The Thrash Metal Guide

\ The Thrash Metal Guide

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

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

D.A.M.N. (GERMANY)

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

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

D.B.C. (CANADA)

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

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

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

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

Atma Full-Length, 1992

D.F.A. (CANADA)

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

Defy False Authority Full-length, 2003

D.F.C. (BRAZIL)

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

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

D.H. (BRAZIL)

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

Human Deformation Full-length, 1994

D.I.V. (RUSSIA)

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

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

D.K.R. (BRAZIL)

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

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

D.R.I. (USA)

The kings of crossover/thrash; the band has been an enormous influence on the genre, with almost every second thrash/crossover band readily borrowing from them. Their first efforts were punk/hardcore mixtures, and it was with "Crossover" when they wrote the rules of the genre, although to talk about thrash metal there would be a bit farfetched. "4 Of A Kind" followed a similar pattern, but with "Thrash Zone", like the title suggests, their music took a decidedly more thrashy direction, and most of the time the sound on this one was all-out thrash with longer tracks, sharper riffs and slower heavier compositions. Crossover delights are certainly thrown in later on, but at that point the guys have already entered too deep into the "thrash zone", with no signs of getting out soon.
A 3-year break followed, which was good in consideration with the swiftly changing tastes during the early-90's and a time for the band to look around and make "amendments", but "Definition" was another take on the good old classic sound, with more nods to thrash again, with nothing of the old speed and energy being lost, except for the light balladic tendencies on "Say It", and the pleasant crossover closer "Let It Go".
"Full Speed Ahead" doesn't justify its title quite well, since at least half of the songs are mid-paced at best ("Dead Meat" is almost doom metal), but nonetheless offers stripped-down thrash/crossover, now sounding more towards the hardcore spectre on the shorter and faster tracks, seeing the guys going back to their roots at a time when almost every 80's act was trying to adjust their sound to the demands of the 90's. Well, it was hardly time for thrash/crossover, especially in the very barren 1995, and the band split-up soon after that. The release of a couple of Best Of Compilations and the "Dirty Rotten Power" EP, containing 3 songs from "Full Speed Ahead", in the new millennium are apparently signs that the guys are planning to come back.

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

D.T.H. (CHILE)

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

Vomito Social Demo, 1988
Multitudes Demo, 1989

D-GRADE (HOLLAND)

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

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

D-OZZ (RUSSIA)

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

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

DAARGESIN (GERMANY)

Based on the self-titled debut, these guys play heavy abrasive thrash which tries to give a fair share to both the classic and the modern sound. The guitars are predominantly heavy in mid-tempo with sparce faster moments which are actually the classic "trace" in the band's approach. The riffs weigh, but the delivery is too one-dimensional, and more dynamics could have lifted up the music which is supported by gruff semi-clean metal 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

DAEMON (DENMARK)

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

Eye For An Eye Full-length, 2002

DAEMONIUS (SWEDEN)

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

Daemonius Demo, 1992

DAEMOS (USA)

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

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

DAEVAS (GERMANY)

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

The First Arrival... Demo, 2004

DAGOBA (FRANCE)

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

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

DAGON (USA)

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

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

DAGOTH (USA)

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

Tone Zone Sessions Full-length, 1990

DAIJ (RUSSIA)

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

Vynoven Tem, Chto Zhiv Full-length, 1996

DAMAGE (FINLAND)

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

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

Vibrations of Doom

DAMAGED CORPSE (BELGIUM)

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

False Reality, True Profit Demo, 1989

DAMARILL (AUSTRALIA)

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

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

DAMIEN (SWEDEN)

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

Requiem for the Dead EP, 1988

DAMIEN BREED (USA)

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

Ave Satani Full-length, 1994

DAMIEN THORNE (USA)

The band's debut is a competent, quite good for its time power/speed/thrash metal effort. It starts with the forceful up-tempo power/thrasher "The Sign of the Jackal", before "Fear of the Dark" 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 fifteen 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 track, but "Claudia Night" is vintage speed metal, with a heavy doom-laden twist in the middle. However, the classic heavy metal sound stays around for "Raise Your Horns", which pulls the more experimental and varied second part down. "Enter The Nightmare" is a satisfying closer, though, sounding quite similar to the opening song, scoring high, making this effort one of the better comeback releases of recent years.

The Sign Of The Jackal Full-length, 1986
Former Life EP, 1998
Wrath Of Darkness Full-length, 2001
Haunted Mind Full-length, 2005

DAMMERCIDE (ITALY)

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

Link Full-length, 2000

DAMNABILITY (USA)

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

Demo Demo, 1990

DAMNAGE (USA)

Based on the "Harsh Reality" demo, this band still sound pretty classic: this is cool heavy, mostly mid-paced thrash reminiscent of the Brits Xentrix, or 90's Sacrifice in the faster sections. The guitar work is simplistic, but has its hooks, plus really good leads.

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

DAMNAKLEEZ (USA)

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

Angel Of Evil Demo, 1986

DAMNAS (UK)

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

Damnas EP, 2008

DAMNATION (CANADA)

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

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

DAMNATION ARMY (SWEDEN)

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

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

DAMNATORY (SWEDEN)

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

The Madness Never Ends Full-length, 1990

DAMNNATION (ISRAEL)

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

Mentally Trapped Full-Length, 2005

DAMNGOD (FINLAND)

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

Holy Terror EP, 2008

DAMZELL (JAPAN)

A really good mixture of power, speed and thrash metal; on "War Songs" the music is mostly speed/thrash, with great tempos, good soaring guitar lines, and very good high clean vocals; it's only on "Fist & Steel" where the band takes a break, and offers a nice semi-ballad with an epic feel. The good material presented here would definitely encourage the fans to track the debut down.

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

DANGER CROSS (GREECE)

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

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

DARCANE (FINLAND)

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

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

DARGOLF METZGORE (GERMANY)

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

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

DARK (CZECH)

Based on "Zyezn Gamballe & Mental World", this band plays ordinary, unimaginative modern 90's thrash with a strong melodic edge, often clinging towards the balladic type, sounding like a very poor version of The Black Album, or 90's Flotsam & Jetsam. At times the music takes a very aggressive edge: "Endless Envy", which sounds almost surreal on the bleak, listless landscape with its death metal riffs. No idea how the other works of the band sound like, but based on this one the guys richly deserve their underground status.
"Sex 'N' Death" sees the guys in a better and much more inspired shape, pulling out quite intense, but also technical Massacra-esque thrash/proto-death. Good, semi-technical stuff, which will also remind you of the later transformations of Messiah and Protector in the 90's. So expect fast-paced music, seldom very brutal ("The Focus Of Pus", "Sex Shop Of Dr. Fucktor"), with cool technical breaks, nice more melodic hooks, and low-tuned death metal vocals. The more technical moments go straight into Death territory ("Making My Blood Boil"), and generally the songs are nicely technically-decorated, with a couple of stylish leads present. Watch out for "Deadly Coitus": a fascinating mixture of raging very fast play and nice balladic breaks, plus the compelling opening technical riffs.
"Under The Bottom", having in mind the weak material offered on the predecessor, should be no surprise with its boring repetitive riffs trying now to shift from the thrashy patterns into a very unconvincing mix of gothic and 90's groovy post-thrash which clings towards doom too much, and is consequently mid-paced at best. Nothing really worth checking out, except perhaps for the interesting attempt at an alternative ballad at the end "I and My Puppet" which at least sounds offbeat.

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

DARK ABBEY (SWEDEN)

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

Blasphemy Demo, 1990

DARK AGE (CHILE)

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

Psychotic Side Full-length, 1999

DARK ALADAS (SPAIN)

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

Muestra Los Dientes Full-Length, 2007

DARK ANGEL (USA)

Legends of thrash metal; their first two efforts are classic thrash at its best, with the second one putting the genre on a new, more aggressive and brutal level, along with Slayer's "Reign In Blood", setting the standards for hundreds of other bands to follow. "Leave Scars" was a move towards a more complex song-writing, without giving up completely the more brutal roots, and the funal result was somewhat unfocused and not as appealing. Two years later the transition was complete, and "Time Does Not Heal" was a truly classy achievement with its very heavy, technical and complex delivery. A grandiose album which was far from an immediate listen, it was a big influence on the modern technical thrash metal movement which developed further into the 90's.

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

DARK ARENA (USA)

This band is a side project of two members of the progressive thrash 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 an enormous 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 guitarsit stealing the show for the upteenth time. The end is a true revelation: intense galloping speed/thrash with fine progressive passages in the beginning, plus the closing one which is a great abstract Coroner-esque lick. Although the guys have come with a really strong material here a certain feeling remains that they still have quite a few ideas up their sleeve which would hopefully find a fuller realization on future releases.

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

DARK AWAKE (SPAIN)

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

Ragnarok Full-length, 1999

DARK BLACK (USA)

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

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

DARK CREATION (GERMANY)

Based on the "In the Name of Torment", 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

DARK DREAM (GERMANY)

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

Behind Dead Eyes Full-length, 2007

DARK DECEPTION (USA)

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

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

DARK EMPIRE (USA)

The band debut (not reviewed here), is a cool slab of proressively-laced power/speed metal- a sound typical for the other two acts where the singer Jens Carlsson (Persuader, Savage Circus) displayed his vocal talents. On this work the guys have hardened the sound, adding a certain doze of thrash metal into the power/speed proceedings, and the final mix is worth checking out. The music comes as a more aggressive, and more technical, version of Savage Circus, and really takes off on the faster compositions ("Salvation Denied", "Humanity Dethroned"). The "Prelude" in the middle is a very interesting instrumental of technical power/thrash metal followed by the superb heavy progressive thrash monster "Haunted". More speed comes to bang the head that doesn't bang, on the furious "Possessed (We Are One)", fully compensated on the closing "Closure" (is this not a very appropriately chosen title?!): a peaceful balladic composition; not bad, but hardly the best option to finish such a fast-paced energetic effort.

Humanity Dethroned Full-length, 2008

DARK INTENTIONS (HOLLAND)

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

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

DARK ISLAND (ITALY)

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

Killing Inside Demo, 2007

DARK LEGION (CANADA)

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

Psychosis Demo, 1986

DARK LEGIONS (SWEDEN)

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

Satänic Deströyer Full-length, 2006

DARK MASTER (CHILE)

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

Undead Slaughter Demo, 1989

DARK MIND (SPAIN)

A 3-song demo of heavy mid-paced thrash of the classic variety, rich on atmopshere; 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 ocasional death-ish growl.

Fire at the Ardennes Demo, 2008

DARK MIRROR (USA)

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

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

DARK MIST (PORTUGAL)

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

Behind a Black Curtain Demo, 1995

DARK MORDOR (SLOVAKIA)

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

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

DARK MYTH (USA)

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

...And Darkness Shall Follow Demo, 1993

DARK NATION (USA)

A thrash/death metal hybrid of the classic variety sounding close to the early Swedish attempts in the genre (Dismember, Entombed, Merciless, early Cemetary); the music favours death metal more although the vocals are too screechy for the style rending in a higher-pitched, almost hysterical, way to a not very positive effect. The guitat 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 very song.

War on the Church Full-length, 2002

DARK ORDER (AUSTRALIA)

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

5000 Years Of Violence Full-length, 1998
The Violence Continuum Full-length, 2002

DARKANE (SWEDEN)

Darkane was formed by two members of the technical death/thrashers Agretator, after that band's demise. The music is not too far from the one of the previous band, being technical and experimental at times, maybe a bit Gothenburg-influenced and less intense: a really good band, one of the leaders of the Swedish metal scene nowadays. "Rusted Angel" is a sure-handed debut where the band prefers to lash more directly with faster and more accessible songs, although their bigger skills are more than obvious on more complex numbers like "Rusted Angel" and "Frenetic Visions". The music is almost pure thrash, 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 and industrialized vocals. "Psychic Pain" is a superb fast technical/progressive thrasher with echoing hardly audible vocals which at that point have completely given up competing with the much better music which here reaches the top. Relatively straight headbanging thrash awaits you on the next "The Perverted Beast" and the bashing speedy "Distress", which contains the only blasts on the album, and in the 2nd half this song develops in a cool death metal fashion. "Inauspicious Coming" is a nice combination of fast smashing sections and slower progressive ones bordering on power/thrash. "Pile of Hate" elaborates on that same mixture, turning into a fine progressive piece, a maze-y complex riff-fest with constantly changing fast and slower tempos, the former at times being quite technical.
"Expanding Senses" continues the technical tendencies from its predecessor, with the guitar work (the leads especially) being almost as good, but is hardly superior, reducing the intensity and the speed in the process, which results in the inclusion of quite melodic, gothic-tinged numbers: "Violence From Within", "Chaos Vs. Order", which are fortunately compensated by the short, thrashy outbursts ("The Fear Of Oneself", "Fatal Impact").
"Layers of Lies" is probably the band's most aggressive offering, with more frequent nods to death metal, and more intense riffage. As a result we have several speed/thrashy explosions ("Godforsaken Universe", "Decadent Messiah"), as well as impressive, also quite fast, technical tracks ("The Creation Insane"), topped by fine melodic hooks and orchestral, keyboard-laced sections, quite well entwined with the twisting guitars.
"Demonic Art" begins with the impressive 1.5-min "orchestral vs. leads" intro, after which the guys start thrashing without any further ado, with the intense direct "Leaving Existence". "Demonic Art" retains the aggression, by adding some technical "decorations". "Absolution" slows down, but the following "Execution" lashes with no mercy once again, putting the technical performance a level up as well, offering great twisted technical guitars. The semi-clean vocals, which the band started to use on the preceding album, here are more accentuated on, but are far from the alternative blend of the numerous clean ones used nowadays. "Impetious Constant Chaos" rages on: an impeccable fast-paced technical thrasher, leaving a room for a slower progressive section. "Demigod" is a heavy pounding track, with great lead guitar work and hammering riffs. Then the speedy thrashing begins, quite furious on "Soul Survivor" and "Still in Progress", and more controlled on "The Killing of I". The bonus track "Wrath Connection" is an exemplary technical piece with fast-paced guitars, fine lead performance and a very cool pounding heavy closing section, finishing this nice release with style.

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

DARKDAYRISING (HOLLAND)

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

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

DARKEND FATE (USA)

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

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

DARKER HALF (AUSTRALIA)

A good power/thrash metal band with a capable singer who sounds not too far from Rob Halford himself at times; the sound favours power metal a bit more, except on the last track "Holocaust" which thrashes in quite an aggressive manner aggravated by rougher vocals.
"Duality" is a much more aggressive offering, thrashing bravely, adding the odd melodic death metal element. The music is still on the more melodic side, with very good solos and cool melodic riffage (check out "Duality"). "Stranded" is a very nice heavy semi-ballad, followed by the equally as melodic, progressively-tinged "Helpless". The thrashing continues afterwards, owing to 3 new songs, as well as the remastered version of the furious "Holocaust" from the EP, plus the intense headbanger at the end "Heads are Gonna Roll" (not many relations to the Judas Priest hit music or vocal-wise this time), on which I see quite a few heads rolling after the moshing.

Enough is Enough EP, 2006
Duality Full-Length, 2009

DARKEST DAYS (USA)

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

Noone Knows Full-Length, 2009

DARKFALL (AUSTRIA)

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

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

DARKHAT (GERMANY)

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

Demo Demo, 1990

DARKKAM (SPAIN)

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

Raíces de la Noche Full-length, 2007

DARKLAND (GERMANY)

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

Violent World Demo, 1989

DARKLIN REACH (USA)

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

Where Evil Dwells Full-length, 1992

DARKNESS (CHILE)

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

Demo I Demo, 1989

DARKNESS (COLOMBIA)

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

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

DARKNESS (GERMANY)

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

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

DARKNESS (ITALY)

Based on the "Unholy Sacrifice" demo, 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 regular basis.

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

DARKNESS (MEXICO)

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

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

DARKNESS DYNAMITE (FRANCE)

Based on "The Astonishing Fury Of Mankind", this band offers modern thrash with elements of metalcore; melodic stuff, mostly mid-paced with gruff semi-shouted vocals. The several sharp moments are dissipated by soft metalcore breaks, including two pure balladic instrumentals, where the singer tries to give a more melodic blend to his style, and those moments may remind you of the last few Misery Loves Co. efforts, which are the closest soundalike. "Dare I Say" is a good dynamic thrasher, which comes near the end to bang the sleeping heads...

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

DARKOLOGY (USA)

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

Altered Reflections Full-length, 2009

DARKPHASE (TURKEY)

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

Waining Moon, Setting Sun Full-length, 1994

DARKSHINES (SERBIA)

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

Where Full-length, 2005

DARKWAY (BRAZIL)

Based on the "Court of Iron" demo, these guys offer modern thrash/death metal in a fast energetic tempo, with a few nods to Slayer where the sounds 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

DASHBOARD (MEXICO)

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

1900 Full-length, 1992

DAUNTLESS (FINLAND)

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

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

DAVIDIAN (GERMANY)

Both the band's name and the music will take you into a Machine Head's direction, and that's the right one. These guys have apparently been fascinated by "Burn My Eyes", and follow its pattern very closely. Having in mind that present-day Machine Head are far from the high standards of their early works (except for "The Blackening", of course), Davidian are perfectly acceptable to fill in the gap. Fans of the aforementioned band and Pantera will rejoice.
"Hear Their Cries" arrives after a long 5-year pause, and shows the guys embracing the retro thrash 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 heads-down thrash attack, again coming with more aggressive proto-death moments: the excellent intense "Little Man". Things remain quite interesting till the end, with the nice semi-technical headbanger "Empty Gold", and the heavy thrashing closer "Shadow". With the quality material on offer here, it would be better if the guys remind of themselves on more frequent terms for the future.

