Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z E.A.K. (PORTUGAL)
Based on "MuzEAK", these guys play crunchy modern thrash with metalcore borrowings which is more on the laid-back, mid-tempo, and consequently the more boring side. "Ears Have You" is a forceful 10-ton doomster, but the following "Nasty Haircut" provides the only more energetic riffs here. The singer is an ultimately annoying hysterical shouter who deafens the instruments at times ruining things even further.
Musclecore Full-length 2006 Official Site E.H.E. (SERBIA)
This is diverse thrash/crossover which ranges from pure unbridled outbreaks ala early Prong and The Accused to moderate, even clever, riffs in the spirit of early Voivod (the first 2 albums). Not bad, but pretty short, and with a bad sound quality making the guitars sound a bit noisy at times.
Beer 'n' Chicken Demo, 1991 E.N.D. (CROATIA)
Based on the demo, these guys blend unrestrained crossover with heavy groovy post-thrash. The results of such a "therapy" are predictable since quite a few bands from the more and not so distant past have tried their hands on something similar. So don't expect any aims at originality: all this is rehashed heavy riffs without many lively moments (one such one is the energetic Pro-Pain-esque headbanger "My Vision"; and of course, the unexpected grinding bomb "Che Bella Ragazza (E Mia)", a total early Carcass worship!). The singer is a gruff death metaller who suits the squashing musical approach most of the time.
Shortest Distance From the Truth Demo, 1999
Official Site E.S.T. (RUSSIA)
Based on the debut, this is a more thrashy version of Motorhead with a certain Exciter flavour as well. There are more traditional heavy metal numbers and ballads, but most of the time the music is speedy and enjoyable. "Joker" is a pure Motorhead worship, a lively unpretentious roller-coaster, and "Father" is a jolly crossover joy with Russian folk elements. "Knife" is a more aggressive cut, it's a knife after all, but nothing overtly thrashy, and "Remember Kathy" is a romantic balladic idyll. The rest is the Motorhead boogie ("Moscow Outskirts", "Russian Vodka") accompanied by frequent shouty choruses, the more serious element being the imposing epic hymn "Ten Holy Jolly Years", and partially the thrash/crossover abraser "Red Beast", this one vintage early Exciter. The singer is vintage Lemmy (R.I.P.), maybe hoarser and throatier, and seldom makes the attempt to actually sing.
Electro Shock Therapy Full-length, 1989
Official Site E-FORCE (CANADA/FRANCE)
Eric Forrest keeps himself quite busy after he left Voivod. Apart from the industrial/death/thrash metal outfit Project Failing Flesh, he also takes part in this band. Of the two bands, this one is much closer in spirit to Voivod; actually this is very similar to "Negatron". It starts in a very cool intense manner with "Mayhem" (actually, the real beginning is a short haunting intro: "Satanic Rituals") which thrashes with conviction and a certain industrial edge. Later things become only more interesting with a more complex dark sound and nice stylish guitars on "Germ Warfare". "Belief" preserves the darkness, but increases the intensity, resulting in the album highlight. "Psychopath" is a slow doom track but effective and creepy. The second half of the album contains shorter more direct tracks with a stronger industrial shade but quite cool and dynamic, graced by nice melodic guitar hooks ("Global Warning"). The untitled song, which finishes the album, is the most aggressive one with a touch of post-black metal ala later period The Kovenant, also brought by the more vicious tone acquired by Forrest (his style on the other material is quite similar to the one on the Voivod works). Those of you who loved the Voivod period with Forrest, and are pulled back by the new unimpressive output that band has released in the more recent years, will be delighted.
Evil Forces Full-length, 2003 Official Site EAGLE SHADOW FIST (GERMANY)
This is modern stuff, a thrash/post-thrash/metalcore conglomerate which is expectedly accompanied by a gruff shouty/clean emotional
vocal duel; the musiciansip hits highs not very common for this particular style, with "Silent Assassin" being a particularly decent
quasi-progressive opus, and "Firethorn" touching the melo-death realms where acts like In Flames and later-period Dark Tranquillity belong.
