme dimensions to the band's approach being an exemplary piece of technical aggression ala Hellwitch, maybe a tad more restrained. The guys have done a very good job here, and maybe it's time to break this vicious circle of releasing EP's only with something longer...

Fuck Everything EP, 2005
Crush and Kill EP, 2006
Slaughtered Like Pigs... EP, 2007
Burn the Beast EP, 2009

My Space


Based on the split, this is a black/thrash metal band of the old school not too far from Alastor (Portugal), or Nocturnal (Germany), but badly produced with a thin guitar sound and vocals which are put too high in the mix, leaving no room for the bass to be heard. Those same vocals are cool vicious black-ish rasps recalling the mighty Quorthon (R.I.P.).
"Morbid Force" offers a fair slab of the same black-ish thrash which was present on the debut, maybe faster this time, also recalling early Kreator, but the flaws kind of remain, and the guitar sound is still thin, especially on the leads, albeit more audible. There are more serious attempts at song-writing: the almost 10-min closer "The Final Descension" which has parts which are pure thrashing, as well as parts where the symphonic black metal elements dominate, but not in an irritating way. The irritating thing is the intros which precede every song on this album (something which has already been done before, but in a better way, by the American black metallers Acheron on "Lex Talionis"); they are short, but quite meaningless... well, at least to these ears. The songs nicely vary from fast intense thrashers to atmospheric, even epic-tinged ones, carrying a mid-period Bathory flavour.
"Conjuring Evil" is a cool companion piece to the preceding album, this time with a stronger presence of black metal and longer compositions ("The Devil's Mark", "Worship The Gibbous Moon") which recall Bathory, both their early and mid-period. Still, some good thrashers are around to keep fans of the style happy: the mid-paced atmospheric "Summon The Night", the excellent up-tempo "Pazuzu, Demon Of Plagues", and especially the furious closer "Third Dynasty Of Ur", which doesn't stop thrashing mightily during its 7.5-min, graced by fine keyboard implements from time to time.

"The Summoning" is another cool release concentrating more on speed/thrash metal ala Whiplash, early Destruction and the Portuguese Alastor. "Four Emperors" goes a bit beyond the good taste with furious blast-beats, but the rest is fast-paced retro speed/thrash, topped by brutal black-ish vocals. The pace is kind of samey, but doesn't really wear thin, since the tracks are not very long, and the lead sections are lengthy, although nothing too technical or striking can be heard there. The final "Living Creatures Of Apocalypse, The Sacrifice" switches onto furious thrash ala Rigor Mortis, nicely alternating very fast parts with cool more laid-back ones. The guys also have two other projects: the black metal outfits Blasphemer and Ordine Nero.
"Nocturnal Slut" is very close in spirit to its predecessor speed/thrashing in a more carefree manner adding more variation (the epic stomper "Sepulchral Screams"; the early Bathory-esque closer "Pussy Troll Rock 'n' Roll") here and there, as well as the odd appropriate cover: the early Running Wild hit from the Germans' debut "Black Demon" ably boosted by the sinister semi-declamatory vocal performance.

Nuclear War EP, 2004
The End Full-length, 2005
Devastator/Blasphemer Split, 2005
Nuclear Proliferation Full-length, 2006
Morbid Force Full-length, 2007
Conjuring Evil Full-length, 2008
The Summoning Full-Length, 2009
Nocturnal Slut Full-length, 2010

Official Site


Very good Germanic thrash- for fans of early Deathrow, the Exumer debut and Paradox; this is direct speedy stuff with very cool guitar work, which occasionally brings forward technical riffage ("Feverish Commando"), as well as melodic lines ("Infernal Evocation" which, despite its sinister title, is the most melodic song, rubbing shoulders with the speed/power metal movement). "Persecution", being the longest track here (6.5min), affords some slower passages, but the furious ending more than compensates for them. "Necrothrash" closes the EP in a truly aggressive manner, introducing proto-death sections.

Infernal March Demo, 2005

Official Site


A Colombian trio which offers three tracks of raw primitive old school thrash in a never-changing up-tempo with gruff shouty vocals which sound so loud that at times completely stifle the hollow guitars. Sodom are paid tribute at the end with a lacklustre cover of "Outbreak of Evil", and the Germans' early efforts can actually serve as a reference point to the stuff heard here.

Accomplice of Evil Demo, 2008

My Space


Classic Germanic speed/thrash (think "Angel Dust meets Destruction") is offered here by musicians who are engaged in numerous other projects (the technical death metal virtuosos Inimicality; the brutal death metal "monsters" Tamakeri; the black metal "sorcerers" Tumult; etc.). Here they feel content enough to make your day with direct sharp riffage, mostly played in up-tempo, and cool mid-levelled semi-clean vocals. One can't go wrong moshing out to compulsive speedsters like "Devastracktor Battalion" and "Bring Upon The Fire", or relaxing, but just a bit, on the more serious, almost technical, "I.D.G.A.S", or the crushing stomping "Interlude" which comes too near the end to be an interlude. This is good headbanging fun which will remind of the good old days in a charming, unobtrusive way.
The "devastracktors" are here again thrashing in a frolic unpretentious way on the opening "Beer Force One" before engaging in a more intricate delivery on the next "Diesel Cobra", a shredding delight in a solid mid-pace for most of the time. This mid-pace will apparently the dominant leitmotif since it covers most of "Hangoverkill" as well except for a short speedy passage in the middle. The closing "For Whose Advantage?" is a cool crunchy cover of Xentrix's hit of the same title which again doesn't promise furious headbanging, but is a fitting way to finish this short rehearsal for the eventual sophomore full-length release.

Warhorsepowers & Megaton of Balls Full-length, 2011
Beer Force One EP, 2013

Official Site


Former and present members of the black metallers Marduk, supported by the bass metal guru Roberth Karlsson, whose list of metal acts in which he has taken part may be one of the longest ever (Facebreaker, Edge of Sanity, Scar Symmetry, to name just a few), get together to release this album of intense black/death/thrash metal; this is not a Marduk-influenced material, although shades of black can clearly be heard; the concentration is more on the other two genres, with stronger nods to death metal perhaps. The overall style is close to early Dissection and Dark Tranquillity, supported by sharp thrashy riffs and leads. The tempo is fast, and doesn't change much throughout the album, making it a slightly one-dimensional listen.
The guys are not willing to lose the inertia, and here comes "God To The Illfated" to keep it up. With both releases separated from each other by less than a year, it's not a surprise the strong similarity between them music-wise; this is again thrash/death metal with strong nods to the Swedish scene this time cleared off all black metal reminders. The guitars are both sharp and melodic, and some of the hooks are simply addictive, especially those served with a genuine Oriental flavour ("The Unspoken", "Assailant"). The tempo is quite fast, and the slower breaks are more than welcome ("Saintbleeder", "Summerdeath"), when they come. Although death metal is again more strongly accentuated on, at least in the 1st half, make sure not to miss first-rate thrashers like "God To The Illfated" or the galloping speed/thrash delight "Awaiting Doom". The guys pay tribute to the more epic-inclined modern acts like Amon Amarth and Destroyer 666, on the closer "When The Vultures Have Left" which would stay proud even on Bathory's "Hammerheart".

Ninewinged Serpent Full-length, 2007
God To The Illfated Full-length, 2008

Official Site


The demo is nice pounding thrash quite close to Nasty Savage's "Indulgence" with heavy, smashing guitars, speeding up a bit at times. The EP moves towards a Slayer-like aggression.

Faces of Death Demo, 1988
Balance of Power EP, 1991


This is the continuation of the vicious thrashers Demolition Hammer, and is a much better effort than their lacklustre last release. The music flows in the same vein as the first two albums: hard-hitting brutal thrash with shades of death metal, very well done. There is perhaps more variation with slower, heavier pieces ("Gallery of Death"), which work as well as the faster material; looked like a fresh new start for the band, but was left without a follow-up.

Gallery of Death EP, 1995


Based on "Rock N' Roll Conformity", these veterans from the UK hardcore/punk scene could be viewed as the English answer to Cryptic Slaughter. The music on offer is often very fast and chaotic although generally more controlled than the one of the aforementioned Americans, but is savagely executed enough, with a characteristic sound of its own, also bearing resemblances to The Accused. When the guys slow down, they come up with pretty decent hard-hitting steam-roller thrash ("Through The Looking Glass"), but one can't possibly stand still on compulsive moshers like "Mechanical Extinction", and just nod. On "Guttural Breath" the band have slowed down considerably opting for a heavier less dynamic approach with more brutal death-tinged guitars; it offers almost nothing to the thrash metal fan, but its monolithic monotonous delivery is compelling enough.

Welcome To The Orgy EP, 1986
Consolidation Split album, 1988
Rock N' Roll Conformity Full-length, 1988
Definitive Instinct Best of/Compilation, 1989
Guttural Breath Full-length, 1989
Demo Demo, 1989
Nailed EP, 1990

Official Site


Based on the full-length, this act provide competent fast raging thrash/death clinging between the old and the new school, thrashing fast with some nice lead guitar work following suit (check out "Under the Cross"). "Insanity" is a slower stomping piece with the leads again being the superior side. The "rage" reaches semi-blasting proportions ("Temptations Desert") here and there, but the officiant tone also "roams" around ("The Meaning of Horror"; the excellent dramatic "Thanatos (Morbid Curiosity)") accompanied by nice melodic tunes those recalling mid-period Messiah. The final "Petria dos Porcos" is a more intense death metal cut finishing this effort with aplomb which it by all means deserves.

Behold Darkness EP, 2007
Antagonistic Full-length, 2010

Official Site


Based on the full-length, this is rough amateurish, very noisy thrash with some of the worst performance ever encountered in the history of metal by everyone involved, especially the awful shouter behind the mike who not even for one teirs to hold a note. The bass dominates the guitar barely heard for most of the time. This could also pass for punk, hardcore, grunge, literally anything... not even for completists.

Alchohol Is the Devil's Blood... Full-length, 1987
Uncle Satan EP, 1989

My Space


Although having taken their name from a Megadeth song (from "Peace Sells..."), the style of this band only distantly recalls their legendary "godfathers". This 4-track demo mixes classic Bay Area-influenced thrash (Exodus, Testament) with the modern sound of the 90's (think Overkill). The guitar work is particularly good with nice leads and cool riffs. The tempo is, however, not very energetic trying to give credit to the 90's, too, and consequently losing in the process. The singer isn't a very big asset with his hesitation whether to stick to the more conventional thrash singing, or spice things up with more melodic tones (the mixture doesn't really work, at least for me). This isn't bad for a first effort, after all, and there's enough time for the band to find the right way on their future efforts.

Demo Demo, 2004

Official Site


Modern post-thrash with heavy abrasive guitars and gruff semi-shouty vocals; the guys emphasize on melody more which leads to a couple of cool ballads ("Winter") with clear pretensions at the doom/gothic camp (think Lake of Tears, End of Green, later-period Sentenced). "Unlife" tries to lift the spirit up in the middle with more energetic crossover rhythms, but the guys are quick to "bury" those attempts under another portion of gloomy dark riffage, exploited by hordes of acts from their homeland, on the next couple of songs. "Blood Burning" is a surprising retro thrashing bomb thrown near the end, but again, the closing "Harmony" leaves it no chances to survive, the latter being a melancholic balladic composition offering dreamy depressive riffs for about 10-min with the leads being particularly good, producing a few haunting melodies along the way. Fans of the more aggressive side of gothic may want to check this out as well as those who like their post-thrash atmospheric with a strong focus on melody.

Born Of Nothing Full-Length, 2008


Brazil has been taking over as the leading metal scene of the new millennium, and this band is another fine addition to it. The album-title sums it up nicely: this is a pure old school speed/thrash metal attack in the fine tradition of early Destruction, Exumer and Kreator. The guys fit nicely along the horde of Brazilian thrash metal bands who have started down the road of the German sound- Executer, Farscape, Violator, Bywar, etc., but Devil on Earth are faster than those acts, and more aggressive. A pleasant surprise awaits you at the end: a nice cover version of Exumer's immortal anthem "Possessed by Fire".