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

DAWN OF CONFUSION (JAPAN)

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

Sleepers Awake Demo, 2005

DAWN OF DEFIANCE (URUGUAY)

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

The Obscure Awakening Full-length, 2005

DAWN OF ORION (USA)

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

For the Lust of Prophecies Undone Full-length, 1999

DAWN OF RETRIBUTION (AUSTRALIA)

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

The Plan To End Humanity Full-length, 2010

DAWN OF TIME (SWEDEN)

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

A Force Of One Single, 2000

DAYCORE (COLOMBIA)

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

The Beginning Of Purgatory Full-length, 2008

DAYS OF GRACE (GERMANY)

Modern groovy thrash with shouted, hardcore vocals mixed with cleaner ones; the music recalls the more melodic period of Machine Head.

Painter Full-Length,2007

DAYS OF LOSS (AUSTRIA)

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

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

DAYSEND (AUSTRALIA)

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

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

DD (THAILAND)

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

Khon La Khua Full-Length, 2009

DE LIRIUM'S ORDER (FINLAND)

This band offers a wide variety of styles: gothic, black, doom/death and thrash. The music is mostly heavy, slow-ish and the thrash riffs are of the modern type, typical for the Scandinavian scene of recent years. "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 I've heard in a while: 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.

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

DEAD & BLOATED (USA)

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

You Don't Full-length, 1992

DEAD AWAKEN (SWEDEN)

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

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

DEAD CHILD (USA)

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

Dead Child EP, 2007
Attack Full-length, 2008

DEAD CHRIST CULT (UKRAINE)

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

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

DEAD CLAW (JAPAN)

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

Bombed and Blasted Full-length, 1990

DEAD CLOWN INC. (GERMANY)

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

Clown Connected Demo, 2009

DEAD CONSPIRACY (USA)

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

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

DEAD EARTH POLITICS (USA)

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

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

DEAD END (SWEDEN)

Based on the "Infinite" demo, these guys offer pure classic thrash entertainment to those who were not very happy with the "turn of the screw" in the 90's. This is aggressive music, with a slight death metal edge, reminiscent of Torture's "Storm Alert" and Devastation's "Idolatry", with vocals sounding like a more vicious version of James Hetfield at times.

2 Minute Warning Demo, 1991
Infinite Demo, 1992

DEAD EVIL (POLAND)

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

Visions of Death Demo, 1991

DEAD GARDEN CULT (CROATIA)

Based on the Live, this act pulls out competent retro power/thrash metal with an American flavour well expressed on the galloping complex opener "The Plan of Faith" which later on becomes both calmer and faster in a nice Bay-Area fashion. "Four" is straight-ahead headbanging thrash, and "Anticipation" is not far behind despite the several more technical vortex riffs. "The Hive" is an ambitious progressive opus which acquires more modern tendencies, and slows down with heavy steam-roller riffs. "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 and a certain alternative pitch can be felt here and there.

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

DEAD HEAD (HOLLAND)

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

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

DEAD HEAD (RUSSIA)

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

Regressive by Default full-length, 2006

DEAD HORSE (USA)

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

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

DEAD IDEAS (SERBIA)

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

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

DEAD MAN'S HAND (NORWAY)

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

The Combination Full-length, 2009

DEAD ON (USA)

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

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

DEAD ORCHESTRA (USA)

Another "diamond" from the underground; this band's debut takes the aggression unleashed by Slayer's "Reign in Blood", Sepultura's "Beneath the Remains" and Merciless' debut even further without leaving the confines of thrash metal. Of course, the obligatory proto-death parts are here, and there is a certain presence of crossover aesthetics. This is extreme aggression all the way through, with not a single pause for a break. What distinguishes these guys from the listed above bands is that here you will come across genuine technical breaks as well as a very high quality lead guitar work: "Looking for the Answer" is a typical example of the more technical side of the band where shades of early Coroner could also be heard.
"Sounds Like Time Tastes" is a more controlled assault, with the aggression toned down for the sake of the technical guitar work which this time takes the upper hand (the leads remain of the same high level, if not even higher), and the crossover elements. As a result we have another very good album crossing technical thrash/death metal with crossover. This time the guys have even found time for two nice joke songs: "Praise, Hell, Fun" and "Cosmic Dinosaur".
It's always been interesting to me when a band chooses to have a self-titled album at a later stage from their career- a sign for a new direction taken? Well, this is exactly the case with Dead Orchestra: the guys resisted to the modern trends quite well in the beginning, but seven years later they have apparently grown wiser, and what we have here this time is pure 90's thrash, with all the groove and clean-rough vocal duels; the musicianship has degenerated considerably, and this is nothing more than an unimpressive blend of Machine Head (their mid, very weak, period) and Biohazard; spare yourselves the listen if you want to continue liking this band...

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

DEAD SHAPE FIGURE (FINLAND)

It's amazing how many quality thrash metal bands the Finnish metal scene hides from the eyes of the world. This band is one of the reasons why one has to dig deeper there to find more gems like this: very good thrash 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.

Tomorrow Changes Nothing EP, 2004

DEAD TO RIGHTS (CANADA)

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

Blind Hate Full-length, 2006
Cursed EP, 2008

DEAD TO THIS WORLD (NORWAY)

This band was founded by the famous Iscariah- the man who has taken part in numerous Norwegian black metal acts, and his good work has come to the attention of another cult figure: Killjoy, who recruited him for Necrophagia. This is excellent classic thrash with black metal vocals, steel riffs and great fast-paced, but never too brutal songs (except "Goatpower" and "To Free Death Upon Them", which introduce intense black metal sections). The overall style comes as a mixture of speedy German thrash (Kreator, above all) and heavy, slower parts in the vein of the Finns Barathrum. The album closer, on the other hand, is a total tribute to the Bathory's "Blood, Fire, Death" album, with an epic atmosphere and thrashy guitars- the highlight of this strong debut.

First Strike for Spiritual Renewance Full-length, 2007

DEAD TROOPER (NORWAY)

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

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

DEADBLOOD (MEXICO)

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

Satanic Bloody Drunken Thrash Full-length, 2008

DEADFALL (UK)

Based on the debut demo, these guys play quite decent retro thrash metal of the Bay-Area type, citing Metallica and Testament, above all; their compatriots from Xentrix are another very close call, although Deadfall's music is more diverse. The songs are long-ish, some of them carrying the technical edge of the works of the two aforementioned bands, one of which: "Second To None", is quite an interesting almost progressive piece, albeit with an overlong balladic middle section. There is an attempt at the proto-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

DEADLINE (FRANCE)

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

Capital Punishment Full-length, 1994

DEADLOCK (GERMANY)

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

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

DEADLY AGGRESSOR (USA)

Based on the 1988 demo, this is first-rate thrash metal with a strong technical edge, not very fast-paced, with amazing lead guitar work (check out the instrumental "Instro") and bass performance (check out any of the four songs). The music often changes tempos, but never gets too complex; and these guitars will leave you breathless... seriously). The style brings to mind Forbidden's "Twisted Into Form", but the guitar sound here is sharper.
The 1987 demo is much more straight-forward: 2 tracks of aggressive Slayer-influenced thrash, whereas the 1989 one retains some of the technical tendencies of its predecessor, but is slower, with a heavier sound, which even smells groove ("Reign of the Undead"), and is far less striking.

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

DEADLY BLESSING (USA)

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

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

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

DEADLY DARK (MEXICO)

Based on "Eternal Darkness": this band plays classic Floridian death metal, mixed with a certain doze of thrash. The guys stick to longer compositions (5-7min), but the approach is pretty straight-forward, never too fast, which is sad, since when the guys switch onto full speed, the results are close to the higher standards of the style: "Decay With Me", the excellent early Death-influenced "Carnivore Tribe". There are couple of pure thrashers as well: "Planet Hunter", the Slayer-esque "Snake Dream". "Witch's Hate" embraces the technical death metal idea for a while, but the aggressive riffage takes over, leaving room for heavier, doomy guitars on the closing short instrumental "Searching For Blood".
"Chaotic Omen" is much less striking being slower and less adventurous with stretches towards doom and a Bolt Thrower-like heaviness which do not serve their purpose simply because there's very little speed involved. "Eternal Darkness" is the same song which was later included (and also gave the title) in their "swansong" (the only pure thrasher "Planet Hunter" on this album is also featured there), and is the best track here with its attractive mix of heavy doomy and fast intense riffs.

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

DEADLY INTENTIONS (BELGIUM)

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

Disarming The Antagonist Demo, 1991

DEADLY MANOVER (CANADA)

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

Deathology Demo, 1987

DEADLY MOSH (SERBIA)

This is 4 tracks (the "Fuck Holy War" EP) of up-tempo retro speed/thrash, reminding me quite a bit of Whiplash's "Thrashback" and Destructor's "Forever in Leather" on the first 2 songs. After that "Fuck Holly War" shows more courage, blasting out for a while, and "Suck My Balls" is a brutal 1-min thrash/hardcore bomb.
"Deadly Pollution" is more aggressive, now full-blooded thrash, lashing out in a furious manner: "Fuck Holy War" again, in a way not too far from Dark Angel's Darkness Descends", or adding hardcore to a not less impressive effect: "Straight To Hell".
"The Blind Leads The Blind" is another 4 songs of classic speed/thrash offering no surprises to those who have heard the previous two efforts. Maybe a bit of Germanic thrash shows up on the speedster "Dealy Night". I believe the guys already have enough material for a full-length...

Fuck Holy War EP, 2008
Deadly Pollution EP, 2008
The Blind Leads The Blind EP, 2010

DEADLY SIN (USA)

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

Evil Attack/Screams and thunder EP, 1986

DEADMARSH (BELARUS)

Based on "To The Sky", this band plays good power/speed/thrash metal of the old school (think the early German school- Angel Dust, early Scanner), with progressive tendencies. The songs are long, and some are more speed/thrash (the awesome opener "Black Trap"), others: more progressive metal-based. Those progressive-based ones ("My Angel") are slower, and kind of lose the thrash metal idea, although some of them are quite hard-hitting, and are actually cool exercises in smashing slower technical thrash. "Sherwood Forest" is a fine laid-back power metal instrumental, before "To The Sky" speeds up again, also recalling the 90's power/speed metal scene. Another smashing speed/thrasher awaits you later on: "The Soul Release", giving way to the balladic lead-driven outro "One-Day Sorrow".

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

DEADNIGHT (USA)

Excellent retro 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

DEADSEA (USA)

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

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

DEADSPOT (USA)

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

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

Vibrations of Doom

DEADWITCH (PORTUGAL)

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

Demo Tape Demo, 1990
Demo Tape 2 Demo, 1992

DEAF BLIND DUMB (GERMANY)

Behind this silly band name hides an uneven mix of modern melodic thrash and death, 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, as well as the faster moments (check out the closing min of "Traitor" and the blasting section on "Represst"), which could be increased in the future.

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

DEAF INDIANS (GERMANY)

Having in mind the year of release, it comes as no surprise that these guys play your average groovy power/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 could find something to like here...

Deaf Indians Full-length, 1994

DEAFAID (SWEDEN)

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

The Payment EP, 1999
Inhale Full-length, 2000

DEAFEN (HOLLAND)

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

Deafen EP, 1991

DEAL WITH IT (USA)

Good thrash/crossover in the spirit of late period D.R.I. and Excel, with a good thrashy attitude, also recalling the more thrashy works of Suicidal Tendencies, and various tempos; to these ears the slower material is more appealing, being a cool deviation into more thought-out song-writing, and 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, but his delivery suits the carefree, punk-ish atmosphere.

End Time Prophecies Full-Length, 2008

DEARLY BEHEADED (UK)

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

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

DEATH & TAXES (USA)

Based on the debut denmo, 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 complauined if the whole piece had been sustained in the same vein, since the delivery is nice, but the guys' thrashy heart takes the upper hand later on, and the exiting section is another portion of more intense speed/thrash. The singer is pretty unrehearsed semi-singing in a throaty drunken way except, of course, on the balladic passage where he miraculously manages to pull himself together quite a bit for a more attached cleaner delivery. The band continued flourishing through the 90's releasing a string of 3 full-legths, but the style there is miles away from the raw music from their early years, being a modern avantgarde take on progressive metal with almost no ties to thrash.

Violence Begats Violence Demo, 1990
Bent Mental Demo, 1991

DEATH'S BOUNDARIES (AUSTRALIA)

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

Divide and Conquer EP, 2002

DEATH'S HEAD (AUSTRALIA)

A nazi thrash band from Australia, run by just two guys; the style is simplistic, but effective crossover/thrash similar to the Germans Rumble Militia and D.R.I. Their debut may pass for their best effort, comprising energetic thrashcore hymns of the more laid-back semi-punk type, the main complaint being the not very desirable modern edge of the guitars which doesn't quite go well with this style, includign 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.

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

DEATH ANGEL (USA)

Few albums deserve their titles as richly as Death Angel's debut. The band struck hard with this intense, furious piece of thrash, which remains one of the best achievements of the genre from the Bay-Area. Their subsequent releases took a more experimental approach, infusing the band's potent sound with numerous non-thrash (and even non-metal) elements, consequently ruining things a bit. The expectations for their comeback release "The Art of Dying" were for "The Ultra Violence 2", and while there were some moments from that album, the concentration is again on the more diverse nature of the other two.
"Killling Season", depending on which period of the band's career you prefer, would be either fairly satisfactory, or a total disappointment. Those who hoped again for "The Ultra Violence II", should better lay those hopes to rest for good: apparently the guys have closed this page from their history with no intentions to reopen it. The truth is that this album will have almost no appeal to thrash metal fans, as the concentration is on the "The Art of Dying"'s softer, more radio-friendly material, and consequently it sounds closer to "Act III" than any other previous works of the band, but whereas 18 years ago "Act III" sounded fresh and original, this one here is plain ordinary, and not really enjoyable; it might even remind you of the not very successful attempt at continuing Death Angel's career The Organization.

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

DEATH ATTACK (GERMANY)

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

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

DEATH BEAST (USA)

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

The Wakening Full-length, 2005

DEATH BEFORE WORK! (ITALY)

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

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

DEATH BENEFIT (USA)

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

Resurrected Full-length, 2010

DEATH BRINGER (FRANCE)

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

Sex Killer Demo, 1993
Preacher Demo, 1994

DEATH BY DAWN (GERMANY)

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

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

DEATH CORPS (USA)

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

Subhuman Demo, 1985

DEATH COURIER (GREECE)

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

Necrorgasm EP, 1990
Demise Full-length, 1992

DEATH FORCE (USA)

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

Demo Demo, 1986

DEATH FUCK (NORWAY)

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

Abnormal Rape Demo, 1987

DEATH IN ACTION (GERMANY)

One of finest, but very little known, German thrash metal bands; "Toxic Waste" is a furious thrash/crossover debut, which remained fairly unnoticed despite its highly inspired music. On the next two albums the band moved towards a more technical play, and the songs have become longer and more complex, but the fierce attitude of the debut is all over them. From a musical point of view those two albums can actually be ranked higher than the debut. "Just for Our Sake" starts with the raging "Paralysed", and the listener gets ready for a direct follow-up to "Toxic Waste", but with a better, and sharper guitar sound. "Daily Cruel Death" already tells a different story, with slower, pounding guitars, but the second part is another slab of fast-paced thrash, seeing the guys not feeling comfortable playing slower. "Sale Scenery" is heads-down uncompromising speed/thrash, followed by the excellent technical up-tempo instrumental "Disgraced", which will be a pleasant surprise to those who never expected to hear something so expertly composed. "Just For Our Sake" begins as a ballad, but again later on the thrashing starts all of a sudden, accompanied by jolly crossover moments. "Creditors To Violence" is a longer, energetic piece, thrashing less intensely, with a bigger sense of melody. Another balladic beginning on the fine "Handle With Care", which is a more moderate speed/thrashing number, and has little to do with Nuclear Assault music-wise (the song title). The album ends the way it started: with a short bursting track- "Deathly Blessing": thrash till death... in action!
"Stuck in Time" is a worthy follow-up, opening with the furious speed/thrash delight with a technical edge "Total Redemption", which comes with a great lead guitar work, showing the guys having made a big step forward in the musical department. "Perfect And Beautiful" follows a different path, being a shorter and a more melodic crossover track, but the sharp and more technical aspect returns on "World Of Dreams" and "Another Life". More intense and direct thrash is served with "The Last Gulag", followed by the other softer crossover song "I'm Here Not There". After the flirtations with the ballad which the guys displayed on the previous album, finally we have a full-fledged one: "Inferiors" (the vocal performance is quite good), which still leaves room at the end for a more energetic thrashing. The closer "Only Yourself" is a magnificent short up-tempo track, with great technical riffs, nice bass implements, and a fine memorable chorus- one of the best, and most technical achievements of the band, if not the best.
"Scheiterhaufen" is a very unnecessary comeback release, after a 5-year break, seeing the band in a much inferior light, with a completely changed style, a lot more melodic and modern, groovy, even funky; a pale shadow of the excellent thrash metal sound displayed earlier.

