The Thrash Metal Guide

Copyright (c) 2007 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
MuzEAK Full-Length, 2011

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.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.

Electro Shock Therapy Full-length, 1989
Feel Of The Feather Full-length, 1991
13 Full-length, 1995
Therapy For The Soul Full-length, 1998
Zloi Rok Full-length, 2003
Подъёмъ! Full-length, 2005

E-X-E (USA)

The band's debut is an uneven mixture of fast furious thrashers and generic heavy metal; quite a mixed bag, but the energy of outbursts like "Slaughter Disorder" and "Stricken by Might" is hard to be ignored; the guitar work is quite simplistic, reminiscent of Venom and Celtic Frost on the aggressive material. "Seek & Destroy" is not a Metallica cover, but is a very cool energetic power metal hymn.
"Sicker Than I Thought" is a full-out speed/thrash assault topped up by good high-pitched vocals, and is the much better effort of the two; the guitar work is sharper and more polished, and one can find interesting, albeit a bit undeveloped exercises in abstract, Voivod-ish technical thrash ("Sexploitation"). There are really impressive aggressive smashers as well: "Horros of the Mind", "Chamber of Sorrow", etc.

Stricken By Might Full-length, 1987
Sicker Than I Thought Full-length, 1990

Vibrations of Doom

E-FORCE (CANADA)

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: "Germ Warfare". "Belief" preserves the darkness, but increases the intensity, resulting in the album highlight. "Psychopath" is a slow doomy track, but quite effective and creepy. The 2nd 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.

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 next "Modified Poison" 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 an impeccable mix of straigh classic, tecnical/progressive and industrial thrash metal with such a wide appeal.

Evil Forces Full-length, 2003
Modified Poison Full-Length, 2008

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
Earshot EP, 2004
The Pain Full-length, 2007

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
Goner Full-length, 2010

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.
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 doomy 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.

Early Man EP, 2005
Closing In Full-length, 2005
Beware The Circling Fin EP, 2008
Death Potion Full-length, 2010

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, doomy moments and very vicious low death growls for vocals (which is the only brutal thing here).

A Crucifix EP, 1993
These Days Full-length, 1998
On the Surface Full-length, 2005

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 is 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.
"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.

The Truth Full-length, 1991
Theatricals Full-length, 1993

EBONY TEARS (SWEDEN)

Another one from the whole pleiad of thrash/death metal acts from Sweden who try hard to be the new At The Gates. This band's style is more thrashy than the one of that legendary band and is also infused (at least on the debut) with quiet, acoustic moments and a considerable presence of violins which create a somewhat haunting atmosphere. On later works the band hardened the course (especially on "Evil As Hell"), introducing Floridian death metal riffs, and the final result is more satisfying although a certain number of their old fans were not very happy with the transition. Having moved away from the restraints of the Swedish death/thrash metal scene quite a bit and on the way to forge their own sound, the band members took a very strange decision, voting to change their name to Dog Faced Gods. Reportedly the style of this new formation is not miles away from the one of the band reviewed here.

Tortura Insomniae Full-length, 1997
A Handful Of Nothing Full-length, 1999
Evil As Hell Full-length, 2001

ECHIDNA (GREECE)

Based on the demo: melodic death/thrash metal of the modern type with nice guitar work which at times reminds of the Shrapnel bands; the guys break the pattern by adding more complex, progressive sections.
"Manifests Of Human Existence" is a more complex offering with clear progressive pretensions at times, resulting in a lot of diversity both in the tempo and the riff department, the former never stepping over the up-one. The good news is that the guitar work never loses its sharpness although more technicality in this aspect could have been better. The guys concentrate on evoking atmosphere not far from Sadist, only with a more active participation of the bass which is a dominating instrument. A couple of lengthy orchestral-only instrumentals are thrown in as well ("Tractatus Cerebri act III, A Twisted State of Mind"), and the noisy thundering section in the 2nd part of "The Pendulum" is too long perhaps, but everyone will be delighted on the only short exercise in technical thrash/death "Human Serpent" after that, before the closing "In Fanthomless Depths" puzzles you again with an uneven blend of abstract mechanical riffs and very quiet balladic sections which again take an undesirably long part of the song. The album by all means has its moments, but more focus on music rather than side effects for the future may win the band more fans.