Hunting, Shooting, Slashing and Thrashing Full-length, 2007

My Space


Based on the debut demo: another underground gem from Finland; there is a golden mine out there: first-rate German thrash metal; Kreator and Destruction have new, very worthy followers.

This is A Good Day To Die... Demo, 1999
Armageddon Is Here Demo, 2000
Reign Of Evil Demo, 2002
Possessed By Hellfire Demo, 2004

My Space


An obscure release offering old school power/thrash metal akin to early Iced Earth sustained in a heavy pounding, mostly mid-tempo, sound. When the guys speed up, they can thrash along with the best: the excellent diverse "Can You See", a progressive masterpiece with standout guitar performance recalling Marty Friedman's early pyrotechnics in Hawaii. The other excerise in more complex progressive metal "Last Night" is a bit less impressive relying on the heavy mid-paced rhythm section to pull it through although the real hero here is the lead guitarist again. The closer "Riders of Doom" is not a Deathrow cover, but is a nice varied thrasher with very good leads and meaty doomy riffage spiced with the odd faster break. The singer is traditionally for the Russian bands of that time not a very big asset, and his uneventful clean low-tuned tember is often stifled by the guitars for the better.

Devilry Full-length, 1992


This new outfit indulge in a modern semi-technical blend of thrash and death metal which mixes the pace on every composition a settled dark vibe handsomely retained thanks to brooding steam-rollers like "Abbadon" and the mmore vivid "Insane" (check out the nice balladic, bass-driven section at the end). The vocals are gruff death metal-ish, but are fairly intelligible and don't impede the proceedings.

Devils Drunks Full-Length, 2016


Based on the self-titled effort, this outfit indulge in melodic, all-instrumental progressive post-thrash which is built around choppy, jumpy rhythms topped by interesting melodic leads/semi-leads. The open spaceyness of at least half of the compositions may annoy the hard-boiled fans, but more intense shredders like "Nomad Death Worm" and especially the fast-paced thrasher "Breaching the Caleban Veil" will make the listener more attentive in no time. Near the end things become even better, first with the intricate technical piece "The Grace of Wrath", then with the diverse closer "Voidship Earthling"which borrows an element or two from the Sieges Even and the Zero Hour repertoire.

Tracks of the Cloven Hoof Full-length, 2008
Đavolja varoš Full-length, 2010
Devils of Belgrade Full-length, 2016



This outfit serve modern thrash/death which is both aggressive and melodic aptly balancing between the two styles with groove appearing at times to ensure the bigger diversity which also arrives in the form of several longer compositions ("The Devilution") in the 2nd half where the delivery is enhanced by a few more epic death metal-ish touches ("System Is Flawed") where the shouty deathy vocals fit even better.

The Devilution Full-Length, 2016

Official Site


Based on "Domain", this band plays aggressive modern thrash/death metal. The balance is well distributed between the two styles as a slight preference is given to death metal, but in this case this is probably the better choice, since those numbers are the superior ones, especially the ones with a more technical inclination: "Boundless Domain", "Dead Cannibal Civilization", "Lowest In The Food Chain".
"Vision" is a capable follow-up, more atmospheric and a bit slower now sounding close to their compatriots Gorefest after the reformation with the odd brutal outbreak ala Suffocation ("Abide"). "Impulse Overload" is more than welcome with its uplifting speedy spirit giving the album the desired boost which results in the excellent progressive opus "Predefined" and the epic Amon Amarth-esque smasher "Validate", both graced by beautiful balladic passages. The closing "Disconnect" can also join this group being a cool mix of fast raging guitars and the characteristic balladic/semi-baladic moments which the band has mastered so well, although here they are probably a bit overused stifling the aggression of the riffage.
The Wolfhagen EP is a sure-handed of the good new Swedish thrash/death done with a strict following of the rules: the melodic guitar duels, the throaty semi-shouty vocals, the quiet interludes, the sparce use of keyboards, etc. The sound quality simply rips making every instrument very clearly heard including the forceful vocals. The bombastic atmosphere on the operatic cut Her Divine comes a bit unexpected, and generally there is quite a bit of subtlety here to be savoured reminiscent of mid-period In Flames and beyond. Expect a few frowns at the end on the dubstep remix of Respiration of Fear which will make the damsels (and not only) dance around with sweet memories of Clock DVA, Camouflage, and Covenant.

Acts Of Rage Full-length, 2003
Domain Full-length, 2007
Vision Full-length, 2009
Wolfhagen EP, 2012

My Space


Modern thrash metal with slow and fast songs taking turns on a noisy shouty death metal background. The guitar work is good, but comes with a slightly buzzy sound which nicely gets lost for the jolly crossover closer "Beer Song" (bottoms up!).

A God\rquote s Lie Full-length, 2010

Official Site


It's a real pity that this talented trio managed to only release this 3-song split, because what we have here is standout technical thrash with slight shades of death metal, way superior to the music presented by the two other acts included in the split although this one remained the least known. The music has its characteristic dark haunting sound which doesn't leave the mid-pace, but the riffage is stylish and diverse, suddenly bursting out with the odd speedy section ("Mediocracy"). "Negate (This Aftermath)" starts in a fast aggressive manner, but later on evolves into another whirlwind of technical guitars, interrupted by another more intense moment. "Condemnation-Manipulation" is more up-tempo, but surprisingly here the guitars have the most technical, almost abstract at times, edge. As a whole the style may remind you of Coroner's "Mental Vortex" which is the closest soundalike, but the guitar tone on this effort is darker, a tad less dynamic, and the time changes are not that frequent. Surely something big was in the makings, but sadly remained unmaterialized...

Grave/Deviated Instinct/Devolution Split, 1991


This hyper-active recording comprises lengthy elaborate riff-patterns those accompanied by debatable mean death metal vocals the latter intercepted by better cleaner ones from time to time. The approach is strictly on the modern side siding with Annihilator's more interesting moments with the more stylish numbers ("Time to Mind") surpassing the Canadian(s)' repertoire with their unpredictable jumpy rhythms. "Vexatious Pawn" is a brisk varied speedster with a quiet ambient ending, and "Deluge" is an interesting progressive thrasher with a wide array of time and tempo changes.

No Strings Attached EP, 2017


A short roughly produced effort of intense blitzkrieg old school thrash with surprisingly proficient leads and a few more intriguing sections ("Into The Night"), but generally direct and simplistic with echoes of Destructor and Anvil Bitch, with passable semi-clean vocals and a very good bass bottom.

Black Out EP, 2016


This is dark, still classic-sounding, thrash with consistent heavy riffage with beautiful acoustic interludes (check out the 1.5-min instrumental "You re the One") and dramatic build-ups. The efforts moves towards a Black Album-esque post-thrash on the pounding "Seven Sorrows", but things become wonderfully dynamic on the energetic closer "Freedom of Choice" which is a merry speedy cut. The singer tries to emulate James Hetfield, but ends up sounding closer to Chris Holmes (Paradise Lost) due to his more aggressive lower-tuned delivery.

Pay the Price of Peace EP, 1993


Modern thrash metal meets crossover; the style will remind you of Madball, but with more balls (and definitely not mad). Very fast numbers are mixed with heavy, groovier ones.

Revenge... And A Little More Full-length, 2001

My Space


This is modern thrash with expressive shouty death metal vocals. The musical approach is not very impressive being bit boring mid-paced riffage which sounds more appetizing whent it comes closer to the semi-ballad ("The Closer We Get"). "Realm Of The Toxic", on the other hand, is a cool dramatic ripper with vivid dynamic guitars before the closer "No Suicide Without A Homicide" further corrects the impression with a few portions of more stylish technical riffs.

Wasted on the Living EP, 2011

Official Site


Very raw, amateurish thrash/death metal with a very thin, also buzzy, guitar sound and awful deathy vocals. The guys obviously try to imitate the brutal aesthetics of their more renowned compatriots Korozia Metala and D.I.V., but their musical skills are way inferiorThis is modern thrash with expressive shouty death metal vocals; seldom producing more than plain noise with a rough, aggressive death/thrashy background.

Fascinating Taste of Blood Demo 1992


One of the holy three of the dern thrash/death scene (the other two- The Haunted and Carnal Forge) who brought forth the style in the mid 90's, and have been practicing it with little deviation from the path. Dew-Scented are probably a bit more classically-inclined than the other two, with frequent nods to the old school.
With "Invocation" the band continues the tradition with titles starting with "I", but in the music department we have mostly energetic retro thrash this time with the prototypical hoarse semi-death metal vocals. The moshing starts right after the dramatic lead-driven intro the guys throwing a bomb after bomb adhering to the odd more aggressive death metal-laced passage ("Have No Mercy On Us"). There are a few "pauses" along the way: the calmer mid-paced "Artificial Life" and another very good lead-dominated short instrumental ("Totem"), but heads fall from now until the end with compulsive headbangers like "Torn To Shreds" and "A Critical Mass". The closing "Slaves Of Consent" is a more complex technical song featuring several pounding heavy sections and more diverse tempo changes. This is a good effort which shows certain improvement in the guitar department (check those great leads!).
"Icarus" is the next chapter from the band's I-bound album-title catalogue, and it sees them hungry for some more intense thrash with both a classic and a technical edge. It pulls no punches with its raging character reflected in some of the less merciful shredders of recent times: the furious opener "Sworn to Obey", the dramatic speed/thrasher "Thrown To The Lions", the proto-death laced "bomb" "Gleaming Like Silver", etc. The leads are again on a fairly high level the others trying to match them, more or less successfully. The sparce slower moments ("Reawakening": this is not really "reawakening") are not as impressive, but fortunately they have been kept to the minimum. This album isn't a groundbreaking effort by any means, but isn't a step back either keeping the flame of thrash high and also the faith in the band who aren't likely to disappoint their die-hard fans any time soon.
"Intermination" shows the guys' determination to cary on with the I-album titled saga which brings more modern thrash/death metal to the masses. The band's fans would hardly be surprised, their idols thrashing with vigour and sharpness notching it up towards the death metal fields more ("Affect Gravity") at times, at others moshing out in a sure-handed classic manner ("Ruptured Perpetually"). "Survival Reaction" near the end is a cool energetic cover of the death metal veterans Solstice, and the album closer is another cover version, Repulsion's immortal hit "Radiation Sickness" expectedly served with the speed of light quite faithful to the original, and generally a fitting epitaph to this remorseless, ripping piece of music.

Immortelle Full-length, 1996
Innoscent Full-length, 1998
Ill-Natured Full-length, 1999
Inwards Full-length, 2002
Impact Full-length, 2003
Issue VI Full-length, 2005
Incinerate Full-length, 2007
Invocation Full-length, 2010
Icarus Full-Length, 2012
Intermination Full-Length, 2015

Official Site


Based on the "Still Fucking Alive" split with the black metallers Crossodomizer (also from Italy), this band plays brutal grinding black ala Impaled Nazarene on two tracks, and produce one long epic 9-min atmospheric black metal composition in the spirit of Burzum.
"Ethylic Lovestories" offers a more melodic material, with a certain part of the songs now being in the thrash/crossover camp. Still, not all of the aggression has been gone, and some explosive pieces can be found, but rest assured that all gets cancelled by the 8.5-min long "Alcohol Screams My Name" of laid-back Motorhead-ish rock'n roll. The guys explore the other extreme side of metal with their other act, the doom/stoner-oriented Drunk & Stoned.

Still Fucking Alive Split, 2008
The Oath Of Bacco Militia Split, 2008
Ethylic Lovestories Full-length, 2008

My Space


Predictable modern thrash metal which mixes the pace clinging towards the old school on the faster material ("The Preacher"). "Thrash Metal" could have been more aggressive, now full of too many melodic hooks; a situation improved by the rigorous speed/thrasher "Inquisition". Then comes "Give Me Your Soul" which will "give your soul" to the classic sound once again with a nice crossover overtone added, which also stays around for the really aggressive closer "Christ Must Die", which is an intense slab of music coming with a slight proto-death edge. The singer is nothing special, though, pullng out a pedestrian semi-shouty/semi-death metal tember.