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

DEATH LINE (FRANCE)

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

Demo Demo, 1985

DEATH LIVING (CHILE)

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

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

DEATH MACHINE (USA)

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

Death Machine Full-length, 2003

DEATH MECHANISM (ITALY)

A striking debut of aggressive classic thrash 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.

Human Error - Global Terror Full-length, 2006

DEATH MILITIA (CANADA)

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

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

DEATH MISSION (NORWAY)

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

The Ultimate... Demo, 1990

DEATH OVER THREAT (SPAIN)

Good Bay-Area thrash, "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 screams. The music delivers the goods on all counts, being overtly aggressive ("Infamy Legacy", with a touch of proto-death) on occasion. The songs are within the 5-6min range, and some of them are pleasantly heavy and not as fast as the rest ("Einmal Ist Keinmal", the semi-balladic "New Idols Leading Rats"). This rest is heads-down headbanging classic thrash, intense and sharp, mostly up-tempo, with lashing riffs and short stylish leads.

Sangre Full-length, 2009

DEATH POWER (FRANCE)

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

The Bogeyman Full-length, 1990

DEATH SENTENCE (USA)

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

Death is the Only Way Demo, 1985

DEATH SQUAD (USA)

Based on the debut: energetic, occasionally quite interesting thrash with touches of hardcore; all the songs are of the same up-tempo and merge together so that it's hard to distinguish one song from another at first listen. This is not very fast or aggressive music, but some of the leads are quite 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 some choppy, technical riffs, as well as "Infections Of Reality", which comes as a small version of the songs from "...And Justice For All", with its heavy, pounding rhythm. There are actually no pure hardcore numbers, just moments from this style are present on the shorter compositions.

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

DEATH STRIKE (USA)

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

Fuckin' Death Full-length, 1991

DEATH THRASHERS KUOPIO (FINLAND)

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

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

DEATH TOLL (MEXICO)

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

Wall Ripping Flesh EP, 2010

DEATH TRAP (AUSTRALIA)

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

Death Trap EP, 2009

DEATH TRIPPER (USA)

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

Burnt Offerings Demo, 1985
Canis Major Demo, 1986

DEATH WARRANT (MEXICO)

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

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

DEATHALIZER (USA)

Capable classic power/thrash metal with a few modern leanings and cool James Hetfield-like vocals; the guys come close to the Annihilator mixtures of more recent times (check out "Crumbs from the Sky" with its vintage Jeff Waters-esque guitars), also touching the Bay-Area on the faster moments ("It Dwells Within", although this one may pull you back in the middle with its proto-modern groove). The guys mix tempos all the time, and "More than One" is a nice heavy semi-ballad.

Deathalizer EP, 2009

DEATHAMIN (CANADA)

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

Mass of What Full-length, 1992

DEATHBLOW (JAPAN)

"Pathetic" is a great acoustic intro, 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, in the best tradition of the Angel Dust debut, with some slower "detours". "Negotiator" is intense fast-paced thrash, which doesn't forget about the softer mid-section, which the band applies quite successfully on quite a few times. "Graven Image" is another heads-down smasher, more than a worthy exit from this one-album-wonder, with its brisk speedy guitars, great bass-support and fine short leads.

Meanless Propaganda Full-length, 1991

DEATHCHAIN (FINLAND)

A death/thrash metal hybrid; on the band's inspired debut the emphasis is probably more on death metal, but the energy and enthusiasm behind the music will win anyone in the end. Still, there is a certain amount of thrash to be heard as well, and the non-stop fast attack will cause a few neck sprains along the way. The guitar work is actually quite good with smashing riffs lashing from all sides slowing down, but just a bit, on the mid-tempo steam-roller "Carrier Of Pestilence", but prepare to run for cover on the next death/thrash metal fury "Deadmeat Disciples".
"Deathrash Assault" delivers exactly what the title promises: thrash/death assault of a fairly good quality. The guitar licks are more catchy this time, but the speed remains producing standout headbangers: "Venom Preacher", the technical killer "Lepra Lord", the brutal Slayer-esque "Deathrash Legions" and "Napalm Satan". "Panzer Holocaust" is a very welcome deviation from the formula, adding cool technical moments and a backward play ala Morbid Angel- a very stylish number, but only one of its kind. Another very good attempt at a more complex song-writing comes at the end, with "Valley of the Corpses": a fine blend of furious death/thrashing in the 1st half, and more atmospheric, technical passages in the 2nd one.
"Cult Of Death" delves deeper into death metal waters, going up the speed level as well, which inevitably means an increased number of ultra-fast blasting sections. "Serpent of the Deep" is a very welcome change of pace into slower almost doomy, and even technical music after the extreme trio opening the album, after which another three furious tracks follow, before the closing "Cult of Death" slows down again providing heavy pounding riffs. There is not much offered here to appeal to the thrash metal fan, but the high energy and intensity put behind the music should be respected.
"Death Eternal" is a really good effort, with lashing riffs and super-fast tempos, staying closer to death metal, but the approach this time is more technical, and some compositions could be easily included into the Morbid Angel catalogue: "Awaken... Horrors Of This Earth", "Song Of Chaos And The Void"- exemplary exercises on 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.

DeadMeat Disciples Full-length, 2003
Deathrash Assault Full-length, 2005
Cult Of Death Full-length, 2007
Death Eternal Full-length, 2008

DEATHCORP (USA)

This is an excellent demo which mixes some 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.

Rest in Pieces EP, 1989

DEATHDRIVE

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

War Within Full-Length, 2009

DEATHFALL (HOLLAND)

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

Reborn Full-length, 2007

DEATHFIST (GERMANY)

A 3-track demo, made by members of Mortal Remains; this is jolly speed/thrash, 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.

Deathfist Demo, 2009

DEATHHAMMER (NORWAY)

Based on the "Savage Poser Hunt" demo, this band 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 thrash ala 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.

Barbaric Onslaught Demo, 2006
Savage Poser Hunt Demo, 2006
Wrath Of The Antichrist Demo, 2007
Forever Ripping Fast Full-length, 2008

DEATHKRUSH (USA)

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

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

DEATHLAND (PORTUGAL)

A 4-song demo of cool, mostly Bay-Area influenced thrash, energetic and dynamic, with slightly gruff, semi-hardcore vocals; "Incoming Attack" starts as a stomping, heavy track, reminiscent of Slayer's late-80's period (remember "Skeletons of Society"), but later accumulates more speed, graced by a cool melodic main line. The last song "Souls of Black", is... yes, you're right, a Testament cover.

Devastation Begins Demo, 2006

DEATHLESS (PUERTO RICO)

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

Enslaved Demo, 1991
Judgement Ignorance Demo, 1993

DEATHLESS (USA)

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

Demo Demo, 1989

DEATHLOCH (USA)

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

Black Moon Rising Full-length, 2010

DEATHRAISER (FINLAND)

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

Deathraiser Demo, 2006

DEATHRAGE (ITALY)

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

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

Vibrations of Doom

DEATHRASH (USA)

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

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

DEATHRIDER (USA)

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

Requiem Full-length, 1991

DEATHRONER (CANADA)

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

Deathroner Demo, 2007

DEATHROW (GERMANY)

One of the five best German thrash metal bands; the band's debut is typical for the time energetic speed/thrash metal close to Exumer and Destruction. "Raging Steel" is not a very distant departure, but there are some claims at a more ambitious song-writing ("Beyond The Light", "The Thing Within"). However, even the most complex tracks on this album could not even slightly suggest at what was coming: "Deception Ignored" is colossal progressive/technical thrash, arguably the best work of the whole genre. Unfortunately, the lack of immediate follow-up put the band behind their more prolific, but much less striking contemporaries, and when their last album was released, thrash metal has already begun to fall into oblivion. "Life Beyond" is another great technical thrash offering, but less adventurous with shorter, catchier songs. Uwe Osterlehner, the band's mastermind, has made use of his time during the break between the last two efforts, to join forces with members of Psychotic Waltz for the release of another stellar progressive thrash metal album under the name End Amen.

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

DEATHRUNE (USA)

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

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

DEATHTRACK (NORWAY)

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

Deathtrack Full-length, 2010

DEATHWISH (UK)

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

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

Vibrations of Doom

DEATHWITCH (SWEDEN)

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

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

DEATHWORK (ITALY)

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

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

DEBAUCHERY (UK)

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

The Ice Full-length, 1988

DEBONING METHOD (USA)

Excellent technical speed/thrash metal with occasional brutal blast-beats and guitar work which at times resembles late period Death. Near the end there is a fabulous shredding instrumental "Stillborn", which would make even Yngwie Malmsteen proud.

Democracy Full-length, 1993

DEBUSTROL (CZECH)

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

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

DECADENCE (BELGIUM)

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

Gangs And Victims Full-length, 1989

DECADENCE (SWEDEN)

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

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

DECADENCE (USA)

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

Demo Demo, 1989

DECADENCE WITHIN (UK)

Based on "This Lunacy", this is thrash/crossover of the more melodic variety. There are occasional more aggressive numbers ("Backbiter"), as well as one very good 10-min track ("This Lunacy"), which contains both faster and stomping parts, and even more original guitar work.
"Soulwound" sounds quite close to the full-length debut, mixing fast thrash-fixated sections with slower ones on almost every song. There is a stylish abstract technicality of the minimalistic Voivod-ish type present at times, but this tendency remains undeveloped, since customarily the guys leave the faster performance for the 2nd half on almost every song.

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

DECAPITADO (USA)

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

Blacked Full-length, 2003

DECAPITATION (USA)

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

Let The Killing Begin Demo, 1985

DECAY (POLAND)

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

World Decay Demo, 1995

DECAY LUST (NORWAY)

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

Hobson's Choice Demo, 1993
Rehearsal Demo, 1998

DECAYED REMAINS (CANADA)

This act shares members with the black/thrashers Thesyre. Based on "Moonlight": the music here is cool thrash/death metal of the retro type with crisp sharp guitar work and quite a few atmospheric keyboard implements (including a few full-fledged instrumentals, one of which ("In The Chapel") is whole 6-min long, and kills the inertia in the middle). The tempo varies from one song to another, also offering something in the technical department (the excellent Atheist-influenced 2-min technical shredder "The Instinct Of The Wolf"). "Return Home / Reflection" elaborates on those technical leanings, mixing them with heavy pounding riffs in the best tradition of early Celtic Frost. "Meeting At The Crossroads" is a more brutal death metal-oriented number, again sounding technical and busy ala Morbid Angel and Decapitated. "Killing The Beast" is a nice minimalistic mid-paced creeper. "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.

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

DECEASED (USA)

This band is one of the oldest metal bands in the USA, and one of the first ones to try a more brutal sound in the vein of Possessed's "Seven Churches" with their early demos from the mid-80's. By the time of "Luck of the Corpse", the guys had managed to come up with a potent thrash/death metal hybrid which 4 years later on "The Blueprints for Madness" was fully displayed once again, with not a single hint at any modern metamorphosis, lashing steel riffs over the stagnating 90's scene without mercy. The change eventually came with "Fearless Undead Machines", but the music on offer was no worse, moving onto retro thrash with elements of power and speed metal: a good atmospheric effort with not many ties to their deathy past. The guys preserved the style for the follow-up "Supernatural Addiction", which softened down a bit with more classic heavy metal and epic elements added, and Kingsley "King" Fowley giving a more melodic, but equaly as appealing, tone of his voice. "As the Weird Travel On" is another capable offering of thrash, power, classic heavy metal and a pinch of death crossing over several genres consequently satisfying quite a wide gamut of metal fans who at that point must have already adapted to the guys' interesting "cocktail". Hopefully instead of indulging in releasing Best of Compilations and Splits, which number has risen to quite big proportions recently, the band will sum up their powers soon for a new full-length.

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

DECEIT (HUNGARY)

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

The Chaotic EP, 1993

DECEIVER (SWEDEN)

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

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

DECEPTION (USA)

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

Deception Demo, 2004

DECIDE (SZECH)

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

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

DECIMATE (UK)

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

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

DECIMATION (USA)

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

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

DECIMATOR (BRAZIL)

Based on the "Thrash Rehearsals" demo: the sound is vintage Slayer, although "Nuclear Sacrifice" might remind you of Kreator and Darkness. In other words, this is well done classic 80's thrash. At the end there is a very faithful cover of Slayer's "Piece By Piece".
"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.

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

DECIMATOR (UK)

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

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

Vibrations of Doom

DECISION D (HOLLAND)

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

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

DECREPIT MIND (USA)

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

Chemical Interrogation Demo, 1988
Kill Yourself Demo, 1990

DECREPIT UTH (USA)

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

Action Speaks Demo, 1988

DEDICTED (BELGIUM)

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

Argonauts EP, 2008

DEFALLA (BRAZIL)

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

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

DEFCON (GERMANY)

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

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

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

DEFCON (USA)

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

Demo Demo, 1985
Demo Demo, 1989

DEFECT (HOLLAND)

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

God May Rot Demo, 1990

DEFECT DESIGNER (RUSSIA)

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

Wax Full-length, 2009

DEFENDER (GERMANY)

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

A Symbol of Devotion EP, 1989

Vibrations of Doom

DEFIANCE (USA)

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

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

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

DEFIER (FINLAND)

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

Overture of Annihilation EP, 1990

DEFILE (USA)

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

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

DEFLESHED (SWEDEN)

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

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

DEFORGE (ITALY)

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

Silent Terror inside EP, 2001
Freedom Release EP, 2003

DEFORMACHINE (ITALY)

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

Over G Full-length, 2006

DEFORMICARIO (VENEZUELA)

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

Cadenas del Tormento Full-length, 2006

DEGRADATION (USA)

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

Revelation in Blood Full-length, 1994

DEGRADEAD (SWEDEN)

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

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

DEHULI (JAPAN)

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

Yggdalive Full-Length, 2009

DEITIES (USA)

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

Symptoms of Insanity Demo, 1993
Icon Demo, 1996

DEJECT (NORWAY)

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

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

DEKAPITATOR (USA)

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

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

DEKAPITED (CHILE)

Based on the 1st demo, this act pulls out aggressive Sepultura-sque thrash sounding quite close to "Beneath the Remains". Fast uncompromising riffs attack you from all sides supported by gruff forceful vocals ala Max Cavalera, maybe a bit higher-pitched.
The "Zombie Thrash" demo is not far from the debut one, maybe lashing a bit more nonchalantly with shades of hardcore at times ("Zombie Thrash"), but on the other extreme we have the heavy stomping instrumental "Bajando Al Infierno", sustained in the best tradition of late-80's Slayer; followed by another, this time more aggressive, Slayer-esque number: "Reaccion Violenta".

Demo I Demo, 2008
Zombie Thrash Demo, 2009

DELIAN LEAGUE (USA)

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

Truth in Chaos Full-length, 2005

DELICATE NEWS (GERMANY)

Based on "The Mirth In A Dead Man´s Yell", these guys offer melodic thrash/crossover which is closer to the 80's scene; the music has this playful, jolly atmosphere typical for the music of Motorhead and Uncle Slam. The bass work is particularly good.

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

DELIRIOUS (GERMANY)

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

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

DELIRIUM (HONDURAS)

On the debut the band mixes heavy, power and thrash metal to come up with a pretty decent album, which loses its edge here and there, but deserves to be classified as thrash. On later releases thrash metal steps down as the dominating genre, and by the time of "Abismo" it is completely replaced by modernized heavy metal; an effort a lot inferior to the debut.

Delirium Full-length, 1995
Xibalba Full-length, 1999
Abismo Full-length, 2001

DELIRIUM TREMENS (GERMANY)

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

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

DELIVER (BRAZIL)

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

The Second Death Full-length, 2002

DELIVERANCE (ITALY)

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

The Executioner Full-length, 2002

DELIVERANCE (UK)

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

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

Vibrations of Doom

DELIVERANCE (USA)

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

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

DELTA FORCE II (FINLAND)

The full-length shows an act playing merry-go-round retro thrash/crossover with not very suitable shouty hardcore vocals. This is speedy one-dimensional music reflected in short 1-2min tracks which sound more like spontaneous outbursts rather than carefully planned compositions, but deliver nonetheless with their sincere stripped-down approach.

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

DELUSIVE (SWEDEN)

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

Regret EP, 2005

DEMEAN (USA)

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

Today We Rise Full-length, 2004

DEMENCIA (COSTA RICA)

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).

El Vendedor Papero Demo, 2009

DEMENCIA (CHILE)

The full-length debut offers nice headbanging retro thrash: a non-stop thrash action with cool sharp fast-paced riffs and vicious vocals, sounding like a mix between Mille Petrozza and Schmier. Among the raging guitars cool melodic leads and other hooks can be caught: "Agresion En Escenarios", but when the guys thrash without mercy, they can easily rank along with the best: "Metal Distortion", the excellent mix of intensity and melody "Carnada Infernal". Galloping rhythms replace the speedy riffage for "Sacro Bestial", but "Fobia" catches up with the fastest and most aggressive moments on the album: furious speed/thrash at its best. "Guerreros Del Metal" is another mighty nail in the coffin, before the closing "Nuclear War" moves back a bit in terms of speed, adding more melodic hooks ala early Helloween, finishing this promising debut in a classic speed metal manner.