"Pure Scars" is another track worth mentioning, a more intense ride bordering on retro thrash, the closing "Warkiller" another
notable shredder with echoes of the Bay-Area.
Eagle Shadow Fist Full-length, 2018 Official Site EAGLES PREACH (DENMARK)
The line-up here includes former members of Invocator; otherwise this is a nice, more technical version of the good old thrash,
but hardly reaching any Artillery-like heights although the songs are lengthy and the guys keep them interesting with various
paces, screamy leads, and frequent moshing sections. There are a few intriguing melodic variations (the great playful tunes on
"Eagles Preach") and when the band keep it shorter (the nice basher "Cries of War") they shine brighter: don't forget to check out
the closing piece of fury "Death Penalty" which will split your head open. The singer is nothing striking singing in a mid-ranged
semi-clean/semi-declamatory manner not quite matching the better music. The production is quite muddy making the instruments not
very clearly heard at times.
Rule No. 1 Demo, 1990 EAR-SHOT (GERMANY)
This band's line-up includes Andreas "Andi" Siegl: a former member of the speed/thrashers Paradox. Based on the full-length debut: you won't hear anything like Paradox here; this is groovy post-thrash reminiscent of mid-period Machine Head (after "The More Things Change...") with the obligatory melodic breaks and clean vocals which are quite good, by the way, as opposed to the Phil Anselmo-like main ones.
Emotions EP, 2000 Official Site EARLY GRAVE (FINLAND)
This Finnish duo specialize in retro death/thrash with a dark tenebrous sound quality, the not very pronounced, guttural deathly vocals creating
somewhat oppressing atmosphere. This isn't very fast-paced stuff, with playful semi-gallopers ("Witchery") dissipating the thick somber cloud later,
with doomy escapades ("Sluts of Hell") balancing the situation, the latter picking up some inertia eventually, with the abrasive headbanger "Grail of
Insanity" and the death metal pummeler "Roaches".
Early Grave Full-length, 2021 Official Site EARLY GRAVES (USA)
Based on "Goner", this act pulls out abrasive hardcore-ish modern thrash alternating between fast blitzkrieg and groovy dragging numbers with noisy heavy guitars and brutal semi-shouty death metal vocals.
We: The Guillotine Full-length, 2008 My Space EARLY MAN (USA)
Based on "Death Potion": an energetic feelgood mix of modern and retro power/thrash metal which thrashes intensely on a few moments ("Someone Else's Nightmare", "Killdrone", etc.), and it's those moments that bring the classic 80's spirit on the album. "Through Chemtrails" is a stylish throw-in in the middle: a nice lead-driven instrumental "flirting" with the main theme from the Halloween movie in the beginning. The closing "Six Mothers of the War God" abandons all the power metal cliches, which have graced at least half of the songs here, and moshes in a less bridled thrashy manner providing the most aggressive riffage in a sure-handed Bay-Area fashion.
Early Man EP, 2005 Official Site EARSHOT (USA)
Weird avantgarde thrash/post-thrash which has all the requisite jumps and twists (check out the spacey oddity "More Air"), but goes over the top in terms of bizzarreness on "Prime" although the next "Mrs. Goathead" is a cool trippy Voivod-ish piece with a nice memorable chorus. The singer is an indifferent clean throat who doesn't participate a lot sometimes emitting odd animal-like (probably goat-esque) sounds.
Earshot Demo, 1991 EARTH AD (CANADA)
Based on the "A Crucifix" EP, this band play raw amateurish death/thrash metal, spiced with hardcore which is surprisingly
non-aggressive with slower doom moments and very vicious low death growls for vocals which is the only brutal thing here.