The Hidden Face Full-length, 2011

Official Site


Playful, merry-go-round old school speed/thrash with very catchy melodies (check the ones on "Rot Away"), but with also some really hard thrashing involved ("Hypocrite"). "Live To Suffer...Suffer To Live" is a nice retro thrash/speedster, and "Stand Alone" is an entertaining early Metallica-sque roller-coaster which makes this short effort a very cool proposition from the Far East also accentuated by good attached clean vocals.

Stand Alone EP, 2015


This Chilean horde produces rigorous classic speed/thrash which gets mixed at times with less convincing proto-modern elements ("Eskupiendo Lava"), but generally the energy seldom drops, and prime headbangers like "Matanza" (the screaming leads on this one will pierce your brain) and the opening exploder "Azote Teluriko" will make your day in no time. The singer is a bit annoying with his undeveloped semi-hardcore tone, often assisted by the others for the release of plenty of shouty, sing-along choruses.
"Auto-Exterminio" is pretty much in the same vein maybe a bit more restrained this time, with a dissonant vibe coming from the oblivious guitar edge at times, but be prepared to run for cover on moshing headbangers like "Disekcion" and "Abusador". "Engendro Del Nivel" is a tad more relaxed hardcore cut, but more style is exuded from "Hidrodeath" and the melodic semi-technical thrasher "Sospechoza Simpatia". "La Guadańa Dekapita" also flirts with proto-death to a positive effect the latter consolidated by the frolic speed/thrasterpiece at the end "Pornoplegaria".

Dezaztre Natural Full-Length, 2012
H.A.A.R.P EP, 2014
Auto-Exterminio Full-length, 2016

Official Site


This band offers intriguing technical/progressive thrash with shades of death metal. The full-length debut is a commendable effort, nicely mixing more complex numbers with more immediate, aggressive ones. The music is heads-down thrash with a few death metal reminders, and the tempo is never too fast; the jumpy guitar work will remind you of the Japanese Doom, although these guys here stretch the style towards more peaceful, baladic territories at times, which are not overused, and add up to the elaborate picture; some attempts at "techno-meets-guitar" industrial are also present, and are not too bad. However, the more direct, thrashy riffs seem to work better, especially those coming with a slight pinch of death metal. As a result we have an engaging combination which will keep you focused for most of the time.
The follow-up boasts better guitar work, especially in the lead department, but as a whole is a less satisfying achievement; it often degenerates into more ordinary modern thrash, with a few sparkles of the technical skills displayed on the debut. Some tracks are pointless "funk-meets-groove" experiments, and spoil the picture quite a bit, along with the new industrial deviations, which this time are simply bad. The balladic moments are here again, but more frequently expand into a full-blooded ballad.
"Naturalism" comes after a long 7-year break, but shows the band in an inspired form once again. The sound is full-fledged progressive death/thrash metal, with longer songs which offer everything from the progressive spectre: jumpy jazzy guitars, proficient leads, quiet atmospheric passages, twisted time changes, etc. Some songs are really striking combinations of brutal, fast sections and very complex, multi-layered ones ("Slut", "Killer Bastard"), others are slower, less intense haunting pieces ("Betrayer") with abstract Voivod-ish riffs, which nicely contrast to the brisk, melodic leads. "Vilely Untamed" is a brilliant exercise in technical thrash metal with a touch of late-period Coroner, where even the groovy mid-section works just fine, ably supported by a nice flamenco acoustic tune. "Horny" sums up everything this album is about, containing all of the afore-decsribed touches, not forgetting a very brutal death metal section near the end. And finally, one more conventional song as a finishing touch: "Peace", although the "peace" here is still quite jumpy. Not a dull moment with this really good album, which alone does a lot to make the thrash metal fanbase take acts from this part of the world with a certain amount of respect.
"Spiritual Leader" follows after another healthy hiatus, and shows the band in a more restrained light, abandoning the complex arrangements once again, thrashing in a controlled direct manner for most of the time adhering to power and speed metal as well whenever necessary. So this is laid-back thrash of the more conventional variety the main reminder of the band's previous works being the staple gruff semi-death metal vocals.

EP, 1993
Full-length, 1995
Full-length, 1997
\'ca\'e8\'cd\'b9 Full-length, 1998
Naturalism Full-length, 2005
Spiritual Leader Full-length 2011

Official Site


With this band Tom Angelripper gives his tribute to the Wild West with its cowboys, damsels and all. The music is melodic and thrashy, of course, recalling the Sodom albums from the mid 90's, or the works of the other Angelripper side-project under his own name; Desperados' music is actually edgier and darker. For some strange reason, Tom is missing from "The Legend and the Truth", which takes a whole pleiad of other metal stars to replace him behind the mike: Tobias Sammet (Edguy), Joacim Cans (Hammerfall) and the legendary Doro Pesch.
"An Eye For An Eye" offers another slab of jolly, light-hearted heavy/thrash, this time having a more modern, and a more aggressive, sound, not too far from Annihilator ("Hate", "Days of Thunder") at times. There is one cool short ballad ("A Tooth for a Tooth"), and two covers: one of Johny Cash: "25 Minutes to Go", and one of The Doors: "Riders On The Storm". Tom Angelripper is again missing from the line-up; maybe he feels happy enough at this point to just pull the strings behind the stage?
"Dead Man's Hand": unkle Tom is again missing from the line-up, and Alex Kraft, from his other act Onkel Tom Angelripper, has stepped in to replace him behind the mike. In the music department expect the same unpretentious frolic post-thrash'n roll which this time doesn't focus too much on the "thrash" side, but relaxes with merry tunes from the good old days "courting" country, blues, and stoner/doom along the way. A bit more life is poured near the end with the speedy cut "Showdown", but the last songs are pure ballad/blueses; a sure sign that unkle Tom loses his initial interest in pursuing a more thrashy career outside Sodom.
"Call of the Wild" is a soulful country affair with only "Hell & Back" showing some forgotten Wild West vigour. The rest is for bar flies only... restful feelgood music which would hardly make you saddle the horses and ride into oblivion.

The Dawn of Dying Full-length, 2000
The Legend and the Truth Full-length, 2006
An Eye For An Eye Full-length, 2008
Dead Man's Hand Full-length, 2012
Call of the Wild Full-Length, 2017

Official Site


Based on "Vuijivaj ili Umri", this band serve straight-forward retro thrash/proto-death which blends hard-hitting aggressive riffs with sweeping melodies on almost every track. The attack is endless with shots like "Veseluie Smerti" and "Ne iz Stai" nailing the listenerto the ground, but watch out for more stylish offerings like the intriguing semi-technicaller "Na Dne". The vocalist shouts not very ppleasantly with a forced semi-death metal baritone, an dit would have been better probably if his performance hasn't been so omnipresent.

Mirom Pravit Zlo Full-Length, 2014
Vuijivaj ili Umri Full-Length, 2016


The German metal scene is full with one album wonders like that. This is outstanding thrash metal with a certain technical edge, which will catch you with your pants down. The style is close to that of the bands from the progressive/technical thrash wave which rose a few years later (Depressive Age, Entophyte, Lost Century, etc.), but is a bit more aggressive and faster, and less technical. It starts in an awesome fashion with the first three songs being fast and furious pieces ("Climate Change", "Ain't No Cure"), which are more straight numbers, with a certain early Angel Dust-vibe; "Solitude" slows down considerably, but retains the technical edge. Then the album returns to the speedy formula, this time even with more aggression involved: the blasting ball of fury "Can't Complain". It remains fast and intense until the end, finishing with a marvellous jolly rock'n roll joke "Souvenirs", featuring nice guitar melodic hooks. This gem boasts a crystal clear production and immaculate musicianship; it's a pity bands like that disappeared after just one effort.

Climate Change Full-Length, 1990


This outfit play dominantly classic thrash, but with a modernized, mechanical sound and more or less appropriate groovy insertions. The resulting blend is quite crushing its apocalyptic aura also enhanced by the very shouty, angry death metal vocal. "Vicio" is a cool Slayer-esque energizer, and "Medo" is another maddening headbanger with both hardcore and death metal touches. As a whole the dynamics is quite high the industrialized miasma dissipated at times by more original melodic touches ("Eu Năo Aguento Mais").

Do Ceu Ao Inferno Full-Length, 2016


Based on the full-length, this act plays intnse, one-dimensional thrashcore which develops in a samey up-tempo for most of the time, except for a few very surprising lyrical, acoustis sections which, albeit pretty misplaced, serve as a nice interlude from the otherwise unmemorable bash, topped by quarrelsome punky vocals which don't miss the opportunity to show their more melodic side on the aforementioned calmer moments.

Dos Cuernos Full-length, 2008
Destructor EP, 2011

My Space


Based on the EP: a decent mix of modern and classic thrash/death metal, which is fast and ripping for most of the time, accompanied by forceful death metal vocals, and a few heavier, pounding sections with a touch of late-80's Slayer ("Falso Poder"). Some of the guys are also members of the thrash metal outfit Agony.

Day of the Dead EP, 2005
Satanico Dramatico Full-length, 2011

Official Site


Ariel Martinez- the singer who sang in Kataklysm in an early incarnation of that band, is responsible for the ultra-brutal guttural vocals here, which top heavy groovy death/thrash metal of the early Six Feet Under type, with more frequent faster passages, some of them pure hyper-blasts.

Diabholico Demo, 2011

Official Site


Based on "Icaros": this band plays modern thrash/death metal with borrowings from the progressive power metal scene. The mixture works, and the concentration is more on the progressive side, when the compositions get really interesting, sounding not too far from Nevermore, or Chaoswave (the excellent dark "Light Of The End"), despite their losing some of their thrash metal appeal. The singer is not bad, coming as a cross between James Hetfield and Chris Holmes, maybe lower-tuned than both; he does a fairly good job on the nice balad "Chagrin". The problem is that there are clean vocals, which are hardly necessary. The other thing which might annoy is that the band has forgotten about the pure more aggressive thrashy numbers, which on their early efforts have always taken a considerable part, and there are not too many of them around ("Hammer" comes to mind, but that's about all) being replaced by less interesting groovy numbers ("Through Difficulties To Defeat"). The closing "Into the Sea" is a cool more complex thrasher with gothic overtones which is another testimony that the band has taken a new direction, away from their earlier more direct thrash/death metal approach.
"Silver Horizon" is a return to more aggressive territories, but don't expect anything beyond the melo-thrash/death approach of the Gothenburg hordes. "The Serpent Holder" is a nice merry-go-round speedster "The Serpent Holder", but things aren't too speedy elsewhere although the acquired mellow epic tendencies in the 2nd half aren't bad at all regardless of their non-thrashy nature. Clean vocals have been sneaked in now, and their symbiosis with the staple harsh ones is quite listenable.

Elegance In Black Full-length, 2000
Renaissance Full-length, 2002
Eternium Full-length, 2004
Mimic47 Full-length, 2006
Icaros Full-length, 2008
Silver Horizon FullLength, 2015

Official Site


The title of this EP already suggests a lot; this is a side project of two members of the Brazilian thrashers Farscape. The music is not miles away from the Farscape's Germanic thrash-worship: it's more aggressive and will remind you of early Kreator and Sodom's "Persecution Mania", with a touch of death metal. The band plays fast and aggressively, with only "Nuclear Beast" being a deviation from the pattern moving towards a stomping heavy sound ala Celtic Frost; a great track, by the way.

"March To Calvary" is more controlled, now Celtic Frost even a bigger influence, with Abomination a very close call as well, except on a couple of hardcore-ish outbursts ("I Just Wanto To Get High", "Piss on the Holy Ghost") and the odd proto-death-laced deviation ("Prisoner of Wickedness"). The final "March to Calvary" is a nice melodic addition mixing the carefree spirit of Motorhead with the more experimental arrangements of "Into the Pandemonium". The vocalist is a dead ringer for Tom G. Warrior, maybe a bit higher-pitched.