Engendros EP, 2004
Nuclear War Single, 2007
Metal Distortion Full-length, 2008

DEMENCIA EXTREMA (CHILE)

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

Demo I Demo, 2008

DEMENTARIA (ARGENTINA)

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

Violencia Extrema Full-length, 2009

DEMENTED (SWEDEN)

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

Demented Full-length, 2005

DEMENTED (USA)

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

We Call It Quits Demo, 1988

DEMENTIA (FINLAND)

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

Dementia Full-length, 1995

DEMENTIA (HOLLAND)

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

Watching The Dawn Full-length, 1995

DEMENTIA (JAPAN)

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

Struggle for Rebel EP, 1985
Bang Hard EP, 1987

Vibrations of Doom

DEMENTIA (PAKISTAN)

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

The Plague Demo, 2008

DEMENTIA (USA)

Another good work from the metal underground: this is an interesting take on classic thrash with heavy, mid-paced to slow, doomy tracks with hypnotic riffs which don't change too often, but create a consistent compelling sound. The vocals are melodic, high-pitched, but fit the music perfectly. The style is not too far from the Canadians Zions Abyss, but Dementia are more thrashy and never really step fully on a doom metal ground. If you like thrash metal with a more original twist, this band is well worth tracking down.

Recuperate From Reality Full-length, 1991

DEMENTIA SENEX (ITALY)

A modern mix of straight-forward thrash/death 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

DEMIRICOUS (USA)

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

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

DEMISE (USA, Massachusetts)

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

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

DEMISE (USA, Oregon)

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

Devious Deception EP, 1992

DEMISE OF GIDEON (USA)

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

The Demise Of Gideon Full-Length, 2010

DEMIURG (RUSSIA)

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

Bastinado Full-length, 2005

DEMIURGE (PHILIPPINES)

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

Demiurge Full-length, 2004

DEMOLICION (EQUADOR)

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

Demo I Demo, 1989

DEMOLISH (BRAZIL)

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

Signs of the End EP, 2005

DEMOLISHER (FINLAND)

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

Deformation Demo, 2005
Enter the Suffering EP, 2007

DEMOLITION (AUSTRIA)

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

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

DEMOLITION HAMMER (USA)

This band came out of nowhere at the last stage of the classic thrash period, with a stunningly brutal thrash/death metal debut. The music is in the Slayer, Dark Angel mould, whereas the vocals are somewhat similar to Mille Petrozza from Kreator, but the vocals he acquired on the band's 90's works. Another smashing follow-up was released, and the band have apparently decided that they had done their job well and it was time to move on; "Time Bomb" is generic, uninspired modern thrash with almost no traces left from the band's previous intense delivery.

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

DEMOLITION INC (DENMARK)

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

Laserguided Freedom Demo, 2004
Demolition Inc. Demo, 2005

DEMOLITION PROJECT (ARGENTINA)

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

To Live This Way Or Die Demo, 2006

DEMON DAGGER (PORTUGAL)

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

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

DEMON'S FLESH (ARGENTINA)

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

Oh, Lord, Amen Full-length, 2008

DEMONA (CHILE)

The 2-song promo shows quite a capable speed/thrash metal outfit, relying on speed the way the Swedish acts from the near past F.K.U. and Cranium do. No complaints, the guys shred like crazy, leaving a little room for a more laid-back speed metal sound on "Ataque de Locura Homicida", which will throw you directly in the early Helloween camp.
The "Metal is Me" demo offers a relentless speed/thrash 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 he is the only band member, also playing all the instruments, pulls out a very thin emotionless clean tember, which is simply not on par with the better music.

Promo Single, 2008
Metal is Me Demo, 2009

DEMONATH (CHILE)

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

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

DEMONATION (CANADA)

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

Demonation Demo, 1992

DEMONAX (USA)

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

Demonax Full-length, 2001

DEMONBREED (UK)

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

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

DEMONCRUSHER (CHILE)

Technical/progressive death/thrash metal, with very good, Shrapnel-influenced guitar work, which truly shines on the excellent instrumental “Onicocriptosis”, which also offers great bass performance. “Garden of Tears” increases the brutal, heavy riffage, but the guitar play remains on a high level. “Tumor Violento” calms down again, providing a couple of atmospheric balladic passages, along with some twisted passages, 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 the Soviet Union) is finally something more conventional, sustained in a more direct faster headbanging manner, even blasting out for a while.

Violencia Exponencial Full-length, 2008

DEMONIAC (SERBIA)

An obscure, but worthy debut- speed, power and thrash metal shake hands here, and although there are the cheesy moments which inevitably "accompany" combinations like that, songs like "And After All" and the fierce closer "Total Thrash" wave the flag of thrash metal sky high. The nice melodic vocals are worth mentioning, too.
The "Coming Again" demo is anotehr 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 liveinign up quite a bit towards the end with fierce speed/thrashy riffs. "Satan's Warriors" is another heavy pounding song with a strong 80's American metal flavour again serving something for the headbangers in the 2nd half. "Fight For Your Pride" is straight-ahead speed metal if we exclude the misleading heavy metal beginning. "Rising Power" is a blistering speed/thrasher with a few slower stomping throw-ins, and the closing "Power of Metal" tries to sum up all nuances heard here ending up sounding quite diverse, more in the power/speed metal camp. The singer falls a bit behind the good energetic music singing in a not very emotional clean mid-ranged manner seldom attempting something higher and more dramatic.

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

DEMONIC LAUGHTER (ITALY)

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

Necromadness Demo, 2005
Demo Demo, 2006

DEMONICA (USA)

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

Demonstrous Full-Length, 2010

DEMONIFICATION (SINGAPORE)

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

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

DEMONIZED (CHILE)

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

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

DEMONIZER (BELGIUM)

Furious thrash/black 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 thrash riffs to stay put.

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

DEMONKRATZIE

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

Demoncracia 666

DEMONOID (SWEDEN)

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

Riders of the Apocalypse Full-length, 2004

DEMONSEEDS (USA)

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

Kneel Deep in Hell's Grasp Full Length,1999

DEMONTHOR (BRAZIL)

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

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

DEMONTHRONE (CANADA)

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

Angel Slayer Demo, 2008
Necrólisis / Demonthrone Split, 2008

DENATA (SWEDEN)

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

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

DENET (CZECH)

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

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

DENIAL (SWEDEN)

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

Rape Of The Century EP, 1996

DENIAL (USA)

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

Antichrist President Full-length, 1991

DENIAL FIEND (USA)

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.

Dead Awakening EP, 2007
They Rise Full-length, 2007

DENIED (SWEDEN)

Based on "New Army For The New Revolution": these guys pull out heavy mid-paced modern thrash, which is not bad, despite its derivative nature. Crunchy pounding riffs galore will one find here, as well as tasteful, but sparce guitar work. Shades of 90's Flotsam & Jetsam are all over the album, as well as echoes from the Black Album, 90's Chastain, etc. There is a lot of dynamics involved: the heavy aggressive "Rise"; the more diverse "Lazarus"; the energetic rock-ish "Red Threat", the multi-layered "F.E.A.R.", which is a nice combination of peaceful passages and hectic, jumpy riffs.

7 Times Your Sin Full-length, 2005
New Army For The New Revolution Full-length, 2008

DENIED EXISTENCE (USA)

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

The Future's Past Full-Length, 1999

DENOUNCE (UK)

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

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

DENTIST OF DEATH (SPAIN)

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

Pornoaliens Demo, 2009

DENY (GREECE)

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

Back on the streets Demo, 2004

DEONA CART DELUNA (MALAYSIA)

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

First EP EP, 2009

DEPARTMENT OF CORRUPTION (USA)

Based on the demo, this is good interesting thrash, 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.

Hanging Material Demo, 1988
The Resurrection EP, 2006

DEPONIA (SERBIA)

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

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

DEPREDADOR (ARGENTINA)

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

Suplicando Furia Full-Length, 1997

DEPREDATION (GERMANY)

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

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

DEPRESSION

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

Thrash Till Death Full-Length 1987

DEPRESSIVE AGE (GERMANY)

Depressive Age raised the hopes high that thrash metal would survive at least in Germany, and would even continue to flourish; this 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 went down, and gradually left the metal field, causing them to change their name into D-Age.

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

DERANGED (CANADA)

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

Premonitory Nightmare Demo, 1988
Place of Torment Demo, 1989

DERANGER (BELARUS)

Based on the Best of Compilation, this act played (the first demo) low-tuned minimalistic black/thrash 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

DESASTER (BRAZIL)

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

Demo Demo, 1988

DESASTER (GERMANY)

One of the first 90's bands who rediscovered thrash metal's 80's roots; their style is quite consistent throughout their career, being black-ish thrash in the vein of Sodom, Destruction and the likes with power, epic, and even death metal elements thrown in. These guys are not meant to make a revolution in music; they just want to show to the world that there is nothing better than the good old thrash.
The debut is the band's least diverse effort concentrating more on black metal with majestic medieval atmosphere akin to mid-period Immortal, with a pinch of thrash metal thrown in ("Devil's Sword"). "Into a Magical Night" is an exemplary atmopsheric 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 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 "Divine Blasphemies", 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 mayhem in a vigorous German fashion.

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

DESCENCUS (DENMARK)

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

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

DESCEND (MEXICO)

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

Request To Creator EP, 2007

DESCENDENT (USA)

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

Descendent Demo, 1994
Degeneration Full-length, 1995

DESCENT (UK)

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

In The System Full-length, 1999

DESCOMUNAL (ECUADOR)

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.

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

DESECRATE (USA)

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

Desecrate Full-length, 2005
Mental Massacre EP, 2008

DESECRATION (USA, AZ)

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

Who's in Control EP, 1987

DESECRATION (USA, CA)

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

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

DESECRATOR (SWEDEN)

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

Wake The Dead Demo, 1989
Black Sermons Demo, 1990

DESECRATOR (USA)

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

The Nightmare Calls Demo, 1987

DESEKRATOR (NORWAY)

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

Metal For Demons Full-length, 1998

DESEKRATOR (USA)

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

Demo Demo, 1989

DESERT (PORTUGAL)

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

Promo Demo, 1999

DESERT STORM (GERMANY)

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

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

DESERTION (GERMANY)

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

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

DESEXULT (DENMARK)

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

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

DESIGNIO (ARGENTINA)

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

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

DESILENCE (GERMANY)

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

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

DESLOK (USA)

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

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

DESMATRON (UK)

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

Theological Void Demo, 1987

DESMODUS (ITALY)

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

Human Wreck Demo, 1992

DESOLATE ANGEL (USA)

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

No Apology Full-length, 1995

DESOLATE VOID (USA)

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

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

DESOLATION (BRAZIL)

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

In A World Of Terror Full-length, 1992

DESOLATOR (USA)

A 3-track demo of fast evil black/thrash, sounding like more proficient early Sodom and Bathory; the guitars are simplistic, but pack a punch, especially on the slower more atmospheric sections. The singer croaks like a raven, reminding of Quorthon (R.I.P.), but less comprehensible.

Infernal Desolation EP, 2009

DESOLUTION (AUSTRALIA)

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

Desolution EP, 2009

DESORDEIROS DO BRAZIL (BRAZIL)

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

Desordeiros Do Brazil Full-Length,1990

DESPAIR (GERMANY)

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

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

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

Vibrations of Doom

DESPERADOS (GERMANY)

With this band Tom Angelripper gives his tribute to the Wild West with its cowboys, damsels and all. The music is melodic and thrashy, of course, recalling the Sodom albums from the mid 90's, or the works of the other Angelripper side-project under his own name; Desperados' music is actually edgier and darker. For some strange reason, Tom is missing from "The Legend and the Truth", which takes a whole pleiad of other metal stars to replace him behind the mike: Tobias Sammet (Edguy), Joacim Cans (Hammerfall) and the legendary Doro Pesch.
"An Eye For An Eye" offers another slab of jolly, light-hearted heavy/thrash, this time having a more modern, and a more aggressive, sound, not too far from Annihilator ("Hate", "Days of Thunder") at times. There is one cool short ballad ("A Tooth for a Tooth"), and two covers: one of Johny Cash: "25 Minutes to Go", and one of The Doors: "Riders On The Storm". Tom Angelripper is again missing from the line-up; maybe he feels happy enough at this point to just pull the strings behind the stage?

The Dawn of Dying Full-length, 2000
The Legend and the Truth Full-length, 2006
An Eye For An Eye Full-length, 2008

DESPISE (GREECE)

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

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

DESPISED (GERMANY)

It's a little "absurd" that the music of the these guys had impressed Sabine Classen (Holy Moses) to recruit them for her act Temple of the Absurd. Not that it's a total waste; it's that it's nothing more than the typical 90's aggro-thrash spiced with a less pretentious Motorhead-ish vividness from time to time. Shades of the already dead at the time 80's thrash movement can also be caught: the little hectic thrasher "Fornever Stag", and especially the energetic speed/thrash 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

DESPOTIC ROBOT (USA)

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

Despotic Robot EP, 2006

DESTINITY (FRANCE)

This band started as a black metal outfit, and their first four (!) albums are well worth tracking down by fans of the genre. On "Synthetic Existence" the guys moved to death/thrash, and arguably started sounding more appealing. The tempos change frequently, and this is by all means technical stuff, acquiring progressive tendencies at times. There are quite a few atmospheric, keyboard-driven passages, as well as several orchestral sections, reminiscent of Bal-Sagoth. The brutal death metal parts dominate, and the very fast-paced nature of the material might startle some thrash 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".

Synthetic Existence Full-length, 2005
The Inside Full-length, 2008

DESTINY'S END (USA)

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

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

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

DESTINY DENIED (USA)

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

Destiny Denied - The Unofficials Demo, 2006

DESTITUTE SAVIOR (USA)

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

Exhumed Demo, 1989

DESTITUTION (HOLLAND)

A 2-track promo of energetic old school thrash metal in up-tempo with screaming leads and a very sparce participation of hoarse drunken dirty vocals. There are nods to the Metallica debut, mostly on "The Rhythm of Horses" (the song-title could be another reference to the Americans), and the guitar work is generally playful with a shade of crossover. All the band members except the singer take part in the heavy/speed/thrash metal outfit Xi-Void.

Promo Demo, 2009

DESTITUTION (USA)

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

Demo Demo, 1992

DESTRAGE (ITALY)

Modern thrash/death 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".

Urban Being Full-length, 2009

DESTROY (PORTUGAL)

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

Access Denied EP, 2002

DESTROYER (COLOMBIA)

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

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

DESTROYER (POLAND)

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

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

DESTROYER 666 (AUSTRALIA)

This band is often considered the leading metal band of Australia for the past ten 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.

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

DESTROYERS (POLAND)

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

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

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

DESTRUCCION EXTREMA

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

Homenaje AV8 Full-Length

DESTRUCTION (GERMANY)

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

"D.E.V.O.L.U.T.I.O.N." doesn't betray the razor-sharp delivery of the preceding couple of albums, and is another heads-down thrash 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).

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

DESTRUCTION'S END (USA)

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

Prepare to Die Full-length, 2005

DESTRUCTIVE AGGRESSION (GREECE)

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

Sacred Path Of Hate Demo, 1997

DESTRUCTOR (USA)

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

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

DESTRUCTOR MOSH (CHILE)

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

Destructive Rehearsall Demo, 2006
Violent Rehearsall Demo, 2007

DESTRUCTORES DEL AMANECER (PANAMA)

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

Rebeldes Somos EP, 2005

DESTRUKTOR (AUSTRALIA)

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

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

DESTRUTOR (BRAZIL)

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

Coerçăo Profana Demo, 2009

DESULTORY (HOLLAND)

These guys are all over the place offering a very uneven mixture of thrash, death/black metal and grindcore which comes as a not very smooth "marriage" between early Sarcofago and Impaled Nazarene, and this EP can be considered one of the first ultra-brutal efforts of the 90's predating the similar outrageous exploits of the aforementioned Finns with a few years. A really curious stuff topped by vicious apocalyptic Burzum-like vocals; not for the faint-hearted.

Desultory / Can't Deny EP, 1991

DETENTE (USA)

The first band which Dawn Crosby (R.I.P.) (Fear Of God) took part in. Not as striking and original as the Fear Of God debut album, this is perfectly acceptable energetic speed/thrash metal with touches of hardcore. This is good headbanging stuff, with short, fast-paced songs and simplistic, but sharp and catchy guitars. The first half is an all-out speed/thrash assault, whereas the second one breaks the pattern, introducing slower tempos, mixing power and thrash on "Russian Roulette" and "Vultures In The Sky". Crosby's leaving to form Fear Of God put an end to what could have been a successful career.
"History I" is featured somewhere as a Best of Compilation, since it contains the first Detente demo, plus the early demos of the band Catalepsy, which was founded by the Detente members soon after that band's split-up. The first four songs are already familiar from the first Detente effort, but the Catalepsy material may raise some brows. The style is not too far from the one presented on the only Detente album, and "Obituary Fear" is vintage old school speed/thrash, 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 act 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 riffs, plus intriguing melodic Oriental leads. The band has done a good job here pulling out inspired direct performance which sounds way more aggressive than their debut stripped of the hardcore/punkish leanings characteristic of the latter.