This Suffering Demo, 2006
Manifests Of Human Existence Full-length, 2010

ECHIDNA (PORTUGAL)

Modern thrash/death metal, well done, mixing nice intense thrashing pieces ("Partisans Of Disonesty", "To Obey Is To Die") with less aggressive, but very effective more technical ones ("New Age Of Murder"). "Painkiller" is not a Judas Priest cover, but is an awesome up-tempo death/thrasher with a nice quiet interlude, maybe a bit overlong.
"Dawn Of The Sociopath" is another capable offering thrashing in a brisk modern fashion, alternating between fast and slow numbers, with the cutting edge of the guitars never lost, except on the briliant balladic mid-break on "Obscuring My Reason"; and on the atmospheric 2-min instrumental piece "Catharsis". The album is thrash metal pretty much all the way with just a few more aggressive death metal leanings ("Dawn of the Sociopath") scattered around.

Tearing the Cloth EP, 2006
Insidious Awakening Full-length 2008
Dawn Of The Sociopath Full-length 2011

ECLAMPSY (URUGUAY)

This is retro death/thrash with a buzzy guitar sound and a deafening bass-bottom; the music some kind of awkwardly mixes slow atmospheric passages with very fast ones, recalling early 90's Messiah, but the bashing is taken directly from the Protector and Merciless textbooks; Morbid Saint are another close call. The singer is a brutal death growler, but suits the aggressive delivery, which becomes quite violent and brutal on the last couple of tracks, which are direct short bombs of fury, "killed" by the cool orchestral outro.

Extreme Feelings Full-length, 1994

ECOCIDE (GERMANY)

The stylish Oriental intro with the engaging title "This Soil Shall No Longer Bear Fruit" will enchant you big time, but later on the listener will come across a heavy crusty blend of doom and thrash metal with the Oriental motif still around. The singer is a girl, and her rendings are more in the sinister black metal camp, although the musical approach may remind you of the first 2 Sacrilege albums, with more concentration on the slower, doomy side of the style.

Ecocide Full-length 2011

ECONOMIST (GERMANY)

A capable, albeit flawed, hesitation between the ruling 90's post-thrash and the classic power/thrash metal sound with a few more intriguing melodic "detours": the interesting semi-progressive "Innocently Introverted"; the semi-balladic "Flowing Thoughts", a really good composition with heavy overtones; the more dynamic thrashy "The Cage", and especially the really cool progressive power/thrasher "Environmental Funeral": an exemplary mix of heavy hard riffs and atmospheric progressive passages with a doomy shade. The guitar work is not very crushing relying on mid-paced patterns with frequent adherences to the ballad on the longer songs, and the singer is a nice addition with his clean mid-ranged delivery. Some of the musicians have also released a solitary demo of classic speed/thrash metal under the name Sudden Darkness, while others have entertained themselves in a much more brutal manner with the death/grindcore "monstrosity" Ripping Entrails.

New Built Ghetto Status Full-length, 1994

ED'S ATTIC (HOLLAND)

A 3-track demo of heavy doomy thrash which sounds like a predecessor to the doom/death metal wave that started in Holland a few years later. The main vocals are clear death metal, but there is an annoying inclusion of clean ones, which are not too bad, but together with the brutal singing just don't make sense. The music is surprisingly melodic, with a touch of early gothic even, despite the presence of more intense thrashy riffs here and there.

Demo 1 Demo, 1988

EDDY (CHILE)

This act plays dry mechanical modern progressive thrash metal, which is instrumental-only, but is diverse with jumpy hectic riffs and great, both melodic and technical, leads with an abstract edge. The tempo is mid to slow with occasional faster "outbreaks", and despite the not very big variety in terms of tempos, the constantly shifting rhythms and riff-patterns will keep you guessing till the end, which is kind of underwhelming expressed in the form of long 9-min doomy/balladic lead-driven extravaganza ("9 MonteserranoParte2"), a slightly boring uneventful exit from this otherwise interesting effort where the lead guitarist should be given a medal for his outstanding performance.