Old School Attack EP, 2003
March To Calvary Full-length, 2009

My Space


Modern thrashcore of the heavy mid-paced variety which can become faster-paced on occasion ("Bateman-Syndrom") and generally the approahc is not stale and tedious, but moves around recalling at times Pro-Pain, at others Madball, among other heroes. For a demo the sound is really clear boosting both the guitars and the expressive shouty singer whose quarrelsome antics fit the angry character of the music.

Diabolic Heritage Demo, 2011

Official Site


Based on "Synergy", this formation provide quite cool thrash/death metal with obvious leanings towards the Gothenburg school, but the guys here have a nice sense of technicality which goes well with the prevalent speedy riff-patterns, and they manage to create one of the better examples of the sub-genre in the new millennium. The shadow of At the Gates can be felt as well as the one of Carcass' monumental "Heartwork" the guys shredding with the utmost intensity at times producing admirable blends of speed and technicality: "Human Control", "The Passenger", finishing this death/thrashy fiesta with the slightly underwhelming "Haven" which may be a reference to their compatriots Dark Tranquillty title-wise, but in terms of execution this is strictly for Opeth lovers, a dreamy semi-balladic composition which somewhat betrays the technical speedy crescendos encountered earlier. The vocalist is very close to the hysterical rendings of Jeff Walker (Carcass) serving them with a bit more attached, also lower-pitched, way.
Welcome to "The Gallery of Bleeding Art"! The retro thrash/deathsters haven't forgotten how to produce mighy fiery riffs and this effort is a sure testament for that. The fast blizkrtieg numbers (the raging "Pavor Nocturnus") aptly alternate with heavier more seriously-plotted compositions ("Vertigo") bordering on the progressive and the technical, especially on the jumpy unpredictable "The One Who Bleeds". "Extinction" is a particularly macabre number its middle occupied by a theme recalling the introduction to Destruction's "Curse the Gods" wrapped by ambient keyboard-suported atmosphere. "Religionism" also shows more technical prowess with its twisted blend of sharp riffage and breath-taking melodies before the closing 10.5-min opus "Ashes IV" shows a very ambitious side of the band's repertoire this time taking a more individual direction losing the Opeth references to an extent. It works well maybe losing focus here and there, but is by all means worth exploring on future releases.
"A Thousand Deaths" is an exemplary work of the Swedish thrash/death metal movement, a riff-fest of the highest order blending technicality and melody to a really impressive effect. The guys thrash with no remorse putting to shame most of the practitioners of this massive sub-genre both at home and abroad. With At the Gates already gone by that time, this outfit looked like their most worthy successors raising the level up due to the numerous unobtrusive technical nuances. One would find it really hard to sit still on compulsive moshers like "Dead Angel's Choir" and "Until The Day Arrives", both short explosive cuts served with style to spare. "Under My Skin" is a more elaborate piece, the composition "Heartwork" mysteriously left behind. "An Opposite Law" is the relative break with its more restrained stomping rhythms before "Demonic" bursts in a cavalcade of fiery blitzkrieg riffs the latter coming under control on the closing "Profane Murder" which is a longer progressive cut of the pensive type, a bit underwhelming, but captivating nonetheless. The band took a long break instead of capitalizing on their masterful command of the style which was head and shoulders above most of the At the Gates "wannabes" roaming the scene at the time.
"Neogenesis" would be quite a surprise for the band fans since it shows a turn in direction towards more complex, progressive "cosmic" death metal (not much thrash here) with flashes of brutal tehcnicality and an omnipresence of blast-beats at every seeming opportunity. The vocals now are very brutal and guttural, and the longer compositions are quite reminiscent of The Project Hate served with a pinch of industrial. This is by all means a suprise, but not a very pleasant one, at least to these ears who expected a further elaboration on their already fairly effective style.

Deserts Of Desolation EP, 2000
Synergy Full-length, 2001
A Thousand Deaths Full-length, 2002
The Gallery of Bleeding Art Full-Length, 2008
Neogenesis Full-Length, 2013

Official Site


Based on the "The Death Sentence" demo, these guys offer old school thrash along the lines of early Venom and Destructor. The music is laid-back, seldom bites with power, and the most aggressive thing is probably the vicious semi-death metal vocals. When the guys give up thrashing with speed, at which they are not good at all, they manage to produce nice mid-paced epic tracks ("Day of the Antichrist") in the spirit of mid-period Bathory and their compatriots Destroyer 666. The rest is raw primitive thrash with no many musical merits, trying to emulate the sloppy production qualities of the early 80's attempts at more extreme music.
The "Surrounded by Evil" EP is "graced" by another sloppy production, if not even sloppier, with the delivery moving up the aggression scale a bit this time, to introduce more speed, but all be prepared to cry on the 3-min soporific, balladic cut "Fathomless Dungeon". Otherwise, the band lashes out pretty intensely (the furious piece "Surrounded by Evil") reaching a mid-period Razor-like aggression with ease. The closing "The Prophecies Of Doom" has nothing to do with doom, but is the fastest song, belonging more to the speed metal genre. The vocalist hasn't improved a lot not, singing in a distorted semi-declamatory manner, often ending up buried in the noisy background.

As Darkness Hits Demo, 2007
Hour of the Black Demons Demo, 2008
The Death Sentence Demo, 2008
Surrounded by Evil EP, 2010

My Space


Based on the "Hell on Earth" demo, these guys offer very brutal death metal with the odd thrash metal break. The music is quite fast and relentless throughout, and the singer is the ultimate low-tuner, an extreme grunter of the least comprehensible type. Reportedly on their earlier demos the band were more thrash metal-inclined, although this may be hard to beleive having in mind this vocalist. Both guys (there are only two people in the band) are also responsible for the doom/death metal formation Cemetary Visions with whom they have one full-length released.

Nocturnal Blood Bath Demo, 1997
Gloom of the Dead Demo, 1998
Hell on Earth Demo, 2001

Official Site


Based on "Inferno", these guys offer modern power/thrash reminiscent of Perzonal War and Entera which is both melodic and intense at various stages. "Grace of Creation" is a cool galloping energizer closely followed by "Clouds of Malice" which is sustained in a similar vein. "The Lion Gate" is a nice heavy semi-ballad, but the more aggressive thrashy delivery ("Fire Down Below") is just around the corner and stays till the end except for the slightly more restrained closer "Fire Down Below". The singer is a cool attached cleaner with a tember not far from the one of Hansi Kursch (Blind Guardian).

Ruins of Mankind Full-length, 2010
Inferno Full-length, 2013

Official Site


This formation come up with right as rain old school thrash which is not supported very well by the abrasive sound quality which makes the guitars sound too pounding at times and gives the leads a very screamy edge. Still, the guys thrash on unimpeded by the obstacles on the way, and tracks like "Parar El Tiempo" and the thrash/crossover delight "Tie Your Mother Down" are major headbangers, the latter a nice speedy version of the early Queen hit. The album loses steam in the 2nd half the approach becoming too mild and more power/thrash metal-based acquitted by the aforementioned "Tie Your Mother Down" which is the closer. The singer has a drunken tember which at its most inspired may remind you of Gerre (Tankard). Some of the band members are also involved in the heavy/power metal outfit Sonem.

Parar el Tiempo Full-Length, 2012

Official Site


This band play a rough, semi-amateurish brand of retro thrash which goes from short immediate bashers ("Sweetest Perfection") to more carefully constructed ("The Full Moon") pieces where the speed gets reduced considerably replaced by soothing semi-balladic rhythms. The variety is quite big throughout, but the musicianship isn't that great for one to stand with this recording till the end although "Picture of Ruin" is not a bad shredder with covert semi-technical tendencies, and "Foreshadowing" is a nice melo-thrasher ruuined by the gruff unrehearsed deathy vocals and the horrible production which at least favours the good bass performance.

Triteness of Dying Demo, 1991


Modern abrasive thrash which can be both fast and stomping hardcore saying its word more than now and then due to the short song-length and the outrageous slamming sections where the vocals shout to an apocalyptic effect. This is direct simplistic music which sounds like a rehearsal for a bit more coherent effort.

Detoxxx EP, 2011

Official Site


Based on the full-length: this is decent retro power/thrash metal with a muddy sound quality which on the best moments speeds up no worse than Horcas and even Lethal. Some duller modern elements can be heard, and the energy gets lost near the middle, on a short string of mellow power metal numbers, but this work scores way higher than the bland offerings from their more renowned compatriots from around the same time.
"Realidad Urbana" is an awful nu-metal "atrocity", a degrading mish-mash which should better be left unheard, having nothing to do with thrash.

Diagnostico Final EP, 1999
Involucion Full-length, 2001
Realidad Urbana Full-Length, 2006

Official Site


Based on the "Triumph Of Soul" demo, these guys pull out heavy semi-technical power/thrash recalling late-80's Metallica, spiced with a pinch of the 90's proto-groove in the beginning. The music is not bad, but the first couple of songs merge into one another being all of the pounding mid-paced crunchy type, and the demo takes off on "Live Or Die" in the middle which is a cool more dynamic epic thrasher ala Bifrost and Drifter. "Damnation" is a melodic power metal instrumental experimentation followed by the closing power/thrasher "Salvation" which is a bit faster offering cool melodic leads ala Iron Maiden.

Diamond Dust Demo, 2007
Triumph Of Soul Demo, 2010

Official Site


Based on the split, this band plays excellent old school thrash metal, fast and intense (the first two tracks), recalling Vio-Lence's "Eternal Nightmare". "Criminal Justice" is a nice, slower and more laid-back instrumental, and "At the Mountains of Madness" (hello, Lovecraft!) is a cool mix of very speedy raging riffs and stomping crushing ones.
"Generation Why?" will be a disappointment for the band's fans featuring mostly mid-paced tracks with casual speedy references, and although cutting thrashers like "Waste Of Life" provide the necessary enjoyment, the energy from the EP's is seldom felt, even a slight shade of modern metal can be felt here and there. The closing "Empire Tomorrow" is a more complex progressive cut lasting for nearly 9-min although again there are only heavy stomping riffs floating around without any more exciting deviations. The singer now sings in a subdued deathy manner, semi-shouting whenever appropriate, but suiting the minimalistic samey approach.
"Pulse" is another mish-mash of faster-paced numbers (the very promising, but highly misleading opener "Walking Backwards") and bland modern semi-ballads which are sadly the dominant tendency, and will make you so sleepy at some stage that your "pulse" may disappear. Few would be those to stay until the end which is a pleasant surprise (the only one here): a cool energetic cover of Whiplash's "Power Thrashing Death"; unfortunately, there's not much of a "power thrashing death" to be heard here...

Mountains Of Madness EP, 2008
Relativity EP, 2009
Generation Why? Full-length, 2011
Pulse Full-Length, 2013

My Space


Heavy dark thrash/death, more in the old school camp with heavy crushing guitars recalling the Brits Bolt Thrower, although often is the music melodic, with gothic overtones, and thrash metal is more widely covered, but is seldom of the faster headbanging variety. "Uncontrolled Hatered" starts thrashing, but in a controlled (pun intended) way, in the middle, but is cancelled by the following morose doomy "Eternal War", and the rest of the songs which only rarely reach the up-tempo.

Dianthus Demo, 2009

Official Site


The ridiculous band name hides pretty decently executed retro thrash with cool intelligent headbangers like "Wrath of the Goatsucker" and "Satanic Sperm from Hell" where some slower variations can be come across as well. The vocalist is a gruff semi-deathy/semi-shouty throat who occupies quite a bit of space.