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

DETERRENT (GERMANY)

These guys have definitely have original ideas, but their enthusiasm to show them to the world is much bigger than their actual skills. There is so much put here that if they had left some of it for another album, things would have been a lot better. Almost all of the songs start in a fairly good manner (except the opener "Live!" which could seriously pull you back), but then come the tempo-changes, the weird riffs and the awkward, "what-was-that" parts (check/don't check the 12-min long opus "Maybe The Darkest Spot On One": my god!), add the indifferent, sloppy vocals, and things get considerably messed up. Progresive thrash this is, no doubt, but the best description would be "a poor man's Mekong Delta", which still sounds as a compliment. This is one of the most flawed entries into the progressive/technical thrash metal movement which was making waves at that time in Germany.

Re-invention Full-length, 1994

DETEST (GERMANY)

An interesting varied demo starting with the epic power metal anthem "Thundersteel", before "Chains Of Hell" hardens the situation with heavy pounding proto-thrashy riffs, although the approach remains pretty epic of the more intense Drifter-type. The rest of the material retains the heaviness, but slows down acquiring certain doomy tendencies where the listless clean low-pitched vocals fit better, and are quite close to the ones of Scott Reagers (Saint Vitus).

Thundersteel EP, 1990

DETHERA (FINLAND)

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

Arts Of The Insane EP, 2007

DETHLEHELM (USA)

A mix of modern and classic thrash with borrowings from Swedish death metal, energetic spiced with a few epic elements ala Amon Amarth, plus the odd grinding break. The screeching death/black 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 I: Enthroned Upon A Spire Full-length, 2009

DETHRONE (FINLAND)

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

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

Vibrations of Doom

DETONATHRASH (CANADA)

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

Death on a Thrash Demo, 1987

DETONATION (HOLLAND)

On their debut full-length Detonation mix Swedish death with thrash metal, sounding like a more thrashy In Flames. Later thrash metal is almost gone, with the band having chosen to concentrate on their death metal side.

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

DETONATOR (BULGARIA)

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

Traveller To A Nonexistent World Full-length, 1992

DETONATOR (HUNGARY)

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

Demo Demo, 1990

DETONATOR (USA)

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

Age of Chaos Demo, 2008

DETONATOR 666 (CZECH)

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

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

DETRIMENT (AUSTRALIA)

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

Demo Demo, 1989

DETRIMENT (USA)

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

Surreal Full-length, 2003

DETRITUS (UK)

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

Perpetual Defiance Full-length, 1990
If But For One Full-length, 1993

DEUS.EXE (GERMANY)

Modern industrial thrash/death metal with frequent nods to Fear Factory; the music is more complex, though, with fast thrashy sections alternating with peaceful balladic ones which are ably assisted by nice clean emotional vocals as opposed to the typical main death metal semi-shouts. There is a lot of dynamics involved, although the doom-laden depressing "Apocalyp-Tech" and the more moderate gothic-tinged "H+" instrumentals deliver the goods no worse.

Transhuman Full-length, 2008

DEUS EX MACHINA (SINGAPORE)

A nice mix between classic and modern thrash; the guys prefer to pound with heaviness, rather than going for the speedy numbers. Still, on a long song like "Warmonger", which lasts for more than 8-min, more intense riffage can be expected. "A Heretic Prayer" successfully tries to preserve the dynamics, although the hammering mid-paced riffs and the stylish Oriental-laced solos steal the show. "In Memoriam" is a cool acoustic interlude with very good emotional female vocals, before "Inside" wins you over with another portion of crushing, this time even doomy riffage. "Visions Blind" is a nice closer, adding more speed and technicality, as well as angelic female vocals ala Liv Kristine (Theatre of Tragedy), and is the only more openly modern-sounding number.

The War Inside Full-Length, 2008

DEUS MORTIS (MEXICO)

On their only demo this band plays fast intense death/thrash metal with a slightly rough guitar sound, and good forceful death metal vocals. The guys bash with no mercy until "Errant Legion" which is a mid-paced pounder with Celtic Frost overtones. Those overtones remain for the rest of the material which is a mix of fast and slow passages finished with the explosive thrash/deathfest "Same Destination... Death" which is vintage early Death.

Ominous Eyes Demo, 1993

DEUS OTIOSUS (DENMARK)

A 4-track demo of thrash/death metal of the old school, alternating between heavy, slower and faster sections (on those the sound comes close to Benediction); "Kult of the Horned Snake" is a very cool speedy number, with nice melodic guitar lines, shades of epic, and a few great slower thrashy sections.

Death Lives Again Demo, 2007

DEUS VULT (USA)

Although "Soul Assault" is listed as an EP in their discography, this is actully more of an LP with its impressive length of35-40min. And this is very good because the guys offer smashing power/thrash metal ala Wargasm's "Why Play Around" with certain technical tendencies the latter touching Forbidden's "Twisted Into Form" at times. The opener "Waiting for White" starts as a ballad, not raising the hopes high, but it finishes in a great headbanging fashion. "Deus Vult" takes no prisoners with its fast intense pace, boasting great chorus and a genuine technical break in the middle. The remaining songs carry on in the same fast-paced pattern, but slow down more frequently, keeping the catchy chorus lines. The technical edge is more clear, especially on the last two tracks, which are more varied, coming with swirling, screaming leads.

Soul Assault EP, 1990

DEVASTACION (ARGENTINA)

Based on "...Que Lo Parió!", this band plays good aggressive thrash, bordering on death metal on the most intense sections, reminiscent of early Pestilence, Torture, Massacra, etc. This is fast-paced stuff with occasional slow moments (parts of "Pata, Sudor Y Sangre", which are compensated by the very few blast-beats used). The guitar work is excellent, with a nice technical edge.
"Resistiendo al Engańo" is a bit more varied with more slow sections, but fast-paced headbangers like "Humanidad" and "eternos' are still the order of the day, both nice blends of technical and melodic riffs. "En El Ojo Del Piquete" is a nice epic thrasher with very cool leads, but its serenity is totally cancelled by the furious "Politica Mierdera", altrhough the balladic "Tributo" is just a song away.

...Que Lo Parió! Full-length, 1999
Resistiendo al Engańo Full-length, 2007

DEVASTATE (COL)

Thrash/death influenced by Morbid Angel on the more intense moments, among others, which means that here you will get stylish technical play as well as some 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

DEVASTATION (CROATIA)

Despite the bad sound quality and the weak, strained vocals, these guys manage to come up with cool speed/thrash on both demos, in the vein of Paradox, early Destruction, the Exumer debut. The last track from "The Upcoming Mayhem" is a cover version of S.O.D.: "United Forces", but the music has almost no traces of hardcore. Another cover awaits you on the other demo: the punks Discharge's "The Possibility of Life's Destruction" (both a little strange choices, since the band's sound has almost no ties to hardcore/punk). The sound on that second demo is more aggressive and faster, recalling even Slayer, but the musicianship on both efforts is not that striking, but catchy and enjoyable: just simple and direct riffs.

The Upcoming Mayhem Demo, 1987
The Possibility of Life's Destruction Demo, 1989

DEVASTATION (USA, Chicago IL)

This band were no less talented than their namesakes from Texas, but they only managed to release one full-length. Their music was definitely more mature compared to the early messy efforts of the other Devastation; it is well executed aggressive thrash, not too far from the other band, with an early incarnation of the death metal vocals acquired by so many bands later (could have been an influence), and an overall more intense sound than the other extreme acts around (Possessed), acquiring proto-death metal tendencies on their second demo and the full-length. Later members of this band went on to form another one- Sindrome, but the style remained pretty much the same.

A Creation of Ripping Death Demo, 1986
A Re-Creation of Ripping Death Demo, 1986
Dispensable Bloodshed Full-length, 1987

DEVASTATION (USA, Corpus Christi TX)

The band started in a very humble and unpromising way, to put it mildly, with primitive raw thrash and declamatory vocals, something which one might have problems calling singing. "Signs of Life" is so much better that one may want to check the debut once again; but, seriously, don't bother... From the very beginning, with the furious, and even slightly technical "Eye for an Eye" the listener knows that this is one of the cases where the band has quickly discovered the way leading to the top, after an embarrassing start. The awesome beginning has its match on the following direct smasher "Desolation". "Signs of Life" is relatively more controlled, with more clever riffs, which remain for the explosive "Retribution": thrash without mercy... "Tomorrow We Die" shows again the more intriguing, technical side of the band in the beginning, but relentless moshing is what follows later. "Contaminated" is 2.5-min of all-out aggressive thrash, followed by the much longer, 6-min "Fear of the Unknown", which is a nice diverse composition, finally offering something slower as a pause from the intense delivery. "Escape to Violence" is 2.5-min of heads-down brutal thrash, closing this impressive effort, paving the way for the band's magnum opus.
"Idolatry" arrived at a time when thrash metal had begun to fall from grace, and many 80's acts were changing their "clothes": embracing other styles (death metal, post-thrash, etc.). Well, in this case we have another great offering of unadulterated classic thrash: extreme aggression all the way, spiced with a pinch of death. The uncompromising opener "Deliver the Suffering" hits you like a hammer, filling you with gratitude and bliss that thrash is still pretty much alive and well. "Freewill" is less intense with slower deviations; there is a lot of headbanging on this one as well. "Forsaken Hatred" creates illusions in the beginning that this might be an entertainment of the more technical kind, but the brutal guitars take over very soon after. "Souls of Sacrifice" finally fulfills the promises for a more elaborate, technical song-writing, bringing about loads of time changes and clever stylish guitars; the high level of musicianship displayed on this one would hardly make anyone notice the reduced amount of aggression. "Idolatry" starts with a nice acoustic intro, and later on relies more on heavy crushing mid-tempo riffs. "Legacy of Faith" goes back to the more intense patterns, thrashing all the way to "Subconscious", which carries on in exactly the same vein, going up a bit the aggression scale with death metal-laced sections. "Never Believe" closes the album exactly in the way it started: bashing thrash/proto-death, kind of a precursor for an eventual future transformation into a full-fledged death metal outfit. This transformation, however, never took place, since this was the last album the guys released: hats down to them for making a more than a worthy exit from the scene, without messing it up like many other bands did.

Violent Termination Full-length, 1987
Signs of Life Full-length, 1989
Idolatry Full-length, 1991

DEVASTATOR (CANADA)

Mid-paced groovy thrash with elements of stoner/doom, with catchy hooks ala early Six Feet Under, and brutal death metal vocals; "Savage Wasteland" livens up in the middle to justify the album-title, but is completely cancelled by the very tender blue-sy instrumental "Waste" (yeah, waste it is, at least on a metal album). The sound is very fuzzy, and spoils the impression, especially on the more intense doomy numbers, one of which is high-octane doom in the best tradition of Saint Vitus: "Yea Though I Walk".

Savage Wasteland Full-Length, 2008

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.

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

DEVASTATOR (USA, CA)

Based on the "Crush and Kill" EP: cool 80's speed/thrash metal recalling Blessed Death and Anvil Bitch, but only music-wise (not in the screechy vocal department); "Burn the Beast" is much more satisfying, a more aggressive offering now seeing the guys thrashing out with the best out there. The sound has now moved towards the Bay-Area with the legendary "Bonded by Blood" an obvious influence. The music is fast and energetic seldom leaving the up-tempo, adding a couple of cool technical twists ("Slaughtered Like Pigs": yeah, you wouldn't expect that on a song of such title). "Rise of the Undead" gives new unexpected more extreme dimensions to the band's approach being an exemplary piece of technical aggression ala Helwitch, maybe a tad more restrained. The guys have done a very good job here, and maybe it's time to break this vicious circle of releasing EP's only with something longer...

Fuck Everything EP, 2005
Crush and Kill EP, 2006
Slaughtered Like Pigs... EP, 2007
Burn the Beast EP, 2009

DEVASTATOR (USA, FL)

Based on the split, this is a black/thrash metal band of the old school not too far from Alastor (Portugal), or Nocturnal (Germany), but badly produced with a thin guitar sound and vocals which are put too high in the mix, leaving no room for the bass to be heard. The 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 for me. 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 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 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 another project: the black metal outfit Blasphemer.

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

DEVASTER (ITALY)

Very good Germanic thrash- for fans of early Deathrow, the Exumer debut and Paradox; this is direct, speedy stuff, with very cool guitar work, which occasionally brings forward technical riffage ("Feverish Commando"), as well as melodic lines ("Infernal Evocation" which, despite its sinister title, is the most melodic song, rubbing shoulders with the speed/power metal movement). "Persecution", being the longest track here (6.5min) affords some slower passages, but the furious ending more than compensates for them. "Necrothrash" closes the EP in a truly aggressive manner, introducing proto-death sections.

Infernal March Demo, 2005

DEVASTHATOR (COLOMBIA)

A Colombian trio which offers 3 tracks of raw primitive old school thrash in a never-changing up-tempo with gruff shouty vocals which sound so loud that at times completely stifle the hollow guitars. Sodom are paid tribute at the end with a lacklustre cover of "Outbreak of Evil", and the Germans' early efforts can actually serve as a reference point to the stuff heard here.

Accomplice of Evil Demo, 2008

DEVIAN (SWEDEN)

Former and present members of the black metallers Marduk, supported by the bass metal guru Roberth Karlsson, whose list of metal acts in which he has taken part may be one of the longest ever (Facebreaker, Edge of Sanity, Scar Symmetry, to name just a few), get together to release this album of intense black/death/thrash metal; this is not a Marduk-influenced material, although shades of black can clearly be heard; the concentration is more on the other two genres, with stronger nods to death metal perhaps. The overall style is close to early Dissection and Dark Tranquillity, supported by sharp thrashy riffs and leads. The tempo is fast, and doesn't change much throughout the album, making it a slightly one-dimensional listen.
The guys are not willing to lose the inertia, and here comes "God To The Illfated" to keep it up. With both releases separated from each other by less than a year, it's not a surprise the strong similarity between them music-wise; this is again thrash/death metal with strong nods to the Swedish scene, this time cleared off all black metal reminders. The guitars are both sharp and melodic, and some of the hooks are simply addictive, especially those served with a genuine Oriental flavour ("The Unspoken", "Assailant"). The tempo is quite fast, and the slower breaks are more than welcome ("Saintbleeder", "Summerdeath"), when they come. Although death metal is again stronger accentuated on, at least in the 1st half, make sure not to miss first-rate thrashers like "God To The Illfated" or the galloping speed/thrash delight "Awaiting Doom". The guys pay tribute to the more epic-inclined modern acts, like Amon Amarth and Destroyer 666, on the closer "When The Vultures Have Left", which would stay proud even on Bathory's "Hammerheart".

Ninewinged Serpent Full-length, 2007
God To The Illfated Full-length, 2008

DEVIANT (USA)

The demo is nice pounding thrash quite close to Nasty Savage's "Indulgence" with heavy, smashing guitars, speeding up a bit at times. The EP moves towards a Slayer-like aggression.

Faces of Death Demo, 1988
Balance of Power EP, 1991

DEVIATE NY (USA)

This is the continuation of the vicious thrashers Demolition Hammer, and is a much better effort than their lacklustre last release. The music flows in the same vein as the first two albums: hard-hitting brutal thrash with shades of death metal, very well done. There is perhaps more variation with slower, heavier pieces ("Gallery of Death"), which work as well as the faster material; looked like a fresh new start for the band, but was left without a follow-up.

Gallery of Death EP, 1995

DEVIATED INSTINCT (UK)

Based on "Rock N' Roll Conformity", these veterans from the UK hardcore/punk scene could be viewed as the English answer to Cryptic Slaughter. The music on offer is often very fast and chaotic, although generally more controlled than the one of the afore-mentioned Americans, but is savagely executed enough, with a characteristic sound of its own, also bearing resemblances to The Accused. When the guys slow down, they come up with pretty decent hard-hitting steam-roller thrash ("Through The Looking Glass"), but one can not possibly stand still on compulsive moshers like "Mechanical Extinction", and just nod. On "Guttural Breath" the band have slowed down considerably, opting for a heavier less dynamic approach with more brutal death-tinged guitars; it offers nothing to the thrash 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

DEVIL'S ISLAND (USA)

Although having taken their name from a Megadeth song (from "Peace Sells..."), the style of this band only distantly recalls their legendary "godfathers". This 4-track demo mixes classic, Bay Area-influenced thrash (Exodus, Testament) with the modern sound of the 90's (think Overkill). The guitar work is particularly good, with nice leads and cool riffs. The tempo is, however, not very energetic trying to give credit to the 90's, to, and consequently losing in the process. The singer is not a very big asset, with his hesitation whether to stick to the more conventional thrash singing, or spice things up with more melodic tones (the mixture doesn't really work, at least for me). This is not bad for a first effort, after all, and there is enough time for the band to find the right way on their future efforts.

Demo Demo, 2004

DEVIL ON EARTH (BRAZIL)

Brazil has been taking over as the leading metal scene of the new millennium, and this band is another fine addition to it. The album-title sums it up nicely: this is pure old school speed/thrash metal attack in the fine tradition of early Destruction, Exumer and Kreator. The guys fit nicely along the horde of Brazilian thrash metal bands who have started down the road of the German sound- Executer, Farscape, Violator, Bywar, etc., but Devil on Earth are faster than those acts, and more aggressive. A pleasant surprise awaits you at the end: a nice cover version of Exumer's immortal anthem "Possessed by Fire".