A Crucifix EP, 1993 Official Site EARTH COLLIDER (USA)
This band play old school thrash which at times is plain semi-amateurish bash with overt shades of hardcore, the very hysterical screechy vocalist not creating a very positive impression either. Things majorly improve on the title-track, a more seriously performed power/thrash opus, plus the charmingly chaotic shenanigans on "Cult of Hate" can also pass for something marginally interesting, but by-and-large this is unpretentious, not very professionally-executed barrage.
Twilight of Man Full-length, 2020
Official Site EARTH CRAWLER (USA)
Glen Alvelais (Forbidden, Testament, Hatriot, Tenet), the famed guitar player is in charge here for the production of this energetic modern thrash/death metal affair which moshes hard on cuts like "Through the Ashes" and "Black Veils", but expect groovy implements in the form of the stomping "Our Decline" and the lyrical power/thrasher "The Rest of Us" were good clean vocals appear to disrupt the dominant overshouty death metal ones. Of all the mentioned bands the delivery is closer to the one of Tenet with similar semi-technical ways of execution (the closing delight "From Below") applied at times. Some of the band members also play in another modern thrash formation, Falling to Pieces.
From Below Full-length, 2017 Official Site EARTHBLOOD (FINLAND)
Based on the “Witchburner” EP, this band play modern thrashcore that is also fairly intriguing with a shade of psychedelia on the title-track, the growling death metal singer pitching it higher here and there, including on the speedy dystopian roller-coaster “Sons of Heavy Rain”, “Swamp Hammer” switching to high-octane trad doom for a change, engulfing all other attempts at a more dynamic play. Some of the musicians are also busy with the black/death hybriders Arctora.
Primal Fury EP, 2023 Official Site EARTHQUAKE (SWEDEN)
"The Truth" sounds so much like Metallica's Black Album that you might start wondering who influenced who as both albums were
released the same year, and not far from each other. Earthquake stretch a little back, as a matter of fact, and reach "...And
Justice For All" on some tracks. The sound is thick, heavy, but offers little outside a mere Metallica-worship. Alas, there's only one "present" for the headbangers: the "Dyers' Eve"-reference "All The Truth" where the leads are top-notch; the rest is either melodic, where one will hear one ballad: "Blindfolded", purely acoustic unfortunately, much softer than the Metallica masterpieces the same year, and one much better edgier semi-balladic instrumental "Euthanasia"; or very heavy with a strong doom metal edge: "Bridge To Fury". The singer does his job well, though, imitating James Hetfield quite well, except for his impotent performance on the aforementioned ballad.
The Truth Full-length, 1991 EARTHSPLITTER (AUSTRIA)
Old school thrash with boosted modern production; the band mosh professionally, covering a wider range of tempos in the process, then brooding stomps on "Psycho War" pairing well with the frenetic pace generated on "Stars of Evil". The second half exhibits bigger complexity reflected in longer, more seriously-concocted compositions like "Smash Heads" and the pensive but still flexible "Hell". The vocals are harsh death metal ones and kind of miss the point on the more complexly-presented material with their indifferent grunting antics.
Earthsplitter Full-length, 2020
Official Site EARUPT (BELGIUM)
Based on "Elements", these folks pull out industrialized groovy post-thrash which has some progressive pretensions ("Hooked on Life") ala the Devin Townsend projects, this connection also strengthened by the decent clean vocals. Shades of stoner/doom ("Bareknuckle Fight") and harsher sounds akin to Ministry ("Writings On the Wall") can also be come across, the noisy reverberations coming from the guitars stifling a couple or more intriguing riff-configurations.
Belief/Relief Full-length, 2013 Official Site EBENEZER (USA)
Based on "Moon Dialect", these folks specialize in all-instrumental progressive metal which has shades of thrash, speed and power
all meshed into one interesting, but somewhat unfinished melee from which one will by all means savour the stylish lead guitar work.
The delivery isn't very aggressive if we exclude the death-ornate "Celestial Irridescence" and the short brutal etude "Wendy";
the rest includes balladic interludes ("The Moon Made Me Do It"), psychedelic ambience ("Fish in the Sky"), rockish variations ("Father Oak Is Displeased"),
and more.