Terminally Chill Full-Length, 2017


Based on the full-length, this act indulge in fairly intriguing progressive thrash combining technicality and aggression in a seamless manner on the opening "Ridiculous Impotence". The same combination is successfully achieved elsewhere as the stylish dissonant riffage on "In An Eternal Lament I Drown" greatly helps the proceedings recalling Vektor. The songs are lengthy virtuous exercises in musicianship which at times takes more sprawling, almost operatic proportions (the end of "Misery In The World"), at others some impetuous robotic headbanging ("Moreover Imagination") takes over to puzzle the listener who will by all means have fun with the more immediate material ("Cheers With My Destiny"). "Sick Bastard" is a "sick" cut of speedy more regular rhythms before the last two numbers, including the 8-min closer, the very appropriately-titled instrumental "Labyrinth", bring the delivery to its most abstract with brilliant fast-paced ethereal, riffy accumulations which are a wonder to listen to and make this album a sheer winner, and not only to thrash metal fans. The singer is a not very melodic semi-clean/semi-shouter, and his histrionics don't distract from the very engaging musical landscape. Some of the guys also play in another classic thrash metal formation, Executed.
The EP is a more aggressive and a more linear offering the band bashing with passion still filling the landscape with itnricate rifforamas as evident from the opening fast-paced title-track. "The End Of The Rules" is a less ordinary speed/thrasher, and it's "Cruelty" which brings the stylish intriguing shredding to the fore the latter reaching its culmination on the following "Remember The Past", a hectic piece with some passages played at the speed of light. Overall it's speed and intensity that rule here the more technical flourishes serving more as a background at this early stage, still making this effort a sure pick for fans of more serious, thought-out metal.

Destined to Suffer EP, 2013
Moreover Imagination Full-length, 2015

Official Site


This new outfit serve an extreme mixture of thrash, death, epic power, and black metal which embraces a wide gamut of moods and stylings, from ultra-brutal blasts to sprawling epic melodies. The songs are often lengthy with the word "progressive" coming to mind more than now and then includng several quite intriguing technical thrash sections ("Enola Gay, etc.). Still, this is a larger-than-life offering which will have a wide appeal despite being fairly overdone at times.

Ia Budu Zdes Jit Full-Length, 2013

Official Site


Die Happy was formed after the Vengeance Rising members (all except Roger Martinez) decided to explore other musical territories. The music is decidedly more melodic than the father band being power/thrash metal along the lines of Aftermath or Meliah Rage, plus a certain doze of groove and awkward, undesirable bluesy moments; not too bad, but would hardly make the Vengeance Rising fans happy.

Die Happy Full-length, 1992
Volume II Full-length, 1993
Intense Live Series Vol. 4 EP, 1999

Fan Site


These Swedes offer heavy old school black-ish thrash metal (see the band name: hello, Venom!) which comes as a more dynamic, but equally as twisted, version of the legends Hellhammer, or early Celtic Frost (no Venom here, sorry!). The guys sometimes speed up, and then they evoke another veteran from the 80's: the Canadians Slaughter. Heavy pounding riffs aplenty will one find here, but don't expect a very high level of musicianship.
"Nihilistic Vision" sees the guys speeding up well beyond the Hellhammer influences which here are almost nowhere to be heard producing much more dynamic compositions with clear speed/thrash pretensions (check out the spontaneous headbanger "Hidden Face", or the splashing speed/thrash delight "Nihilistic Vision"), strangely recalling the Venom period with Tony Dolan (1989-1992), as well as the early German school on the more speedy moments ("Mercenaries of Hell" which is sustained in the best tradition of early Angel Dust). Even cool melodic leads are present on at least half of the tracks. "Ride the Incubus" strays from the path moshing out in a less controlled proto-death manner, but "I Am Possessed" safely returns to the successful speed/thrashing formula with a few Swedish melo-death leanings. "Attack from the Back" is direct fast-paced thrash, and the final "Death Chasing the Flock of Mortals" doesn't betray the speedy approach of the album closing it in a flying fast-paced fashion. The gruff Tom G. Warrior-like vocals which fit perfectly on the older material, here are simply misplaced, and now the more invigorated delivery would benefit from a higher singer.
The "Mercenaries of Hell" EP is just two songs: "Mercenaries of Hell", already heard on the following full-length, and the cool faithful cover version of... come on, make your guesses here: Venom's "Die Hard", of course!
"Conjure the Legions" will "conjure the legions" from all parts of the world for the final battle which gets harder again with heads-down thrashers like "Masters Of Deceit" and the maddening proto-deathster "Antichrist" which blast-beats for a while like the end of the world is indeed coming very soon. The rest has this dirty Venom sound and is consequently not as aggressive the closing "Robe And Crown" even acquiring sombre doomy tendencise, but only to a positive effect (check out the very good melodic leads on this one).

Emissaries of the Reaper Demo, 2007
Evil Always Return EP, 2008
Mercenaries of Hell EP, 2009
Nihilistic Vision Full-length, 2009
Thrash Them All EP, 2010
Conjure the Legions Full-Length, 2012

Official Site


This British formation provide modern power/thrash which boasts quite cool attached vocals ala James Hetfield. The tempo doesn't change much throughout being mid-paced and not very adventurous hitting the doom metal registers ("One In The Chamber") at times. "v" is more than welcome near the end to pour some life into the recording being an energetic galloping speedster which matches the intensity of the opening "Dark World" the latter getting a radio edit at the end as a bonus material.

Elected Evil Full-Length, 2014


Modern Swedish thrash with heavy, but also melodic, guitars and brutal low-tuned death vocals; some groove can be caught ("The Waves of November Nights") as well shades of the Amon Amarth epic style ("Ravens Flied Upwards").
The full-length is an elaboration on the demo the band playing laid-back melodic thrash which exits the trite patterns with the more casual technical flair (the sterile mor ecomplex shreds on "To Die Proud"). "Ravens Flied Upwards" is a more intense headbanger, but the dominant character is mid-paced and more officiant also helped by the more intelligible this time vocals which are higher-pitched and do attempt some actual singing from time to time.

Demo Demo, 2009
Die Proud Full-Length, 2012


One of the many underground metal bands from Finland, Diecell plays modern-ish melodic thrash akin to Darcane and Mokoma with gothic shades ala Sentenced.

Thrashborne EP, 2006

Official Site


Intense moshing thrash/proto-death with a more complicated aura (the excellent atmospheric "Preposterous") at times. The lead guitar work is striking making cuts like "Differing From the Norm" a delight to listen to. "Diehard" is a standout speedster with technical tendencies, and "Mangled Emotions" is a mellow speed metal anthem still suitable to the overall tone of the effort. The vocals are rough death metal ones and are not on par with the much better music.

Preposterous Demo, 1990


These Brits pull out satisfying retro thrash with brutal death metal vocals. The band marches on alternating fast with slower tracks, throwing in the odd more complex, epic-tinged composition ("Tears Of Blood"). The 2nd half is more diverse and mellower, comprising the more speed metal-based cut "Bad Blood", which boasts a great lyrical semi-balladic ending; the heavy ballad "No Escape"; with sparce outbursts of energy (the short "rager" "Rage"). The closing "Where I Belong" is a lengthy doomy semi-ballad, which is hardly the most fitting epitaph to this varied, for better or worse, affair.

Tears of Blood Full-length, 2009

Official Site


Based on the full-length, this band provide modern thrash with post-thrash overtones, but there are sections where the heads will bang without any problem, and the guitars shred without too much mercy shown (the dark "Betrayed", the cool semi-technical speedster "Surfing The Apocalypse"). The 2nd half is mellower with mid-paced numbers following each other to a not very impressive effect despite the preserved sharp edge of the guitars and the presence of the good dramatic semi-clean vocals.

Dienamic EP, 2010
Surfing the Apocalypse Full-length, 2012

Official Site


These Mexican thrashers venture into the more progressive side of the genre which also comes with plenty of atmosphere ("Human of Sorrow") the latter partly ruined by the guttural death metal vocals. The guys find their stride on the dark galloper "Our Souls on Flesh", but expect more serious arrangements on the progressive "The Sound of Rain" (tasteful acoustic passages provided) as well as less restrained proto-deathy breaks ("Lyons Rise", the rigorous mosher "Sacrifice In the Slag").

The Faith Full-length, 2016

Official Site


Heavy, groovy modern thrash close to Pantera and Puncture: quite harsh, mostly mid-paced with shouted, bordering on death metal, vocals.

Torture Test Full-Length,2000


Based on "Anthems Of Violence", this band mixess tedious repetitive groovy post-thrash with forceful death metal vocals. The mixture is not completely bad, but the groove dominates leaving the more intense death metal material seeming like a "remnant" from the past where the guys had reportedly played brutal death metal.

Victimized Full-length, 2001
Anthems Of Violence Full-length, 2002

My Space


This is cool modern thrash metal with the obligatory amount of groove, but with also more edgy and even technical riffs, and nice clean vocals.

Thoughts And Dreams Demo, 2005

Official Site


The polyrhythmic bouncy chugs of Meshuggah are brought to the fore for the umpteenth time, decorated by more energetic thrashy strokes, and if we add a couple of stylish melodic leads, the picture is nearly complete not without the help of a passable "harsh vs. clean" vocal duel. Pensive balladic moments ("The Last Nail") contort the dry, mechanical "idyll", but there's no aggressive thrashing lost on the ripping progressiver "Pry Open Your Third Eye", and on the cool sterile headbanger "How Long Has Daddy Been Dead" which recalls the mid-period Annihilator exploits.

Tears Of The Lifeblood Full-Length, 2017


Based on "Vigyezz, Jon A Vadesz!", this band pulls out melodic modern power/post-thrash clinging more towards the groovy side, but there are a couple of more speedy numbers, as well as soft hard'n heavy "joys"; an uneven unpretentious effort as a whole, and clearly not aiming at the thrash metal audience only.
"A Het Vezer" is more aggressive, although it still remains in the power/post-thrash metal camp, but more than half of the songs are dynamic with touches of speed metal recalling the 80's American scene. The leads score really high providing addictive melodic lines. "Demokracia" is an explosive retro thrasher, and generally the tendency is more towards the classic school. "Szabadnak Lenni" is another "lightning", but is more melodic with a crossover flavour. The singer doesn't shine, but his hoarse semi-clean punk-ish delivery lifts up the mood.
The self-titled compilation reflects on the band's earlier period, and is a collection of unpretentious optimistic power/semi-thrashers which develop in a predictable mid-pace with the odd more energetic crossover touch. This is very feelgood stuff with not many merits to the thrash metal movement.

Animal Metal Full-length, 1991
Bun bunhod Full-length, 1993
Bunkvagy ! Full-length, 1994
M Full-length, 1994
Ne a csode1t Full-length, 1998
Diktator Best of/Compilation, 2004
Vigyzz, Jn A Vade1sz! Full-length, 2005
Hrom Kir1lyok Full-length, 2007
A Ht Vezr Full-length, 2009

Official Site


Based on "Baltai", this band plays modernized thrashcore with heavy abrasive guitar work which tries to stay fast for most of the time, albeit with an obvious effort put. Still, pieces like "Kilt" and "Velniop" are brisk headbangers with a crossover shade, although their number is less than the one of the heavy groovers.

Zeme Full-Length, 2003
Baltai Full-Length, 2004


Based on the full-length debut, this band provide playful modern post-thrash with stoner influences, but don't shy away from it immediately since the faster cuts ("Sticks & Stones") are just around the corner, and the heavy riffage isn't that bad. The singer is an attached semi-shouter who acquires gruffer tones here and there to match the seismic values of the musical delivery.
"White Lion" is exactly in the same vein sounding more doomy and stonery with not much to relate it even to the post-thrashy field now except for the more intense delivery on "...and Anxiety for All" which is stomping mid-pacer with harder guitars; and the exiting headbanging section on "From Aesthetics to Ethics" which isn't a very well deserved revitalizer on this sleeper.

The Pill To Swallow EP, 2007
Taste of the Upper Class Full-length, 2012
White Lion Full-Length, 2014

Official Site


This young formation provide a decent blend of modern and classic power/thrash which doesn't possess any speedy highligts, but prefers to do the damage in a more quiet, mid-paced way. The groove rules on the longer material where some good progressive attempts ("The Blind Man Fucked Up The World") are ruined by the unimaginative song-writing. The vocalist doesn't do a very good job, either, shouting hysterically at times even on the mellower balladic sections ("Soong 5").