Hunting, Shooting, Slashing and Thrashing Full-length, 2007

DEVILISH (FINLAND)

Another underground gem from Finland- there is a golden mine out there: first-rate German thrash metal; Kreator and Destruction have new, very worthy followers.

This is A Good Day To Die... Demo, 1999
Armageddon Is Here Demo, 2000
Reign Of Evil Demo, 2002
Possessed By Hellfire Demo, 2004

DEVILRY (RUSSIA)

An obscure release offering old school power/thrash akin to early Iced Earth sustained in a heavy pounding, mostly mid-tempo, sound. When the guys speed up, they can thrash along with the best: the excellent diverse "Can You See", a progressive masterpiece with standout guitar performance recalling Marty Friedman's early pyrotechnics in Hawaii. The other excerise in more complex progressive metal "Last Night" is a bit less impressive relying on the heavy mid-paced rhythm section to pull it through although the real hero here is the lead guitarist again. The closer "Riders of Doom" is not a Deathrow cover, but is a nice varied thrasher with very good leads and meaty doomy riffage spiced with the odd faster break. The singer is traditionally for the Russian bands of that time not a very big asset, and his uneventful clean low-tuned tember is often stifled by the guitars for the better.

Devilry Full-length, 1992

DEVIOUS (HOLLAND)

Based on "Domain", this band plays aggressive modern thrash/death metal. The balance is well distributed between the two styles, as a slight preference is given to death metal, but in this case this is probably the better choice, since those numbers are the superior ones, especially the ones with a more technical inclination: "Boundless Domain", "Dead Cannibal Civilization", "Lowest In The Food Chain".
"Vision" is a capable follow-up, more atmospheric and a bit slower now sounding close to their compatriots Gorefest after the reformation, with the odd brutal outbreak ala Suffocation ("Abide"). "Impulse Overload" is more than welcome with its uplifting speedy spirit giving the album the desired boost which results in the excellent progressive opus "Predefined" and the epic Amon Amarth-esque smasher "Validate", both graced by beautiful balladic passages. The closing "Disconnect" can also join this group being a cool mix of fast raging guitars and the characteristic balladic/semi-baladic moments which the band has mastered so well, although here they are probably a bit overused stifling the aggression of the riffage.

Acts Of Rage Full-length, 2003
Domain Full-length, 2007
Vision Full-length, 2009

DEVOLUTION (UK)

It's a real pity that this talented trio managed to only release this 3-song split, because what we have here is standout technical thrash with slight shades of death metal, way superior to the music presented by the two other acts included in the split, although this one remained the least known. The music has its characteristic dark haunting sound which doesn't leave the mid-pace, but the riffage is stylish and diverse, suddenly bursting out with the odd speedy section ("Mediocracy"). "Negate (This Aftermath)" starts in a fast aggressive manner, but later on evolves into another whirlwind of technical guitars, interrupted by another more intense moment. "Condemnation - Manipulation" is more up-tempo, but surprisingly here the guitars have the most technical, almost abstract at times, edge. As a whole the style may remind you of Coroner's "Mental Vortex", which is the closest soundalike, but the guitar tone on this effort is darker, a tad less dynamic, and the time changes are not that frequent. Surely something big was in the makings, but sadly remained unmaterialized...

Grave / Deviated Instinct / Devolution Split, 1991

DEVOTED TO HATE (HOLLAND)

Modern thrash metal meets crossover; the style will remind you of Madball, but with more balls (and definitely not mad). Very fast numbers are mixed with heavy, groovier ones.

Revenge... And A Little More Full-length, 2001

DEW-SCENTED (GERMANY)

One of the holy three of the modern 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!).

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

DEWARSTEINER (ITALY)

Based on the "Still Fucking Alive" split with the black metallers Crossodomizer (also from Italy), this band plays brutal grinding black ala Impaled Nazarene on two tracks, and produce one long epic 9-min atmospheric black metal composition in the spirit of Burzum.
"Ethylic Lovestories" offers a more melodic material, with a certain part of the songs now being in the thrash/crossover camp. Still, not all of the aggression has been gone, and some explosive pieces can be found, but rest assured that all gets cancelled by the 8.5-min long "Alcohol Screams My Name" of laid-back Motorhead-ish rock'n roll. The guys explore the other extreme side of metal with their other act, the doom/stoner-oriented Drunk & Stoned.

Still Fucking Alive Split, 2008
The Oath Of Bacco Militia Split, 2008
Ethylic Lovestories Full-length, 2008

DEZEMBER (THAILAND)

This band offers intriguing technical/progressive thrash with shades of death metal. The full-length debut is a commendable effort, nicely mixing more complex numbers with more immediate, aggressive ones. The music is heads-down thrash with a few death metal reminders, and the tempo is never too fast; the jumpy guitar work will remind you of the Japanese Doom, although these guys here stretch the style towards more peaceful, baladic territories at times, which are not overused, and add up to the elaborate picture; some attempts at "techno-meets-guitar" industrial are also present, and are not too bad. However, the more direct, thrashy riffs seem to work better, especially those coming with a slight pinch of death metal. As a result we have an engaging combination which will keep you focused for most of the time.
The follow-up boasts better guitar work, especially in the lead department, but as a whole is a less satisfying achievement; it often degenerates into more ordinary modern thrash, with a few sparkles of the technical skills displayed on the debut. Some tracks are pointless "funk-meets-groove" experiments, and spoil the picture quite a bit, along with the new industrial deviations, which this time are simply bad. The balladic moments are here again, but more frequently expand into a full-blooded ballad.
"Naturalism" comes after a long 7-year break, but shows the band in an inspired form once again. The sound is full-fledged progressive death/thrash metal, with longer songs which offer everything from the progressive spectre: jumpy jazzy guitars, proficient leads, quiet atmospheric passages, twisted time changes, etc. Some songs are really striking combinations of brutal, fast sections and very complex, multi-layered ones ("Slut", "Killer Bastard"), others are slower, less intense haunting pieces ("Betrayer") with abstract Voivod-ish riffs, which nicely contrast to the brisk, melodic leads. "Vilely Untamed" is a brilliant exercise in technical thrash, 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", which 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.

ĹŃ·¸Ô«ŇµŇą EP, 1993
ÇÔąŇČˇĂĂÁ Full-length, 1995
şŇ» Full-length, 1997
ĘčÍą Full-length, 1998
Naturalism Full-length, 2005

DEZTROYER (GERMANY)

The German metal scene is full with one album wonders like that. This is outstanding thrash metal with a certain technical edge, which will catch you with your pants down. The style is close to that of the bands from the progressive/technical thrash wave which rose a few years later (Depressive Age, Entophyte, Lost Century, etc.), but is a bit more aggressive and faster, and less technical. It starts in an awesome fashion with the first three songs being fast and furious pieces ("Climate Change", "Ain't No Cure"), which are more straight numbers, with a certain early Angel Dust-vibe; "Solitude" slows down considerably, but retains the technical edge. Then the album returns to the speedy formula, this time even with more aggression involved: the blasting ball of fury "Can't Complain". It remains fast and intense until the end, finishing with a marvellous jolly rock'n roll joke "Souvenirs", featuring nice guitar melodic hooks. This gem boasts a crystal clear production and immaculate musicianship; it's a pity bands like that disappeared after just one effort.

Climate Change Full-Length, 1990

DIABLO (FINLAND)

Based on "Icaros": this band plays modern thrash/death metal with borrowings from the progressive power metal scene. The mixture works, and the concentration is more on the progressive side, when the compositions get really interesting, sounding not too far from Nevermore, or Chaoswave (the excellent dark "Light Of The End"), despite their losing some of their thrash 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 approach.

Elegance In Black Full-length, 2000
Renaissance Full-length, 2002
Eternium Full-length, 2004
Mimic47 Full-length, 2006
Icaros Full-length, 2008

DIABOLIC FORCE (BRAZIL)

The title of this EP already suggests a lot; this is a side project of two members of the Brazilian thrashers Farscape. The music is not miles away from the Farscape's Germanic thrash-worship: it's more aggressive and will remind you of early Kreator and Sodom's "Persecution Mania", with a touch of death metal. The band plays fast and aggressively, with only "Nuclear Beast" being a deviation from the pattern moving towards a stomping heavy sound ala Celtic Frost; a great track, by the way.
"March To Calvary" is more controlled, now Celtic Frost even a bigger influence, with Abomination a very close call as well, except on a couple of hardcore-ish outbursts ("I Just Wanto To Get High", "Piss on the Holy Ghost") and the odd proto-death-laced deviation ("Prisoner of Wickedness"). The final "March to Calvary" is a nice melodic addition mixing the carefree spirit of Motorhead with the more experimental arrangements of "Into the Pandemonium". The vocalist is a dead ringer for Tom G. Warrior, maybe a bit higher-pitched.

Old School Attack EP, 2003
March To Calvary Full-length, 2009

DIABOLICAL (SWEDEN)

Competently done, but quite derivative modern mix of thrash and Gothenburg-death metal akin to At The Gates.

Deserts Of Desolation EP, 2000
Synergy Full-length, 2001
A Thousand Deaths Full-length, 2002

DIABOLICAL DEMON DIRECTOR (AUSTRALIA)

Based on the "The Death Sentence" demo, these guys offer old school thrash along the lines of early Venom and Destructor. The music is laid-back, seldom bites with power, and the most aggressive thing is probably the vicious semi-death metal vocals. When the guys give up thrashing with speed, at which they are not good at all, they manage to produce nice mid-paced epic tracks ("Day of the Antichrist") in the spirit of mid-period Bathory and their compatriots Destroyer 666. The rest is raw primitive thrash with no many musical merits, trying to emulate the sloppy production qualities of the early 80's attempts at more extreme music.

As Darkness Hits Demo, 2007
Hour of the Black Demons Demo, 2008
The Death Sentence Demo, 2008

DIABOLICAL DISMEMBERMENT (USA)

Based on the "Hell on Earth" demo, these guys offer very brutal death metal with the odd thrash metal break. The music is quite fast and relentless throughout, and the singer is the ultimate low-tuner, an extreme grunter of the least comprehensible type. Reportedly on their earlier demos the bandwere 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

DIAGNOSTICO FINAL (ARGENTINA)

Based on the full-length: this is decent retro power/thrash metal with a muddy sound quality, which on the best moments speeds up no worse than Horcas and even Lethal. Some duller modern elements can be heard, and the energy gets lost near the middle, on a short string of mellow power metal numbers, but this work scores way higher than the bland offerings form their more renowned compatriots from around the same time.

Diagnóstico Final EP, 1999
Involución Full-length, 2001

DIAMOND DUST (CROATIA)

Based on the "Triumph Of Soul" demo, these guys pull out heavy semi-technical power/thrash recalling late-80's Metallica, spiced with a pinch of the 90's proto-groove in the beginning. The music is not bad, but the first couple of songs merge into one another being all of the pounding mid-paced crunchy type, and the demo takes off on "Live Or Die" in the middle which is a cool more dynamic epic thrasher ala Bifrost and Drifter. "Damnation" is a melodic power metal instrumental experimentation followed by the closing power/thrasher "Salvation" which is a bit faster offering cool melodic leads ala Iron Maiden.

Diamond Dust Demo, 2007
Triumph Of Soul Demo, 2010

DIAMOND PLATE (USA)

Based on the split, this band plays excellent old school thrash metal, fast and intense (the first two tracks), recalling Vio-Lence's "Eternal Nightmare". "Criminal Justice" is a nice, slower and more laid-back instrumental, and "At the Mountains of Madness" (hello, Lovecraft!) is a cool mix of very speedy raging riffs and stomping crushing ones.

Mountains Of Madness EP, 2008
Diamond Plate vs Oppression Split, 2008

DIANTHUS (POLAND)

Heavy dark thrash/death, more in the old school camp, with heavy crushing guitars recalling the Brits Bolt Thrower, although often is the music melodic, with gothic overtones, and thrash is more widely covered, but is seldom of the faster headbanging variety. "Uncontrolled Hatered" starts thrashing, but in a controlled (pun intended) way, in the middle, but is cancelled by the following morose doomy "Eternal War", and the rest of the songs which only rarely reach the up-tempo.

Dianthus Demo, 2009

DIE HAPPY (USA)

Die Happy was formed after the Vengeance Rising members (all except Roger Martinez) decided to explore other musical territories. The music is decidedly more melodic than the father band being power/thrash metal along the lines of Aftermath or Meliah Rage, plus a certain doze of groove and awkward, undesirable bluesy moments; not too bad, but would hardly make the Vengeance Rising fans happy.

Die Happy Full-length, 1992
Volume II Full-length, 1993
Intense Live Series Vol. 4 EP, 1999

DIE HARD (SWEDEN)

These Swedes offer heavy old school black-ish thrash, which comes as a more dynamic, but equally as twisted version of the legends Hellhammer, or early Celtic Frost. 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.

Emissaries of the Reaper Demo, 2007
Evil Always Return EP, 2008
Nihilistic Vision Full-length, 2009

DIE PROUD (SLOVAKIA)

Modern Swedish thrash with heavy, but also melodic, guitars and brutal low-tuned death vocals; some groove can be caught ("The Waves of November Nights") as well shades of the Amon Amarth epic style ("Ravens Flied Upwards").

Demo Demo, 2009

DIECELL (FINLAND)

One of the many underground metal bands from Finland, Diecell plays modern-ish melodic thrash akin to Darcane and Mokoma with gothic shades ala Sentenced.

Thrashborne EP, 2006

DIESEL MACHINE (USA)

Heavy, groovy modern thrash close to Pantera and Puncture: quite harsh, mostly mid-paced with shouted, bordering on death metal, vocals.

Torture Test Full-Length,2000

DIEVERSION (SOUTH AFRICA)

Based on "Anthems Of Violence", this band mixess tedious repetitive groovy post-thrash with forceful death metal vocals. The mixture is not completely bad, but the groove dominates leaving the more intense death metal material seeming like a "remnant" from the past where the guys had reportedly played brutal death metal.

Victimized Full-length, 2001
Anthems Of Violence Full-length, 2002

DIFFICILE (DENMARK)

This is cool modern thrash metal with the obligatory amount of groove, but with also more edgy and even technical riffs, and nice clean vocals.

Thoughts And Dreams Demo, 2005

DIKTATOR (HUNGARY)

Based on "Vigyázz, Jön A Vadász!", this band pulls out melodic modern power/thrash clinging more towards the groovy side, but there are a couple of more speedy numbers, as well as soft hard'n heavy "joys"; an uneven unpretentious effort as a whole, and clearly not aiming at the thrash metal audience only.
"A Hét Vezér" is more aggressive, although it still remains in the power/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.

Animal Metal Full-length, 1991
Bun és bunhodés Full-length, 1993
Bunkó vagy ! Full-length, 1994
Még, még Full-length, 1994
Ne várd a csodát Full-length, 1998
Diktátor Best of/Compilation, 2004
Vigyázz, Jön A Vadász! Full-length, 2005
Három Királyok Full-length, 2007
A Hét Vezér Full-length, 2009

DIKTATURA (LITHUANIA)

Based on "Baltai", this band plays modernized thrashcore with heavy abrasive guitar work which tries to stay fast for most of the time, albeit with an obvious effort put. Still, pieces like "Kilt" and "Velniop" are brisk headbangers with a crossover shade, although their number is less than the one of the heavy groovers.

Zeme Full-Length, 2003
Baltai Full-Length, 2004

DIMENSION 34 (SWEDEN)

This band plays excellent dark power/thrash metal with doomy overtones, with very heavy crushing riffs and good forceful emotional clean vocals; a sparce, but quite appropriate, participation of very cool mid-ranged female ones can be heard as well. The music seldom leaves the mid-pace, but the guitars twist and turn bringing the sound close to progressive, in a way not dissimilar to the last Hexenhaus album, their compatriots Pathos, and Nevermore; on the few mellower passages another Swedish act may come to mind: Evergrey. This will be no paradise for the headbangers, since there are no fast moments, except on a few isolated sections mostly used as finishing touches ("The Other Place" contains a very short furious black metal blasting passage), and the balladic interludes are inevitable, especially on the colossal 11-min opus "As The Light Is Fading". Still "Something Not Sunlight" is the only number staying more on doom metal territory, also offering a fine balladic moment where the singer helps a lot with his tember quite close to Dave Gahan (Depeche Mode). The guys are also involved in the thrash metal act Paincraze (also reviewed here).

The Release of Me Full-length, 2007

DIMENSION F3H (NORWAY)

Industrial/gothic/thrash/power metal; a very ambitious project which doesn't sound like anything else. Maybe the avantgarde metallers Arcturus with a pinch of thrash would be still a distant reference point. The music ranges from fast, blast-beat numbers to epic power/gothic metal ones and everything in-between. Their 2007 album "Does The Pain Excite You?" is an even better work than the debut which preserves the thrash and industrial elements, but leaves almost everything else aside, introducing a darker metal sound ala Samael's "Passage" as an additional touch.

A Presentation of Armageddon EP, 2002
Reaping The World Winds Full-length, 2003
Does The Pain Excite You? Full-length, 2007

DIMENSION ZERO (SWEDEN)

One of the stalwarts of the melodic Swedish thrash/death metal sub-genre, these guys are one of its most distinguished representatives. The music bears no surprises for those well familiar with the style, as the guys do not betray their true to the genre approach, so don't expect any deviations ala Dark Tranquillity ("Projector") or In Flames- this is basic, unadulterated modern thrash/death metal.