Gleaming and Glittering with Gold and Wondrous Surprises for Young and Old Full-length, 2009 EBOLA (COLOMBIA)
This band play relaxed, moderate post-thrash/post-death which rich melodic background is too contrasting with the very screechy black metal vocals and the deep guttural death meal ones which assist them. In other words, there's quite a variety in the vocal department whereas music-wise this is officiant stuff with doomy overtones.
MuzEAK Full-Length, 2011
"Illustrating Evil" is a mechanical sterile effort now trying to capture the robotic magic of the more recent Meshuggah albums, but the stompiness here is so big that the fan may just lose interest at some point since those heavy chugga-chugga guitars are never-changing, and might get on the nerves a bit in the 1st half. Later on the sound becomes more attractive with "Sentenced" providing fine faster-paced passages also giving a desirable push to the album which finishes with another smashing headbanger, the semi-technical shredder "All Foregone".
Depravity Full-length, 2009
Illustrating Evil Full-Length, 2013
The band's later works have no relation to the thrash metal genre, being on the heavy/crossover side with Motorhead again being the main target for worship.
Forrest is back with his new band, after a 5-year pause, and "Modified Poison" shows the band ready to do some major damage once again. The opener "Deviation" is quite straight-forward, a great energetic thrasher with a technical edge, carrying very little from the heavy industrial charge of the debut. After the title-track tells a similar story, it's clear to the listener that Forrest's gang would offer entertainment of a different, but equally as appealing, kind. Well, not for long, as "Agent 99" is vintage mid-90's Voivod: a fine progressive thrasher with a number of moods and rhythms changing within. "Malpractice" brings back the intensity, even with a slight death metal shade, and "Revolution Riot Act" is classic speed/thrash at its best with a nice technical twist. "Disillutioned" slows down considerably introducing a high-octane heavily industrialized complex sound which works fine with the more direct thrashy riffs. "Exterminator" is first class technical thrash which will take you back to the times of "Killing Technology", followed by the brilliant abstract, but also raging delight "Perfexionist": something which even Mekong Delta, or Deathrow would be happy to have in their discography. "Wired" is more light-hearted industrial thrash ala Ministry and Skrew, and the closing "Victory" is another more twisted slower elaborate addition to this great collection of songs which would be hard to beat even by the much bigger names on the scene. Seldom can one hear such a good mix of straight classic, technical/progressive and industrial thrash metal with such a wide appeal.
"The Curse...": it took a while for Forrest to sum up his cohorts for the next effort, but here they are, later rather than sooner. What may be a pullback for the band fans is the more direct delivery devoid of the stylish technical touches of the previous releases. The guys are now way more straight-forward in their hymns sounding much more old school as well, and pull out a few admirable thrashers: the corrosive semi-galloper "Serpent's Kiss", the dramatic accumulator "Awakened", the more successful attempt at the more prgressive sound "Psyclone", etc. "Devoured" is a cool read of early Voivod while "Mass Deception" is a nice dry headbanger later supported by the galloping histrionics of "Infexxxous". The final "The Curse of the Cunt" will "curse" all "cunts" around and apart from that serves more carefully-structured progressive thrash with a wider gamut of tempo and time-changes on a sterile, abstract base, the only more modern-sounding number here. If one manages to lay aside his hopes for technical exuberance, he/she will have to enjoy this cool translation to the retro thrash canons done with a hefty quasi-futuristic twist.