Killing Guide Full-Length, 2016

Official Site


This band plays excellent dark power/thrash metal with doomy overtones, with very heavy crushing riffs and good forceful emotional clean vocals; a sparce, but quite appropriate, participation of very cool mid-ranged female ones can be heard as well. The music seldom leaves the mid-pace, but the guitars twist and turn bringing the sound close to progressive, in a way not dissimilar to the last Hexenhaus album, their compatriots Pathos, and Nevermore; on the few mellower passages another Swedish act may come to mind: Evergrey. This will be no paradise for the headbangers since there are no fast moments except on a few isolated sections mostly used as finishing touches ("The Other Place" contains a very short furious black metal blasting passage), and the balladic interludes are inevitable, especially on the colossal 11-min opus "As The Light Is Fading". Still "Something Not Sunlight" is the only number staying more on a doom metal ground also offering a fine balladic moment where the singer helps a lot with his tember quite close to Dave Gahan (Depeche Mode). The guys are also involved in the thrash metal act Paincraze (also reviewed here).

The Release of Me Full-length, 2007

Official Site


Based on "Reaping The World Winds": industrial/gothic/thrash/power metal; a very ambitious project which doesn't sound like anything else; maybe the avantgarde metallers Arcturus with a pinch of thrash would be still a distant reference point. The music ranges from fast, blast-beat numbers to epic power/gothic metal ones and everything in-between.
"Does The Pain Excite You?" is an even better work than the debut which preserves the thrash and industrial elements, but leaves almost everything else aside introducing a darker metal sound ala Samael's "Passage" as an additional touch.
"This Mechanical World" is another "mechanical" affair from the band whose sterile rifforamas know a more intense side like the short headbanger "Cry Havok", or the cool optimistic speedster "TechnoGoat". The rest is too deeply buried in those heavy, unmelodic chugs which would delight more the Die Krupps, Swamp Terrorists, and Front Line Assembly fans, including on the mroe engaging doomy progressiver "Those Who Make Things Work".

A Presentation of Armageddon EP, 2002
Reaping The World Winds Full-length, 2003
Does The Pain Excite You? Full-length, 2007
This Mechanical World Full-Length, 2016

Official Site


One of the stalwarts of the melodic Swedish thrash/death metal sub-genre, these guys are one of its most distinguished representatives. The music bears no surprises for those well familiar with the style, as the guys do not betray their true to the genre approach, so don't expect any deviations ala Dark Tranquillity ("Projector") or In Flames- this is basic, unadulterated modern thrash/death metal.

Penetrations from the Lost World EP, 1997
Silent Night Fever Full-length, 2002
This is Hell Full-length, 2003
He Who Shall Not Bleed Full-length, 2007

My Space


Raw primal thrash with abrasive guitars and unrehearsed shouty death metal vocals; The band keep a heavy mid-paced instrumentalism throughout the latter wearing thin very quickly due to its repetitive character and the regular descends to doom and sludge. It completely lacks variation and intensity with all songs merging into one another.

Devastando Ilusoes Full-Length, 2013

Official Site


Heavy mid-tempo thrash of the modern type, calling to mind 90's Flotsam & Jetsam and Metallica's Black Album at times.

Affliction Full-length, 1996

My Space


Dynamic post-thrash mixed with hardcore and a few merrier moments which are both crossover and metalcore-tinged. The riffage becomes kind of intriguing at times and the melodic licks are not totally inappropriate, albeit too contrasting to the unpleasant shouty death metal vocals. This is a jumpy affair which would hardly please the die-hard fans of the style, but those who favour the more modern trends will find quite a bit to like here.

La Ley Del Poder Full-Length, 2012

Official Site


Based on the full-length, these folks pull out quite cool technical/progressive thrash/death which, among the opulent use of dissonant chords, contains some very clever technical arrangements which start befuddling the listener from the very opener "Are They Cannibals?", a short "tornado" of hectic rhythms and unexpected time-changes. "Dying Foretold" is the next in line organized chaos, both more brutal and more meditative; and "Institutional Gears" is the definitive hallucinogenia with its distorted guitars and oblivious, psychedelic motifs recalling Gorguts' "Obscura". "Xenolith" goes over the top in this trend with its nearly 9-min of dissonant doomy, overlapping progressions, and before it is considered a major pullback, arrives "That Cold Moment" to cause you a headache with the constanly changing riff-patterns and moods, again more on the oblivious side. The psychedelia becomes quite hard to swallow again on "Malfunctioning Gears", but "Bound in Stone" shreds with might and wil bring a lot of smiles on the thrash and death metal fan's face for just over 3-min. The final "Odd Feats Are Bid and Won" offers a digestion of what was heard before closing this superior effort with the last portion of puzzling, ultra-technical performance which also touches Atheist on the most hectic, frantic moments. This is a fairly pleasant surprise seeing a new rising star on the circuit giving the thrash/death metal hybrid a hefty technical/progressive twist.
The EP is already a pretty complicated listen the opening "Trophy Wives Under the Influence" being a hallucinogenic chaotic headbanger at its least comprehensive; and "Architect" being a sure leftover from Martyr's "Feeding the Abscess" with its weird, quirky rhythmic patterns and jumpy dissonant Voivod-ish decisions. "Revlev" is a stylish shredding/semi-operatic all-instrumental affair, and "Degradation Suite" is an offbeat ambient doomster. "Ghastly Maneuvering" is more moderate technical thrash lashing with a quiet ambient exit; and the closer "Burnt Orange" is another abstract Voivod-esque robotic thrasher with oddball melodic tunes and hectic, constantly-shifting riffs this eventful saga finished with a very nice lead-driven passage. With this short effort the band have already shown that they're one of the true auteurs on the scene at present, and the very strong full-length which followed suit 2 years later should be no surpsise whatsoever.

Creepmoon EP, 2012
Psychogenic Atrophy Full-Length, 2014

Official Site


A young Chinese trio who specialize in classic speed/thrash with melodic guitar harmonies recalling the British heroes Iron Maiden. The approach is melodic, and the overall approach recalls the US underground legends Holy Terror, with the same penchant for soaring speed metal antics, some of which are purely instrumental ("Stimulant"). The musicianship is on a decent level, but the guys don't take themselves too seriously at this stage, as evident from some of the song-titles ("Hit the Road", "Miss P Do Dirty", etc.). The singer has a clean high-strung voice, but he misses the mark more than just now and then, not using his wider range to a good effect, singing in a mid-ranged nasal fashion with awkward adherences to the higher registers.
The demo, as the title suggests, is a tribute to the early British scene and as such doesn't contain much thrash being more oriented towards power/speed metal. Still, this remains cool stuff with numerous infectious melodies, and a stylish choice for a cover version, of the obscure NWOBHM act Crucifixion ("On the Run"), done in a light-hearted, carefree manner (probably faithful to the original?), the even dispassionate performance of the vocalist being the only minor drawback.

Metal Weld Full-length, 2010
Underground NWOBHM Bands Demo, 2010


Based on the 1st demo, this is good classic thrash reminiscent of the Germans Darkness with nice guitar work brought to its culmination on the excellent instrumental closer "Life Is For The Living"; that same track was voted the best Portuguese metal track by the readers of the Rock Power Magazine. The same year the band was also nominated in 5 other categories: best band, best drummer, best singer, best demo, and best bass player: a really good start to what should have been a successful career.
The last demo stays true to the classic sound, thrashing intensely although the melodic guitar hooks are here again, culminating on the cool semi-ballad "I Dont Mind (Bad Feelings)". "The Blues" at the end is, like the title says, an attempt at blues, done well, but lasting for just 1-min.

Demo Demo, 1991
Promo Tape Demo, 1992
K7 Promotion of the 7 Ep Demo, 1993

My Space


Based on the band debut, this is fast, hardcore-ish thrash with brutal, almost grindcore elements and longer semi-industrial tracks with strange surreal riffs, and occasionally very twisted raspy vocals (on these, longer tracks) which could make Burzum sound like a children show's host. A very mixed bag, would not appeal to the average thrash metal fan.

Advenimiento De Lo Inevitable Full-length, 2000
A Medio Camino De Ur EP, 2001
Cervix Inferno Full-length, 2003
Morfologia Del Desastre EP, 2003

Fan Site


Intense rough thrashcore which still sounds quite retro for the time, the guys moshing with gusto without breaking any sound barriers. "Nazis Muertos" is a fast dynamic piece, and "El Ultimo Viaje" is a slower, pounding track with friendly overtones. The singer is a typical punky semi-reciter, but gets the job done without pouring a lot of emotion.

Una Vez Muertos Demo, 1991


This 3-song demo offers a classic blend of thrash and death metal with a strong technical edge not too far from Suffocation and Morbid Angel. So this is mostly death metal stuff spiced with more laid-back thrashy breaks which work well alongside the raging blast-beating sections.

Happy Birthdead Demo, 2008

Official Site


Based on the "Torn" single, this band offers modern post-thrash of the soft variety: think a more aggressive Helmet with shades of both hardcore and stoner; cool throaty semi-angry vocals, though, and a few nice dynamic sections on "Melting". Some of the musicians also play much more brutal stuff in the brutal death metal/drindcore "freaks" Are You God?.

A Good Moonza/A Better Moonza Demo, 1995
FKDDD EP, 1999
Torn Single, 2002


Playful melodic death/power/thrash which becomes more intense on occasion ("Gluttonous") with nice epic tunes also "roaming" around ("Song of the Sea"). "Hell's Gates" is a cool invigorating galloper raising the energy level which is also retained on the bouncy "Blood Mountain", and especially on the raging melo-deathster "One with Me" the rending hysterical death metal vocals reaching impossible chord-tearing parametres.

Dipped Or Die Full-Length, 2017


Based on the demo, this act provide intense classic thrash with gruff deathy vocals. "Absence Exist" is a cool short speedster, but "Inner Destruction" is in the other extreme being a pensive power/doomster with heavy crushing riffs.

Face to Face Demo, 1991
Total Trance Effect EP, 2008



This outfit orref modern thrash with gruff deathy vocals. The tempos are vivid and brisk and the lead guitar work is not bad at all. "Hellish Intensity" indeed tris to bring some steam-roller intensity with a death metal engine, and manages to heighten the dynamics which is always here, by the way.: check out "Blighted Torture" or the short semi-technical ripper "The Sense in Violence". More sweeping speediness on "Underground" the latter kind of missing from the long encompassing closer "Bane and Reverence" which tries to jump on the progressive wagon and featires some of the best leads to come out of Australia of the new millennium. Some of the band members also have a side-project, the thrash metal outfit Blackened.

Direblaze Full-Length, 2015

Official Site


Good thrash/crossover which nicely stays more on the thrashy side most of the time managing to sound quite fast and intense at times ("Superficial"), at times heavy and stomping ("Dirge"), and occasionally even technical ("Bug Bite").

Soulstorm Full-length, 1988
Fleshcrawler EP, 1990


Based on "There Will Be Blood", this act specializes in dynamic modern thrash with both crossover and alternative shades. The approach is laid-back with a few cool melodic insertions and pretty good lead guitar work. Otherwise the delivery is not very original, the guitars move in mid-pace supported by a sparce more aggressive deathy sections ("There Will Be Blood") here and there. The vocals are of the angry shouty type, sometimes semi-clean, sometimes more brutal with a death metal flavour. At the end the Entombed fans will be delighted to hear a groovy/stoner cover of the Swedes' "Wolverine Blues".