Penetrations from the Lost World EP, 1997
Silent Night Fever Full-length, 2002
This is Hell Full-length, 2003
He Who Shall Not Bleed Full-length, 2007

DIMENTIA (CANADA)

Heavy mid-tempo thrash of the modern type, calling to mind 90's Flotsam & Jetsam and Metallica's Black Album at times.

Affliction Full-length, 1996

DINOSAUR (PORTUGAL)

Based on the first demo, this is good classic thrash reminiscent of the Germans Darkness, with nice guitar work brought to its culmination on the excellent instrumental closer "Life Is For The Living"; that same track was voted the best Portuguese metal track by the readers of the Rock Power Magazine. The same year the band was also nominated in 5 other categories: best band, best drummer, best singer, best demo, and best bass player: a really good start to what should have been a successful career.
The last demo stays true to the classic sound, thrashing intensely although the melodic guitar hooks are here again, culminating on the cool semi-ballad "I Dont Mind (Bad Feelings)". "The Blues" at the end is, like the title says, an attempt at blues, done well, but lasting for just 1-min.

Demo Demo, 1991
Promo Tape Demo, 1992
K7 Promotion of the 7”Ep Demo, 1993

DIOS HASTIO (PERU)

Based on the band debut, this is fast, hardcore-ish thrash with brutal, almost grindcore elements and longer, semi-industrial tracks with strange surreal riffs, and occasionally very twisted raspy vocals (on these, longer tracks), which could make Burzum sound like a children show's host. A very mixed bag, would not appeal to the average thrash metal fan.

Advenimiento De Lo Inevitable Full-length, 2000
A Medio Camino De Ur EP, 2001
Cervix Inferno Full-length, 2003
Morfologia Del Desastre EP, 2003

DIOXINE (FRANCE)

This 3-song demo offers a classic blend of thrash and death metal with a strong technical edge, not too far from Suffocation and Morbid Angel. So this is mostly death metal stuff spiced with more laid-back thrashy breaks which work well alongside the raging blast-beating sections.

Happy Birthdead Demo, 2008

DIRGE (USA)

Good thrash/crossover which nicely stays more on the thrashy side most of the time, managing to sound quite fast and intense at times ("Superficial"), at times heavy and stomping ("Dirge"), and occasionally even technical ("Bug Bite").

Soulstorm Full-length, 1988
Fleshcrawler EP, 1990

DIRGES (COLOMBIA)

This is vintage Germanic thrash metal in the vein of Destruction, Darkness and Necronomicon with black metal vocals; at times you might find them annoying especially when they go for the higher tones. The guys thrash with full force from the beginning also adding more aggression ala "Pleasure to Kill" at times. The music is fairly fast and relentles, and the singer "croaks" quite scarily, also attempting the odd screechy shout here and there. After 8 explosive tracks comes the break in the form of "Vestigios De Guerra" which is a calm heavy/power metal anthem, and the intensity is gradually restored offering first vintage 80's speed metal ala early Helloween on "Dirges", before "Morir O Matar" smashes everything in its way with merciless brutal riffage. More moderate speed/thrash comes with the final "Cruzada De Muerte" which includes a few nice melodic tunes among the fast-paced rhythms. To these ears this effort recalls another one released under the name "After the Devastation" (which is actually the English translation of the album reviewed here) in 2006 by the same band (?) which surprisingly is missing from their discography (!); could there be two acts with the same name from the same country playing very similar music?! Some of the guys have also released an album the same year with the classic heavy metal act Runner Hell.

Despues de la Devastacion Full-Length, 2010

DIRT CHURCH (USA)

Based on the "Stripped Down" EP, these guys offer nice retro Bay-Area thrash ala Testament and Exodus, with vicious semi-clean vocals and brisk sharp riffs. The songs are cool mixtures of fast (mostly) and slower sections. Those same musicians had operated under another name at the same time: Soundstorm, and had reportedly recorded a 5-track demo of stylish technical thrash.

Stripped Down EP, 1994
Dirt Church EP, 1996

DIRTY DAMAGE (FINLAND)

A pretty average speed/thrash metal band with just a few good moments from the full-length debut, recalling bands from the Bay Area scene. However, kudos should be paid to the guys for the original, lengthy album/song titles.

I want to be a President / Fire Extinguisher Executioner EP, 1988
It's Amazing How Stupid Some People Can Sometimes Be Full-length, 1988

DISABUSE (HOLLAND)

Based on "Sorrow And Perdition", this is a good band playing aggressive technical thrash similar to the Italians Necrodeath. The vocals also have the same black-ish blend; excellent, but very short (only 6 songs). "Personal Path", which appeared almost 10 years later, has changed the course a bit, into still fast and intense thrash, but there is nothing technical here, and some hardcore has sneaked into the sound. This is by all means good stuff again, and the guys thrash with power and conviction most of the time, providing the listener with awesome numbers ("Survive", "Every Second", the latter coming with superb melodic guitars). The second half softens a bit, containing shorter and less hard-hitting songs, some of them sheer exercises in hardcore.
"Down in Disgrace" is mostly pure hardcore, with few "remnants" from their thrashy past; at least half of the songs are not fast, but mid-paced to slow-ish, and the guitar work is very simplistic, recalling early Prong and Sick of It All on the more intense moments.

Sorrow And Perdition Full-length, 1989
Personal Path Full-length, 1998
Down in Disgrace Full-length, 2002

DISAFFECTION (BRAZIL)

A 4-song demo of good retro speed/thrash, not far from the eponymous Forbidden debut, with vocals also recalling the Americans; the sound quality is very clear, and the music delivers in all aspects boasting nice fast-paced riffs and stylish bass decorations. Both the more straight-forward ("Mystery Of God", "Metal Kombat") and the more complex ("Disaffection") compositions are handled with professionalism and confidence; there is a lot of talent at display here. Hopefully the inertia will not be lost in wait for an interested label...
"Begin the Revolution" bears the same title as the demo from 3 years before, so music-wise there are no surprises: this is well-executed retro Bay-Area thrash with all the 4 songs from the demo included, and they carry the bigger load here since the rest sounds more restrained and not as speedy even clinging towards power metal ("Mortuary Man") at times. The expectations for this album were bigger based on the high quality music displayed on the demo, but fans of the good old school thrash should not be disappointed.

Begin The Revolution Demo, 2007
Begin the Revolution Full-Length, 2010

DISARM (USA)

A 2-song demo of fast, energetic thrash sounding quite close to the Pestilence debut with occasional more intense proto-death parts.

After the Dead Demo, 1988

DISARRAY (USA)

Based on "In the Face of the Enemy", this band carries the groovy heritage of Pantera, mixing it with a certain doze of the southern doom style of, say, Corrosion of Conformity (think "Blind", above all), or Down. This is really heavy music, but has its cool thrashy moments. The vocals are the typical Phil Anselmo-like angry shouts, but more aggressive, and angrier.

Widespread Human Disaster EP, 1995
Bleed EP, 1996
Spreading the Death Plague EP, 1997
Lesson in Respect Full-length, 1999
In the Face of the Enemy Full-length, 2002
Edge Of My Demise Full-length, 2007

DISASTER (CHILE)

Based on the full-length: furious German old school thrash calling to mind all the "usual suspects"- Kreator, Sodom, Destruction, etc; might sound derivative, but is done with enthusiasm and taste. The guys start thrashing from the get-go with the vigorous instrumental headbanger "Almas Negras", seldom slow 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.

Criaturas del Mal Full-length, 2006
Promo Rehearsal Demo, 2009

DISCARD (FINLAND)

Modern thrash/death 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

DISCHORD (CANADA)

The EP contains an energetic mix of modern and classic thrash with a very strong bass-bottom and technical guitar work, and very brutal death metal vocals, which sometimes unpleasantly screech. Apart from the straight up-tempo thrashing, more complex peaceful arrangements can be caught ("AK-47"), as well as very cool "technicality-meets-melody" variations ("Nuke Face", which is a really nice turn to a more thought-out song-writing). More clever riffage comes with "Siege Of Darkness", which is more aggressive, but the hectic delivery, involving death metal blasts for a while as well, and the constant time changes will keep you quite concentrated. "Angels’ Inferno" is another pleasant surprise, a 10-min progressive opus, blending fairly complex passages, slower sections, virtuouso lead performance, and more intense death metal moments. This is quite a stylish and original effort, which could serve as a solid base for a full-length, and these guys have no reasons to worry that they would get lost in the sea of technical acts coming from their homeland.

Demo Demo, 2006
Siege of Darkness EP, 2007

DISCIPLES OF POWER (CANADA)

One of the most enduring, and best Canadian thrash metal bands; they began their career in the late 80's with a very good debut of energetic, semi-technical speed/thrash metal with hardcore tendencies. Having waited patiently for three years to see where the winds of change would blow, the band hammered down an exquisite technical thrash/death metal release- one of the best albums of the 90's. The music is heavy, not very fast, with smashing technical riffs which change all the time without sounding awkward or misplaced. "Invincible Enemy" was another very impressive work, but the style has become even more complex and harder to grasp.
Another three-year pause followed before the band struck with "Mechanikill": this is music for a restricted group of fans simply because there wouldn't be many people out there who would appreciate this very complex and technical album. If you think that the guys have reached the absolute top of technical death/thrash, wait till you hear their last offering, which is for sure the final stop on the road to "madness"; "In Dust We Trust" is not too distant from the previous album, but the music has become even more mechanic and clinical. In spite of the increased level of complexity, Disciples Of Power are still able to pull out really cool thrashy riffs whenever necessary: a proof that they remember very well where they had started quite a few years ago.

Powertrap Full-length, 1989
Ominous Prophecy Full-length, 1992
Invincible Enemy Full-length, 1993
Mechanikill Full-length, 1996
In Dust We Trust Full-length, 2002

Vibrations of Doom

DISCREATE (USA)

Your average modern power/thrash metal with dual vocals.

Absent Of Light Full-length, 2007

DISEASE (ITALY)

Based on "5th Wave, Endless", this band plays interesting, albeit overdone, semi-technical/semi-progressive thrash with both classic and modern influences. "Empowering From Chaos" is a weird opener which begins in a very soft heavy metal fashion before it turns into a potent technical thrash crescendo with many twists and turns, including a few excellent melodic guitar duels ala Iron Maiden. The diversity is pretty big again on the next "After" which is milder and not as hectic. "Your Venom Through My Veins" calms down even more, and later on the mixture of aggressive, even proto-death metal, riffs and more quiet heavy/power metal ones is not brought about as good, the switches being too sudden, with touches of Swedish death as well, and an awkward transition in the vocal department, too, between clean mid-ranged ones and semi-shrieky death metal ones. "1000 Scars (By Time)" hits the top at the end being a 10-min progressive opus in the power/thrash metal mould, not very fast, but containing enough clever riffage to pull it through. As a whole there is a constant movement from one style to another here, for better or worse, which kind of detracts the guys from showing their best trying to expand as much as possible to a not very coherent effect. Some of the musicians are also part of the brutal death metal outfit C.L.G.

5th Wave, Endless Full-length, 2005
A Circular Decade in Motion Full-length, 2008

DISEKSA (MALAYSIA)

3 guys are responsible for this violent chaotic mix of thrash and grindcore which is not completely unlistenable, by the way, finding a good balance between the blast-beating sections and the direct thrashy/hardcore ones. The songs, however, are seldom longer than 1-min so don't expect any idea to develop beyond the spontaneous vigorous outburst assisted by apocalyptic devilish semi-shouts.

Greed Humanity Demo, 2008

DISEPTIC (GREECE)

An act who play aggressive speedy thrashcore, one-dimensional and pretty basic with very brutal death growling vocals.

Diseptic / Wormrot Split, 2008

DISGRACE (FINLAND)

Based on "Superhuman Dome", this act offers modern 90's post-thrash with an alternative edge, more on the noisy side of the spectre with industrial implements. The music acquires certain doom shades at times ("The Earth Silence", "Dome") of the playful semi-stoner type, and this is where the sound gets clearer and less noisy.

Debts of God EP, 1991
Grey Misery Full-length, 1992
Vacuum Horror, Horror Vacuum EP, 1994
Superhuman Dome Full-length, 1996
If You're Looking for Trouble Full-length, 1998
Turku Full-length, 2001
Born Tired Full-length, 2004

DISGRACE (JAPAN)

Based on the "Torture to Death" demo, this act offers 3 tracks o f aggressive Slayer-esque thrash with abrasive hardcore vocals.

Torture to Death Demo, 1987
Break Confusion Demo, 1987

DISGRACE (MEXICO)

A new Mexican act which specializes in classic thrash of the up-tempo type with slightly hysterical balck-ish vocals. This is unpretentious stuff with clear elements of crossover, fast tight delivery which slows down in the middle where the music becomes a tad more technical culminating on the excellent moshing technical instrumental "Arsenal Of Disgrace", its positive impression lightly ruined by the sleepy semi-balladic clumser "Line Of Time". Still, the immediate speedster "You're My Bitch", and the other exercise in stomping technicality "Beliefs In War", which is the closer, are more than welcome at the end to lift up the listener's mood.

Mental Disorder Full-length, 2010

DISGRACE AND TERROR (BRAZIL)

A mix of classic and modern thrash metal reminiscent of another Brazilian band- Executer, but more modern sounding and not as good.

Shadows Of Violence Full-length, 2005

DISHAMMER (SPAIN)

Hardcore/thrash with brutal death-tinged vocals; the music is mellower, though, but is jolly and energetic consisting mostly of short 1-1.5min tracks, except for the 4-min "Pain In The Ass", which is indeed a "pain in the ass" since it's not that vigorous, and kind of spoils the roller-coaster mood. There is a lot of carefree Motorhead attitude involved as well so expect optimistic stuff played just for the fun of it.
"Under the Sign of the D-Beat Mark", despite its obvious reference to Bathory's landmark 1987 album with the title, is again in the thrash/crossover mode with slightly longer tracks this time, and with a more abrasive guitar sound. Motorhead are again the main influence, except in the vocal department: the singer is a husky semi-death metal whisperer, at times not very audible stifled by the buzzy guitars. Several other projects circle around the guys, all starting with "M": the death/grindcore "freaks" Machetazo; the sludge outfit Moho; and the curious eccentric mixture of the two other acts' styles Matarife.

Vintage Addiction Full-length, 2008
Under the Sign of the D-Beat Mark EP, 2010

DISIDENTE AGRESOR (MEXICO)

Based on "Latinoamerica", these guys offer heavy, but energetic thrash, which hesitates between the modern and the classic school, but keeps good pace, although the guitar sound is quite heavy and abrasive, and the drums are put too much upfront, stifling the other instruments. The vocals are angry, semi-death metal-ish. There are times when the guitars lose their thrashy edge, and come up with a softer heavy/power metal sound which creates a stark contrast to the harsh style of the singer.

Latinoamerica Full-Length, 2006
Migración Full-length, 2006

DISMANTLE (USA)

Based on the "Vanished into the Unknown" demo: one of the more promising speed/thrash metal acts from the States of recent years, Dismantle offers classic thrash which is quite varied: the German school ("Crucify" and most of the songs), thrash/crossover ("Apocalyptic Chaos"), speed/thrash/black ("Satanic Metal"). "Vanished into the Unknown" comes with a better production and a thicker, even technical guitar sound, bringing to mind Destruction.
"Satanic Force" is glorious speed/thrash in the best tradition of Paradox, Toxic Shock and Rigor Mortis. The band start thrashing from the get-go lashing speedy sharp riffs with no mercy adding the odd acoustic melodic break in the middle ("Exorcistic Rites") ala Paradox. "Satanic Metal" and "Crucify" are here again, almost unchanged, but this is hardly necessary, both being awesome headbanging pieces. "7th Storm" introduces more mid-paced thrash, which is completely cancelled by the speed/thrash monster "Demonic Funeral", where the singer tries to unleash hellish falcetto screams to mixed impressions. The guitar work nicely acquires more technical tendencies ("Tales of the Wicked", "Crypt Sacrifice"), without losing the aggression, which reaches the peak on the fierce "Ritual of the Dead", which comes death-decorated, in the spirit of early Death. The closer "Dismantle(Satanic Force)" is a cool mix of heavy stomping riffs ala Celtic Frost and the staple speed/thrashy ones. As a whole this is a worthy addition to the 2009 metal scene: a strong effort full of vitality, enthusiasm and respect towards the old school.

Satanic Metal Demo, 2006
7th Storm From Hell Split album, 2007
Vanished into the Unknown Demo, 2007
Satanic Force Full-Length, 2009

DISMATA (CANADA)

An apt modern mix of technical death metal and Meshuggah; both trends take turns the whole time making even short tracks like the 2.5-min opener "Deadhorse" intense tiring listens. The time changes are numerous, but quite coherent, and to these ears the mechanical robotic sections ala Meshuggah seem to work better, since the death metal passages at times lose the technicality, without sounding too aggressive ("Primrose Path", the Gorefest-like moments on "Endless Noose", the senseless bashing on "The Man Who Smacked God" in the beginning). Later on the shorter material again packs more punch: the labyrinthine Coroner-influenced "Dying Since October"; the abstractly progressively raging "Stop the Bleeding"; the "Morbid Angel-meets-Meshuggah" ball of fury "Leech".