"Demonikhol": the guys are Canadians now, having changed their nationality under the careful guidance of Mr. Eric Forrest. Whether in France or in Canada, the band seem to have lost their penchant for writing enchanting technical riffs and they try to compensate with noisier industrial environment for the lack of the latter. Alas, this new gimmick could be quite annoying to some since it hardly makes them sound more convincing. Regardless, if one manages to adapt to this new sound, he/she may be able to savour the cool headbanging character of a couple of tracks, like the rousing dry headbanger "Invasion" which tries to capture the modern intensity of Voivod's "Negatron". "Insidious" is a fine sinister creeper, and the title-track is another up-tempoer where the sterile riffage works in a better way. The closer "Last Call" is just noises and is a total waste of space seeing the band taking a new futuristic direction which is hardly the wisest decision.
"Mindbender" would hardly bend too many minds as the band again sound too simplistic and standard to make too many heads turn. There's this abrasive thrascore vibe ("Provocation", "Traumatized") running underneath, the quasi-industrial dirger "Hellucination" bringing the requisite doze of diversion, alongside the more laid-back power metal progressiver "Hypnotic", the diversification campaign in the second half leading to the quiet balladic instrumental "Futures Past", and the quirky, interesting modern progressive saga "Dehumanized", the relatively faithful cover version of Voivod's "Insect" from "Negatron" wrapping on this not very focused, somewhat naively scattered opus.
Modified Poison Full-Length, 2008
The Curse... Full-Length, 2014
Demonikhol Full-Length, 2015
Mindbender Full-Length, 2021
Earshot EP, 2004
The Pain Full-length, 2007
"Red Horse" offers exactly the same stuff with probably more speed included as the numbers don't "stagger" too often towards the mid-pace. The vocalist is more annoying now his shouts reaching the hysterical pitch with ease. Still, there are some "gems" to be found on this otherwise pedestrian offering: the aggressive proto-deathster "Apocalyptic Nights" which tries to capture the manic intensity of mid-period Carcass also with a few appropriate blasting additions.
Goner Full-length, 2010
Red Horse Full-Length, 2012
The debut full-length is in the same crossover vein mingling several styles: power, thrash, and doom, in this case, as the latter kind of predominates ably assisted by the very cool Ozzy Osbourne-like vocals. Even the slower doom tracks are in an energetic brisk pace seldom slowing down sounding not too far from the ones on Cathedral's "Carnival Bizarre". There are a couple of more intense thrashy pieces, of course, in various tempos, which lift the mood up with sharp hard riffs.
"Thank God You've Got the Answers for Us All" clings more towards the power and doom metal side and as such will seldom warm the
hearts of the thrash metal fanbase; this is a cool proto-early Black Sabbath slab a very cool tribute made to the (grand)fathers of all things heavy with the closer "The Longer the Life".
The "You Fancy Me Mad" EP is a 3-tracker which serves heavy mid-paced numbers with doomy overtones which still contain the
requisite short faster sections to capture the thrash metal fan's attention although the Black Sabbath shadow is quite strongly
felt, especially on "Obey & Conform" which could have been a leftover from "Masters of Reality".
Closing In Full-length, 2005
Beware The Circling Fin EP, 2008
Death Potion Full-length, 2010
Thank God You've Got the Answers for Us All Full-Length, 2014
Halloween EP, 2014
You Fancy Me Mad EP, 2014
These Days Full-length, 1998
On the Surface Full-length, 2005
Witchburner EP, 2024
"Theatricals" is the lesser achievement, now offering little to the classic metal fans, sounding pretty modern, still recalling The Black Album on the better moments ("Mirrorhead"). This time the ballads "Helluary" and "Colours" are really cool, heavier with a better more forceful vocal performance. "E. Black Snow" splashes in the middle serving a couple of energetic headbanging riffs, and later on the listener will be "moved" around by the enjoyable speedy cover of The Bee Gees megahit "Stayin' Alive", strongly reminding of the Metallica approach on the "Garage Days Revisited" EP. A third unnecessary much more tender ballad ("MonoHolic") comes towards the end. The guys' well conformed with the ruling at the time trends sound could have made them a name, but they disbanded shortly after this album's release.
Theatricals Full-length, 1993
Elements Full-Length, 2019
Moon Dialect Full-length, 2018