Force Fed Lies Full-length, 2009
Dirge Within EP, 2010
There Will Be Blood Full-length, 2012

Official Site


This is vintage Germanic thrash metal in the vein of Destruction, Darkness and Necronomicon with black metal vocals; at times you might find them annoying especially when they go for the higher tones. The guys thrash with full force from the beginning also adding more aggression ala "Pleasure to Kill" at times. The music is fairly fast and relentles, and the singer "croaks" quite scarily, also attempting the odd screechy shout here and there. After 8 explosive tracks comes the break in the form of "Vestigios De Guerra" which is a calm heavy/power metal anthem, and the intensity is gradually restored offering first vintage 80's speed metal ala early Helloween on "Dirges", before "Morir O Matar" smashes everything in its way with merciless brutal riffage. More moderate speed/thrash comes with the final "Cruzada De Muerte" which includes a few nice melodic tunes among the fast-paced rhythms. To these ears this effort recalls another one released under the name "After the Devastation" (which is actually the English translation of the album reviewed here) in 2006 by the same band (?) which surprisingly is missing from their discography (!); could there be two acts with the same name from the same country playing very similar music?! Some of the guys have also released an album the same year with the classic heavy metal act Runner Hell.
"Altares De Sacrificio" is in a similar vein speed/thrashing confidently in the good old Germanic way with more intense, almost proto-death laced, pieces coming on board ("Gorgona"). The tempo seldom goes down, and the guitar work is really good all over, both in the lead and riff department (check out "Campos De Guerra" for both, or the ultimate thrashfest "Triunfo Macabro"). "Luto Eterno" is the only deviation into purer speed metal, but run for cover right after that since "Atrapados En El Fuego" is raging thrash to the bone which will leave you exhausted with barely 4-min of play. The closer "Sacrificio" is just a minor flaw being a laid-back power/thrash metal number in a doomy brooding pace not really matching the vicious husky vocals which are an otherwise good fit for the rest of the music.

Despues de la Devastacion Full-Length, 2006
Altares De Sacrificio Full-length, 2010

Official Site


Based on the "Stripped Down" EP, these guys offer nice retro Bay-Area thrash ala Testament and Exodus, with vicious semi-clean vocals and brisk sharp riffs. The songs are cool mixtures of fast (mostly) and slower sections. Those same musicians had operated under another name at the same time: Soundstorm, and had reportedly recorded a 5-track demo of stylish technical thrash.

Stripped Down EP, 1994
Dirt Church EP, 1996

My Space


A pretty average speed/thrash metal band with just a few good moments from the full-length debut, recalling bands from the Bay Area scene. However, kudos should be paid to the guys for the original, lengthy album/song titles.

I want to be a President/Fire Extinguisher Executioner EP, 1988
It's Amazing How Stupid Some People Can Sometimes Be Full-length, 1988


despite the presence of the guitar guru Tomohiro Hagi (Manipulated Slaves, Spellbound) this is nothing than a modern twist on the power/thrash metal genre with a relevant addition of some post-thrashisms. The guitar sound is too abrasive at times, and other elements come introduced later to overpack this effort with influences, more or less appropriate. The singer is suitable to the wide musical amalgam with his inebriate semi-clean mid-ranged voice.

Unconscious Violent Behavior Full-Length, 2012

Official Site


Based on "Sorrow And Perdition", this is a good band playing aggressive vicious thrash similar to the Italians Necrodeath and their compatriots Usurper. The vocals also have the same black-ish blend; excellent, but very short (only six songs). "Personal Path", which appeared almost ten years later, has changed the course a bit into still fast and intense thrash, but there's nothing even remotely semi-technical here, and some hardcore has sneaked into the sound. This is by all means good stuff again, and the guys thrash with power and conviction most of the time, providing the listener with awesome numbers ("Survive", "Every Second", the latter coming with superb melodic guitars). The second half softens a bit containing shorter and less hard-hitting songs, some of them sheer exercises in hardcore.
"Down in Disgrace" is mostly pure hardcore, with few "remnants" from their thrashy past; at least half of the songs aren't fast, but mid-paced to slow-ish, and the guitar work is very simplistic recalling early Prong and Sick of It All on the more intense moments.
The EP appears after a long hiatus, but there's no change of approach the guys too enamored with their hardcore antics which continue on full-throttle here, crossing fast-paced scorchers ("Shortsighted And Dumb") with more laid-back mid-tempo stompers ("Abused Animals"; watch out for the speedy exit on this one).

Sorrow And Perdition Full-length, 1989
Personal Path Full-length, 1998
Down in Disgrace Full-length, 2002
Remains EP, 2015

Official Site


A 4-song demo of good retro speed/thrash, not far from the eponymous Forbidden debut, with vocals also recalling the Americans; the sound quality is very clear, and the music delivers in all aspects boasting nice fast-paced riffs and stylish bass decorations. Both the more straight-forward ("Mystery Of God", "Metal Kombat") and the more complex ("Disaffection") compositions are handled with professionalism and confidence; there is a lot of talent at display here. Hopefully the inertia will not be lost in wait for an interested label...
"Begin the Revolution" bears the same title as the demo from three years before, so music-wise there are no surprises: this is well-executed retro Bay-Area thrash with all the four songs from the demo included, and they carry the bigger load here since the rest sounds more restrained and not as speedy even clinging towards power metal ("Mortuary Man") at times. The expectations for this album were bigger based on the high quality music displayed on the demo, but fans of the good old school thrash should not be disappointed.

Begin The Revolution Demo, 2007
Begin the Revolution Full-Length, 2010

Official Site


A 2-song demo of fast, energetic thrash sounding quite close to the Pestilence debut with occasional more intense proto-death parts.

After the Dead Demo, 1988


Based on "In the Face of the Enemy", this band carries the groovy heritage of Pantera, mixing it with a certain doze of the southern doom style of, say, Corrosion of Conformity (think "Blind", above all), or Down. This is really heavy music, but has its cool thrashy moments. The vocals are the typical Phil Anselmo-like angry shouts, but more aggressive, and angrier.

Widespread Human Disaster EP, 1995
Bleed EP, 1996
Spreading the Death Plague EP, 1997
Lesson in Respect Full-length, 1999
In the Face of the Enemy Full-length, 2002
Edge Of My Demise Full-length, 2007

Official Site


Based on the full-length: furious German old school thrash calling to mind all the "usual suspects"- Kreator, Sodom, Destruction, etc; might sound derivative, but is done with enthusiasm and taste. The guys start thrashing from the get-go with the vigorous instrumental headbanger "Almas Negras", seldom slowing down later on grabbing the speed metal movement for the throat as well: "Violencia Natural". "Thrash Metal" is the hymn of the new thrash metal generation, although it loses the "battle" with the faster and more intense "Perversion" which follows after, and with the sweeping mosher at the end "Morbosidad", a speed/thrashfest at its most shining best.
The promo rehearsal is another 3 tracks of the good old German thrash, fast enjoyable music probably the closest to early Destruction ("Infernal Overkill") of the aforementioned acts with lashing biting guitars and not very intelligible forced death metal vocals.
"Pestilencia" would be another no-brainer for the classic thrash lovers startign with the ambitious energizer "Fosa Com\'fan" which is 7-min of non-stop thrashing mosh. The guys mix "thrash and alcohol" on the following "Thrash y Alcohol" which is another ripper. "Holocausto Infernal" is a great tribute to early Destruction, a composition worthy of "Infernal Overkill" on any day. The other material is equally as vicious and intense making this act one of the hottest propositions from South America at the moment. The album comes with a very clear sound quality which gives a particularly sharp edge to the lashing guitars, and the singer this time delivers the whole time with his mean semi-shouty tember not far from the one of Schmier with a heightened death metal-ish note at times.

Criaturas del Mal Full-length, 2006
Promo Rehearsal Demo, 2009
Pestilencia Full-Length, 2012

Official Site


Classic sing-along speed/thrash with echoes from the 90's and sincere references to power metal ("Demential World") and a final result closer to speed/power metal the combination becoming even more diverse with the addition of wild blast-beats on "Burning Alive". Nevertheless, this remains soft mellow stuff the aggression mostly coming from the vocals which semi-shout in a drunken black/deathy way. So this effort is hardly an "attack" let alone a "blasphemy" one.

Blasphemy Attack Full-Length, 2013

Official Site


Aggressive bashing thrash/proto-death reminiscent of mid-period Sepultura, Demolition Hammer and Massacra; this is organized, polished brutality which will hammer you also thanks to very prominent bass participation. The title-track is kind of a sloucher trying something jumpy and funky, but "Liar" is a really smashing closer with a more stylish, semi-technical vibe. The vocals are acceptable mid-ranged and semi-clean, but the muddy sound quality smites them in the background too often.

He Is Thirsty! Demo, 1994

My Space


Pretty cool dark retro thrash metal quite close to the Brits Deathwish and the Infernal Majesty debut on the more intense sections. The approach has interesting, albeit undeveloped, progressive and technical qualities which could have taken a more complete shape on a prospective full-length. Otherwise the songs are capable blends of fast and slow rhythms, with "Story" and the final "Heavy Metal" (well deserving its title) being the odd digressions into more laid-back heavy/power metal the latter just an instrumental "deprived of" the gruff semi-death metal vocals which could have ruined it quite a bit.

The Way of Disaster Demo, 1994


This unknown Bulgarian act play good Bay-Area thrash along the lines of Testament and Exodus, at least in the beginning. The music rips with passion on the opening energizer "Disaster Area", but right after it the situation becomes more technical and not as speedy with the clever "Wonderland". The bad news is that after those two promising pieces the guys start mixing things up too much later on by adding modern groove and even classic heavy/power metal. "Time to respect" is a direct nod to the Black Album, a hypnotic heavy cut, which finds a match in the 2nd half on a few rhythms from some songs, but the diversity is too big there for one to enjoy this mish-mash fully. The vocalist is gruff with a comprehensive semi-clean tember trying to sound like Chuck Billy, but fails to achieve the American's emotional depth and dramatism.

Life, Universe & Everything Full-Length, 1993

Official Site


Based on the "Angelic Patience" demo, this act serve rough bashing retro thrash which still has its more intriguing, semi-technical side ("The Tale of Madeleine"; the delightful lead sections on "Conscious of Guilt"); but elsewhere the guys mosh without much sophistication the rough delivery aggravated by the very throaty shouty death metal vocals.

Future of Tomorrow Demo, 1989
Angelic Patience Demo, 1991
Promo Tape Demo, 1992


Vigorous thrash/crossover boldly bordering on hardcore with shouty quarrelsome vocals and direct simplistic guitars, and with a fairly original stop from the melee, the all-instrumental piece "21st Century Schizoid", a funky/jazzy extravaganza which completely abandons the no-bars-held approach, and branches out into a nearly virtuosos display of hectic, jumpy progressive. The two cuts that follow suit pick on those more complex tendencies, and "The Vigilante" is a frolic, more technical roller-coaster with wild leads and a few quirky decisions; with "Lord Of The Flies" reaching loftier dimensions with interesting melodic hooks, near Shrapnel-like virtuosity, and spacey speedy arrangements. A contrasting, but definitely worth hearing effort that serves quite a few stylish moments for then more serious side of the fanbase.

Eat This You Bastard! Demo, 1988


Based on the full-length, this band provide varied modern thrash/post-thrash which comes served with a not very overt abrasive hardcore-ish flair. The intial inertia gained gets lost in the middle "thanks" to a string of mild balladic compositions which which obviously "court" Opeth where good clean female vocals help the main, also female, shouty aggro-throat. "The Abyss" is an explosive surprise near the end leading the intense short shredder "Day of Zero" after it. The final "The Isle of the Dead" is back to the melancholic tone of the middle and could pass for the highlight with its morose gothic leanings.

Sacrifice to Eclipse EP, 2007
Mirroring the Abyss Full-length, 2014

Official Site


An Italian trio who pull out retro roller-coaster thrash with sharp lashing guitars and cool clean semi-shouty vocals. The guys aim at some progressiveness ("Looking for Immortality") which retouches the more vigorous delivery from the shorter numbers the latter by all means ruling the proceedings here this fine short effort finished by the technical meanderer "Terror In Dreamland", a sheer promise for better thinbgs to come.

Terror in Dreamland EP, 2015

Official Site


Modern thrash/death metal with a lot of groove present on the first demo, and a much better musicianship on the second one, albeit with a certain metalcore feeling.

Demo 2004 Demo, 2004
Bury the Sun Demo, 2006

Official Site


This act has one constant member, the name Billy Frazer, and specialize in abrasive modern groovy thrash/death not miles away from later-period Massacra if we exclude several impulsive temptations at a faster performance ("Your Choice"). The lead guitarist shows his consummate sklls on the short instrumental "The Anointing", but there are no other highlights on this playful effort which wil also remind you of the fist two Six Feet Under albums with its laid-back frolic approach.