Understand Full-Length, 2008

DISORDER (POLAND)

Dark, slightly depressing thrash/death metal with elements of doom; the sound is monotonous, with a few aggressive, faster parts. The style is similar to early Messiah, especially in the vocal department, but music-wise as well, maybe not as brutal and chaotic.

Unforgiven For Ever Demo, 1993

DISORDER (GERMANY)

First-rate black/thrash metal with a more seamless switch between styles without losing the constantly speedy guitars, and the vicious, but good black metal snarls. The music is more faithful to thrash, and deceptively starts in a open aggressive fashion with the first couple of tracks. Later on heavy stomping sections come up on the scene for a change, and stay there until the end: parts of "Lunatic Rites", the excellent dark slightly industrialized "M.A.R.S.", which also shows the lead guitarist in fine form. Later things get more interesting with the more technical creepy "Casting The Runes" which mixes gloomy doomy atmosphere with great twisted riffs. "Key To The Kingdom Of The Dead" follows the same disturbing pattern, and is a really sinister slab of mid-paced heavy black/thrash ala Barathrum, with a pinch of Thorns. "Crypt Of The Illuminati" is a total Bathory's "Hammerheart" worship, with a faster technical twist. The closing "Wolvenstein" offers a potent blend of doom-laden riffs and more energetic technical ones.

Mike Browning vs. Disörder EP, 2006
Wolvenstein Full-length, 2007

DISQUIET (POLAND)

Heavy modern thrash metal of the laid-back variety, still hitting hard at times with heavy groovy riffs trying to stay close to mid-period In Flames on the best moments which are not that many, and it all wears thin at some point since nothing new is offered, including the prototypical alternation between melodic and more aggressive vocals. Some of the band members pull out similar stuff in another act: Trinity.

The Truth Full-length, 2009

DISRUPTION (SWEDEN)

Modern thrash/death metal still rooted in the Gothenburg sound, also featuring heavy groovy pounding riffs last heard on Sepultura's "Chaos AD" and Pantera's early efforts.

Face The Wall Full-length, 2005

DISSECTION (CANADA)

This band came into existence after early members from Outbreak left that other band. Despite its slightly messy and raw character, the final result is satisfying: intense speed/thrash metal with direct short tracks, except for the monstrous 11-min long opener "Final Genocide", which is a small album in itself, with the huge variety of tempos and riffs. The guitar work is genuinely technical at times, and it shouldn't be a surprise, coming out of the hands of Antisocial Zap (Outbreak). Some songs are great examples of pure speed metal madness: "Escape of the Apocalypse", "Viking Sword", others concentrate on a more technical, but still intense delivery: "Nails on Leather". The vocals are the flaw here, being hoarse, drunken-sounding, quite unrehearsed. This is one of the most uncompromising, and best, recordings from the Canadian metal underground, a good example how aggressive and more technical riffs could be put together.

Final Genocide Full-length, 1988

Vibrations of Doom

DISSECTOR (CROATIA)

Based on the "Emerge From Profundity" demo, this act offers classic-sounding thrash metal of the fast Rigor Mortis-like type with cool melodic leads and forceful hoarse semi-clean vocals which at times just recite in an attached speechy fashion. "Global Death" is an ambitious, almost progressive, take on the style introducing clever more elaborate passages amid the traditionally speedy approach the exit being a fine balladic lead-riven tune. "Confronted to the Chemical Confusion/Mourning For the Promised Land" is also worth mentioning being a dark atmospheric number in a slower pace, not far from the Greeks Nightfall, teasing the listener with nice intriguing semi-technical riffs and again a few stylish leads.

Emerge From Profundity Demo, 1993
Encircled Demo, 1994

DISSEKTOR (COLOMBIA)

A promising demo of intense classic death/thrash metal which efforlessly switches from more moderate thrashy sections to aggressive blasting death metal ones; ironically, the softest track here is called "Brutal Sex", which hardly has anything to do with thrash, let alone death metal (let alone sex) . "Wickedness in Their Maximum Expression" is a nice mix of quite a few styles: death, thrash, speed, gothic, and more.

Supremacy Demo, 2008

DISSENT (USA)

Based on the EP, this band lashes out aggressive classic thrash akin to Slayer and Attomica, not shying away from hard, and even grindcore on a few times. This is fast brutal stuff with no "pauses" along the way.

By Any Means Necessary Full-length, 2007
Strength Through Chaos EP, 2009

DISSENTER (USA)

An excellent 4-track demo of solid power/thrash metal similar to the Heathen debut and early Meliah Rage; the singer is quite good, bringing to mind Katon W. De Pena from Hirax. "Blood Under Heaven" is a mighty speed/thrashing killer, followed by the heavy, mid-paced power/thrasher "On The Wings of a Demon". "The Calling" and "Razor's Edge" together form an atmospheric doom/thrash outro.

Wings of a Demon Demo, 1989

DISSIAN (MEXICO)

A 4-song demo of retro thrash with a few more intense death metal moments; the style recalls Holy Moses mixed with a couple of more modern Swedish insertions. The guitar work is good, especially the leads, and there is good alternation between melodic and sharp hooks, both contrasting to the brutal low-tuned vocals.

Pale Awakening EP, 2008

DISSIDENT (RUSSIA)

4 songs of intense retro thrash/death, mid to up-tempo, with very brutal low death metal vocals; the riffs are sharp with attempts at more technical performance, but more adherence to faster more brutal sections in the future would definitely make both the singer and the fans happier.

Demo Demo, 2009

DISSIDENT AGGRESSOR (USA)

Having taken their name from an early Judas Priest song (or from the Slayer cover?), this band offers excellent heavy technical thrash bringing to mind quite a few bands from the genre's peak period: Metallica, Forbidden, Nasty Savage ("Penetration Point" on the more technical moments), etc. The lead guitar work is striking and quite stylish, but the rest is by no means worse. The riffs are crunchy, frequently changing, as well as the pace which is never too fast and brutal, with many interesting ideas thrown in, and this increased complexity at times might come as a bit too much to some, but the songs are no longer than 4-min, with a very few exceptions, and in the long run anyone will definitely find a lot to like here, especially when the last two superb technical, jumpy and twisting, instrumentals ("Collage" (this piece actually steals some riffs from Riot's "Privilege of Power", which in their turn have been borrowed from an early King Crimson instrumental, but this is hardly a complaint) and "LBS") hit you.

Dissident Aggressor Demo, 1989

DISSIMULATION (LITHUANIA)

Black/thrash metal of the old school, reminiscent of early Kreator (this band is honoured with a cover on the debut of "Tormentor"), Venom and Bathory; the black metal elements are slightly increased on their sophomore release, aggravated by nice technical riffs, suggesting at the band's higher potential.
"Atiduokit Mirusius" tones down the aggression, and could be viewed a disappointment by their die-hard fans. It actually begins in a mild mid-paced power metal manner with "Bilietas i Cirkŕ", but immediately after picks more speed, although the sound remains in more temperate waters. The razor-sharp guitars from previous works are almost nowhere to be heard, neither are the more black metal-inclined moments. This is melodic thrash metal with nods to power, with very few displays of technicality (the closing "Atiduokit Mirusius") which, judging by the previous recording, should have taken the upper hand here.

Miglose EP, 2000
Maras Full-length, 2002
Prakeikimas Full-length, 2005
Atiduokit Mirusius Full-length, 2008

DISSIPATE (USA)

Based on "The Realization", this band plays heavy groovy thrash/death, which switches tempos all the time, sounding quite intriguing, especially on the intense technical death metal sections, which could rival even masters like Cryptopsy or Decapitated. However, the music safely returns to the established groovy patterns not long after, but it's far from boring: there are progressive melodic passages as well, which sound as though at any moment would go into Opeth waters, like the short acoustic interlude "Zeta", or the atmospheric balladic exit on "December 21st" (what happened on that day? Anyone?). Hats down to the guys for the aggressive mechanical technical death/thrasher near the end "Sixteen", and for the even more impressive frantic closer "Deception" (don't worry about the clean vocals there; they are only slightly hinted at). One may want to track the debut down, just to check whether those genuine technical moments were prevalent there...

Dissipate Full-length, 2006
The Realization Full-length, 2009

DISSOLUTION (NEW ZEALAND)

Based on the full-length, this band offers energetic thrash metal with early Whiplash and the early 80's German scene the major influences. The guys thrash with gusto sticking to the fast parametres which at times come "decorated" with a more extreme black/death metal "colouring" ("Plague of Violence", the beautifully-melodied proto-deathster "Necrowitch") to which the gruff husky death metal vocals suit better. The guitars carry a big doze of melody which is not something very typical for this particular kind of music giving the sound a cool individual character which at its best even comes close to the legendary Iron Maiden guitar "duels".

Southern Invasion EP, 2008
Thrash Hammer EP, 2008
Plague of Violence Full-length, 2010

DISTILLERY (POLAND)

A band who cross the 90's thrash of Pantera and Machine Head with the classic sharp riffage of Anthrax and Testament; the mix works well, especially on the faster, more aggressive tracks ("On the Line", "Sicktime"). Some numbers are pure groove- "Smutnia", but are not bad, and even the Motley Crue cover "Kicksart My Heart" is adapted to the heavy sound of the rest. The album closer "No One" is a very sudden departure from thrash metal: this is gothic/dark wave with progressive overtones, quite effective, but having nothing to do with metal. Too good/bad the band never developed this tendency...

Don't Try to Lie Full-length, 1994

DISTORTED (BELGIUM)

Classic thrash (Bay Area-influenced), modern thrash (think Dew-Scented) and hardcore (early Pro-Pain) shake hands on this debut resulting in good headbanging music.

Demon Inside Full-length, 2006

DISTORZE (CZECH)

The style varies throughout the demos from crossover/thrash, to heavy thrash ala Nasty Savage and even to some Destruction-like riffs; a mixed bag as a whole.

Distorze/Zrcadlo Single, 1990
Generation From Trash Demo, 1990
Fuck Off War Single, 1991
Mozková kastrace Demo, 1991
I Think So... Demo, 1993

DISTRAUGHT (BRAZIL)

Another fine addition to the evergrowing legion of Brazilian thrash metal bands; based on "Behind The Veil": apart from the German school-worship typical for this part of the world in recent years, Distraught add a Slayer-like intensity on some tracks and genuine technical riffs without completely leaving the German influences behind. The music is quite intense at times being replaced by choppy technical passages and great heavy numbers ("The Middle Ages").
Their debut is another fine effort, but is more diverse. It opens in a fine way with the technical number "New Crime", featuring a nice Oriental guitar near the end which is misleading since the rest of the album is not as technical, but is by no means worse. The Slayer influences are there, but there are modern groovy sections, too, and the tempo frequently changes from fast, bringing to mind the more extreme side of the Brazilian metal scene of the 80's ("Death Road"- and again, a brilliant Oriental passage here), to mid-paced to slow.
"Infinite Abyssal" is another commendable work, thrashing with passion from the very beginning with the raging title-track coming somewhere between Rigor Mortis and mid-period Death, even sharing some of the technical leanings of the latter. "Removing The Rubbish" is another fine mix of speedy riffs and more technical ones, before "Umbral" enters with really aggressive proto-death sections, sounding quite close to the Swiss Messiah (their mid-period). The madness gets just a bit under control on "Antibiotic Tendence", which is quite fast, too, but boasts some of the finest technical hooks. "Spiritual Reward" is jumpy and hectic, reducing the speed, but is high on technicality, with again Death and Messiah very close soundalikes. After the short quiet instrumental "The Cut" comes the magnum opus "Science, Philosophy And Religion", which is an excellent display of the guys' technical skills, offering an impressive array of riffs and tempo changes. "Tufăo" is a short, more immediate thrasher of the less intense type, and "Dusty Land" takes it easy as well, coming with a slower heavy Bolt Thrower-like delivery, except for the furious super-fast ending. "Slaves of Creed" speeds up, anf jumps straight on the death metal wagon: a vintage late-period Death number, going a bit beyond that with some of the most complex riffage on the album, plus the atmospheric cosmic ending: eerie ambient sounds, accompanied by an abstract dissonant guitar tune: quite a stylish exit from this very good effort, which could be considered the band's finest hour.
"Unnatural Display of Art" shows the guys alive and well, following faithfully on the sound epitomized on "Behind the Veil" relying more on the Bay-Area (on the faster moments) to pull it through; the problem is that this time the guys have also decided to add a few modern elements to "update" their delivery, and as a result the album suffers from the lack of more speed which was an essential element on each of their older works. It offers a couple of faster songs, but the mid-paced ones in the spirit of Slayer's late-80's period are clearly the dominant material here, and this heavy pounding rhythms wear thin before long being repeated on most compositions with little deviation, leaving the brisk opener "The End of Times" hanging awkwardly without much decent support later. Technicality is nowhere to be found, and overall the band have failed to find the perfect balance between the classic sound and the more modern elements.

Nervous System Full-length, 1998
Infinite Abyssal Full-length, 2001
Behind the Veil Full-length, 2004
Unnatural Display of Art Full-length, 2009

DISTRUST (VENEZUELA)

Modern 90's Pantera-influenced thrash metal, based on the full-length and the EP before it; "Walk This World Alone" is a more interesting listen, now more dynamic modern headbanging thrash, crossing Trivium with The Haunted ("Bleeding Mistakes", "Walk This World Alone"), with the Pantera references still present ("Lost Inside") as well as cool semi-clean vocals.

Distrust EP, 2003
Cloned Messiah Full-length, 2004
Walk This World Alone EP, 2007

DISTURBED (USA)

Cool crossover/thrash metal; the music takes off on quite a few times, especially when it comes up with contrasting mixtures, like "Comatose", which blends heavy doomy riffage with brutal death-tinged outbursts; there are also undeveloped, but intriguing attempts at more technical thrash (the instrumental "Brain Deth", the sophisticated technical "Productive Intercourse Serial Killer"), spiced with jolly rock'n roll hooks. The shorter numbers are pure unbridled hardcore ("Kill 'Em"), but here come the laid-back, soft moments ("Bought & Sold", "Die Die Die"), and things are well balanced. "Evil Sensations" is a pleasant surprise near the end being energetic thrash/crossover with a nice technical twist, followed by the melodic, but interesting instrumental "Astronomically", leaving a very good impression, partially ruined by the aggressive hardcore closer "What the Fuck".
One of the band guitar players: Earl "The Root of All Evil" Root, passed away in 2008 after a long battle with cancer.

Disturbing The Peace Full-length, 1988

DISZTRAKTOR (HUNGARY)

Based on the "Trú Agrár Metál Forevör" demo: a blend of modern and classic thrash with certain crossover tendencies; the guys keep it up-tempo adding nice melodic hooks at the appropriate time probably taken from the Hungarian folklore. Otherwise the music is unpretentious and jolly, and flows effortlessly not requiring too many musical skills. The singer ruins the picture quite a bit with his very gruff unrehearsed delivery.

Élet a Tanyán Demo, 2003
Fertraktorztathatatlanul Demo, 2004
Paraszt Demo, 2005
Trakkenroll Demo, 2006
Nagy Disznóság Demo, 2007
Trú Agrár Metál Forevör Demo, 2009

DIVE IN MINDS (ARGENTINA)

This band comes up with good progressive/technical thrash/death metal, along the lines of Scenery from the Czech Republic and later period Death. The guys are not fans of very speedy tempos, and keep the music within the mid-pace, although on quite a few times it slows down. The album is full of dreamy, atmospheric moments, created mostly by the very stylish guitar work (the leads, in particular) which meanders, alternating sharper more intense parts with more melodic ones. On the longer songs ("Under the Power of Men") the band inserts numerous time changes and guitar riffs, creating a very multi-layered picture, which is really original, but the lack of speed makes it sound a bit tedious. This is probably the only complaint: if this high level of musicianship could be mixed with a few faster sections, the music would have a wider appeal. Now these complex, beautiful, but peaceful song-structures would be of a bigger interest to the progressive metal fans.

Innocent Victims Full-Length, 2001

DIVIDER (SWEDEN)

Modern thrash mixed with hardcore; nothing new, if we exclude the nice melodic, gothic number "At Twilight", and some timid attempts at a more aggressive, death-tinged play: "Questions Everything".

Serves You Right Demo, 2006
Carrying The Cross Demo, 2007

DIVINE CHAOS (UK)

4 songs of modern thrash/death metal, brisk, but predictable, with cool melodic licks; there is an attempt at a more serious delivery, on the long diverse "Path To War", which ends up being a fairly satisfying slab of semi-technical thrash with frequently changing tempos and moods, and again, a couple of intriguing melodic tunes. "The Infernal End" at the end is another joy with its more classic riffs, good short leads and energetic pace.

Every Empire Shall Fall EP, 2007

DIVINE DECAY (FINLAND)

A Testament-influenced band, but not from the heydays of the mighty Americans; the style clings between "Souls Of Black" and "The Ritual". At times the music becomes too melodic exiting the thrash metal realm, drawing comparisons to Metallica's Black Album (the second album).

Songs of the Damned Full-length, 2001
Maximize the Misery Full-length, 2003

DIVINE SIN (SWEDEN)

This band includes the future Morgana Lefay (and also Lefay) sin