Revive And Rebuke EP, 1998
To Praise With Persecution Full-length, 2007

My Space


The debut EP contains an energetic mix of modern and classic thrash with a very strong bass-bottom and technical guitar work, and very brutal death metal vocals which sometimes unpleasantly screech. Apart from the straight up-tempo thrashing, more complex peaceful arrangements can be caught ("AK-47") as well as very cool "technicality-meets-melody" variations ("Nuke Face", which is a really nice turn to a more thoughtout song-writing). More clever riffage comes with the title-track which is more aggressive, but the hectic delivery, involving death metal blasts for a while as well, and the constant time changes will keep you quite concentrated. "Angels' Inferno" is another pleasant surprise, a 10-min progressive opus blending fairly complex passages, slower sections, virtuoso lead performance, and more intense death metal moments. This is quite a stylish and original effort that could serve as a solid base for a full-length, and these guys have no reasons to worry that they would get lost in the sea of technical acts coming from their homeland.
"Casualties of War" is a masterful display of the guys' technical skills which will require quite a concentration on the side of the listener since the compositions are varied affairs, two of which are gigantic, over 10-min, opuses. The tile-track already promises a lot opening the album with a seamless blend of brutal, relentless and complex, head-scratching riffs. "Silent Genocide" is even more engaging and elaborate thrashing in a carefree manner as well at some stage with steel galloping riffs accompanied by fine soulful leads. "Shadow Demons" is a symphony of progressive thrash/death, a dramatic puzzling composition with loads of various nuances and moods. The complexity eventually goes down a bit for a string of shorter, less elaborate tracks, "R.C.M.P." even blasting out for a while in an eclectic offbeat manner, before the coming of the two monstrous songs at the end: the instrumental "Les Tenebres" which is more melodic and more diverse emitting plenty of addictive melodic tunes; and "Solitary Confinement" which is faster and more intense with sharper and more dynamic guitars mixing nicely with the several surreal progressive sections. The singer is a brutal low-tuner, and a few higher-pitched growls would have been appropriate. Regardless, this is a first-rate offering which would shine even on an over-saturated technical scene as the one in their motherland.
The "Epitaph" EP is three songs among which "Epitaph of a Fallen Wall" is an overblown very melodic progressive death metal melodrama. The other cuts are way more lively "Stalingrad" being peppered with spasmodic blast-beats, and "Bolshevik" finally reminding of the technical prowess of the full-length with a portion of hectic frenetic technical crescendos. As a whole this is a more orthodox affair the band concentrating on the mellower side of their repertoire, taking a break from all complexities and infernal intricacies.

Siege of Darkness EP, 2007
Casualties of War Full-length, 2011
Epitaph EP, 2016

Official Site


Pretty capable entry into the retro speed/thrash metal genre; very cool energetic music which begins with the macabre orchestral intro "An Analogy Of Terror", followed by the merciless thrasher "Reign Of Violence", its bridled fury replaced by a more technical galloping approach on the excellent "Shattered" which will remind you of Attacker's "Second Coming" and the Anthrax debut. "The Right To Be" switches back to full-on thrash, but the real revelation is the last "Grave Of Memories", a fine balladic piece with great leads and dark heavy guitars where even the unemotional low-tuned semi-clean singer produces a more attached performance ably assisted by a slight keyboard background. Later in the 90's the guys became more famous under the name Big Iron where they had to adapt to the modern trends playing goovy heavy/power metal with no shades of thrash, and also released one demo as Gravity of more intense 90's post-thrash.

Disciple Demo, 1989


One of the most enduring and best Canadian thrash metal bands; they began their career in the late-80's with a very good debut of energetic, semi-technical speed/thrash metal with hardcore tendencies. Having waited patiently for three years to see where the winds of change would blow, the band hammered down an exquisite technical thrash/death metal release, "Ominous Prophecy", one of the best albums of the 90's. The music on this shattering masterpiece was heavy, not very fast, with serpentine technical riffs which change all the time without sounding awkward or misplaced. "Invincible Enemy" was another very impressive work, but the style became even more complex and harder to grasp.

Another three-year pause followed before the band struck with "Mechanikill": this is music for a really restricted group of fans simply because there wouldn't be many people out there who would appreciate this very complex and technical album. If you think that the guys have reached the absolute top of technical death/thrash, wait till you hear their last offering which is for sure the final stop on the road to "madness"; "In Dust We Trust" isn't too distant from the previous album, but the music has become even more mechanical and clinical. In spite of the increased level of complexity on thi last opus, Disciples Of Power are still able to pull out really brilliant headbanging thrashy riffs whenever necessary; a proof that they remember very well where they had started quite a few years ago.

Powertrap Full-length, 1989
Ominous Prophecy Full-length, 1992
Invincible Enemy Full-length, 1993
Mechanikill Full-length, 1996
In Dust We Trust Full-length, 2002

Vibrations of Doom


Based on "Wasted in Hollywood", this gang specialize in frolic modern thrash/post-thrash which suddenly branches out in cool retro speed/proto-thrash ala early Venom ("Perfect Norm") which becomes a precursor to some really intense headbangers like the hardcore-ish title-track. In the 2nd half the delivery gets too soft the band playing more on the heavy metal side the cool clean singer providing a good background for the latter.

Revolution EP, 2011
One of a Kind EP, 2012
Wasted in Hollywood Full-length, 2014

Official Site


Modern thrash deeply immersed in the Irish musical folklore. The folk motifs bring the band close to Bifrost, but here the approach is not as diverse the band moving onward with not very eventful mid-paced riffs. The singer is a brutal low-tuned death metal growler who doesn't quite fit the mellower musical background.

101 Damnations Demo, 2003


A more twisted, intricate take on the good old thrashcore is served here with the compulsory nod to the so fashionable at the time djent, but this is a fairly intriguing listen with quite a few turns throughout. Another interesting thing is the lack of any fast-paced passages, the guys revolve around hectic mid-paced tempos to a head-spinning effect which may get tiresome at some stage since there are no speedy deviations not even for a split second. The singer shouts in a rending fashion the whole time, but his histrionics are the perfect match to the sterile musical landscape.

Sanity Decays Full-Length, 2015


Your average modern power/thrash metal with dual vocals, not very aggressive, clinging more towards the power metal side. Members of this band do a much better job in the progressive death metal outfit Frozen, with whom they have two full-lengths released; and the guitarist Alex Baldman was once a member of the talented thrash metal act Blistered Earth.

Absent Of Light Full-length, 2007

My Space


Modern thrash/death metal with dry mechanical guitars, still thrashing wildly ("All That Inside") on demand, but the groove and the metalcore leanings are all here, accompanied by dispassionate semi-shouty vocals and the obligatory clean vocal insertions.

Fluctuations Of Consciousness Full-Length, 2008


Based on "5th Wave, Endless", this band plays interesting, albeit overdone, semi-technical/semi-progressive thrash with both classic and modern influences. "Empowering From Chaos" is a weird opener which begins in a very soft heavy metal fashion before it turns into a potent technical thrash crescendo with many twists and turns, including a few excellent melodic guitar duels ala Iron Maiden. The diversity is pretty big again on the next "After" which is milder and not as hectic. "Your Venom Through My Veins" calms down even more, and later on the mixture of aggressive, even proto-death metal, riffs and more quiet heavy/power metal ones hasn't been brought about as well the switches being too sudden with touches of Swedish death as well, and an awkward transition in the vocal department, too, between clean mid-ranged and semi-shrieky death metal ones. "1000 Scars (By Time)" hits the top at the end being a 10-min progressive opus in the power/thrash metal mould, not very fast, but containing enough clever riffage to pull it through. As a whole there's a constant movement from one style to another here, for better or worse, which kind of detracts the guys from showing their best trying to expand as much as possible to a not very coherent effect. Some of the musicians are also part of the brutal death metal outfit C.L.G.

5th Wave, Endless Full-length, 2005
A Circular Decade in Motion Full-length, 2008

Official Site


One of the Polish underground metal gurus of recent years Tomasz "Hal" Halicki comes up with excellent atmospheric thrash/death metal which is quite melodic to a good effect, without speeding up too much. This is intriguing stuff, with edgy guitars, nice leads, a few interesting technical decisions ("The Game"), and a few capable nods to the Gothenburg school ("Alternative Emotions", which contains several brutal blasting moments; "Unconscious", which is prime melo-thrash/death metal with addictive melodic hooks).

Alternative Emotions Demo, 2001

Official Site


3 guys are responsible for this violent chaotic mix of thrash and grindcore which isn't completely unlistenable, by the way, finding a good balance between the blast-beating sections and the direct thrashy/hardcore ones. The songs, however, are seldom longer than 1-min so don't expect any idea to develop beyond the spontaneous vigorous outburst assisted by apocalyptic devilish semi-shouts.

Greed Humanity Demo, 2008

My Space


An act who play aggressive speedy thrashcore, one-dimensional and pretty basic with very brutal death growling vocals.

Diseptic / Wormrot Split, 2008

My Space


Heavy abrasive black/thrash metal with strong crusty overtones; the music moves around with more aggressive proto-death moments ("Make Your Grave") jumping up at the most appropriate times. The guys play at respectable speed adding the odd stomping break before branching out into merry crossover on the final "Doomsday". The guitars become really noisy at times, and the singer is a brutal death metal growler contrasting a bit to the more laid-back musical delivery.
The demo comes with a very buzzy guitar sound to the point of annoyance at times, but the listener will have no problems distinguishing one-dimensional crusty hardcore-ish thrash with two covers at the end: Anti Cimex's "When The Innocent Die", and Amebix's "Chain Reaction", both done pretty faithfully with the surreal leads on the Amebix song well executed.

Long Live the New Flesh Demo 2007
Disflesh/Slugfeast Split, 2009

Official Site


Based on the 2nd demo, this outfit serve brutal raw thrash/death trying to emulate the aggressive standards set by their compatriots Sepultura and Sarcofago. This isn't total bash, though, and at times the music makes sense also recalling early Messiah. Needless to say, the sound quality is really messy, and the singer rends his throat in a deafening death metal fashion.

Co de Guarda Demo, 1989
Demo 2 Demo, 1989


Based on "Superhuman Dome", this act offers modern 90's post-thrash with an alternative edge, more on the noisy side of the spectre with industrial implements. The music acquires certain doom shades at times ("The Earth Silence", "Dome") of the playful semi-stoner type, and this is where the sound gets clearer and less noisy.

Debts of God EP, 1991
Grey Misery Full-length, 1992
Vacuum Horror, Horror Vacuum EP, 1994
Superhuman Dome Full-length, 1996
If You're Looking for Trouble Full-length, 1998
Turku Full-length, 2001
Born Tired Full-length, 2004

Official Site


Based on the "Torture to Death" demo, this act offers three tracks of aggressive Slayer-esque thrash with abrasive hardcore vocals.

Torture to Death Demo, 1987
Break Confusion Demo, 1987


Energetic speed/thrash coming from these obscure Turks who entertain themselves with merry simplistic music, more on the melodic side, with cool attached semi-clean vocals. The more straight-forward character of the first couple of tracks has been replaced by more relaxed heavy/power metal rhythms later on, but the guitar mastery goes a few levels up at the same time, especially the stylish melodic leads on a few purely instrumental pieces. The vocals return near the end for the intense speedster "Judgement Day", a really attractive piece with ripping guitars, strong bass support and memorable choruses. This should have been the end, though, since the last string of songs is another laid-back melodic portion of heavy rock without too many thrash merits. Still, this is varied feelgood effort which at its most inspired moments even touches the legends Cultus' (also from Turkey) debut. Some of the band members gave themselves another chance in the new millennium with the thrash/death metal formation Metafor which unfortunately only lasted for one solitary demo released in 2004.

Discrazy Demo, 1993


The debut: a mix of classic and modern thrash metal reminiscent of another Brazilian band- Executer, but more modern-sounding and not as good.
"The Final Sentence" is a cool effort with a strong death metal edge includiing in the guttural brutal, death metal vocals. The band mosh without mercy with remorseless cuts like "Condemned Humanity" and the more technical exercise "The Gran Circ