Eddyґs Bag Full-Length, 2010

EDEN’S FALL (USA)

A good new band who play a fusion of Bay Area thrash ala Testament and dark power/thrash metal in the Nevermore mould. The guys concentrate on heavy, not very fast riffage, and with more energy added on future works things might be better, like on the only more up-tempo track here: "Chemical Dreams", which is graced by cool guitar melodies.

Harmony of Lies Full-length, 2006

EDGECRUSHER (GERMANY)

Epic modern thrash which is several times on the edge of falling into Swedish melo-death ala Amon Amarth, but intense thrash forcers, like "Soulsaver" "save" the day. The tempos vary, although the prevalent one is the mid supported by melodic, but hammering, riffage with the casual galloping delight ("Deeper Than Hate") thrown in on occasion. The singer is a slight distraction with his brutal death metal tone, but at least his rendings are comprehensive.

Forever Failure Full-length 2006

EDITOR (SLOVAKIA)

Based on the "Temple Of Abomination" demo, this band plays dark thrash/proto-death, and although the guitars are quite fuzzy, the music is intense and fast-paced. Overall we have a nod to the French school, and more particularly early No Return, since these guys also like to insert Bay-Area riffs from time to time. "Voices In The Darkness" is a good atmospheric instrumental, slower than the rest, boasting fine melodic lead work. "Stop Kdh" is the joke crossover number, partially ruined by the gruff low-tuned throaty vocals. "Anjeli Smrti" is a nod to the technical school echoing late 80's Metallica.

Temple Of Abomination Demo, 1991
Shut Up! Full-length, 1994
Zero Option Full-length, 1996
Game Over Full-length, 2002
Realita? Full-length, 2004
Svet je proti nбm Full-length, 2006
Pod Parou Full-length, 2008

EERIE SIN (ITALY)

A cool take on retro power/thrash metal with brisk guitars, varying tempos, and a few references to the modern trends. The guys know their craft reflected in compulsive all-out moshers, like "Heretics Genocide" and the lively opener "Seven Seals". "Nature's Curse" spices things up with heavy doom-laden riffs, and "Atomic Wrath" is a nice exercise in semi-ballad with a jolly crossover ending. More heavy crushing riffs on "No Surrender", before "Bloody Truth" arrives with faster tempos and cool melodic leads. The closer "The Price of Our Hate" is an atmospheric mid-tempo number which again consolidates the band's enamoration with the doom metal sounds here served on a stomping power/thrash metal base. The guitars have a dry mechanical feel, which at times impedes the sharpness, and the singer has a decent mid-ranged clean throat, although he should try to mix things up by venturing into the higher-pitched registers for the future which would suit the music.

The Price of Our Hate Full-length, 2008

EEZEE (AUSTRALIA)

Based on the full-length: modern 90's thrash which nicely speeds up quite often with energetic classic riffs ("Face The Pain": check the leads on this one), and generally the music is not boring at all. "Time" is a nice, more classically-inclined speed/thrasher, but the meaty groovy guitars take over after that, better suiting the angry aggressive vocals. The singer actually hits the top with his standout performance on the semi-ballad "Creation" where he acquits himself with very cool clean vocals; this composition is quite good, by the way, despite its more moderate nature. Make sure not to miss the closing "Rise From Darkness", which is intense classic thrash at its best, successfully fighting with the couple of groovy sections thrown in.

The debut EP is another cool offering comprising of the merry speedster "Colours", but don't expect too much speed or thrash metal on the mellow heavy metal anthem "Chase The Wind". The modern side of the genre acquits itself with the pounding proto-groover "Cyber Christ", but "Time", also featured on the full-length, cancels it big time, ably helped by the closing optimistic energizer "Virtual Reality", a crossover-styled number with a catchy shouty chorus.

Matter Of Attitude EP, 1993
Rise From Darkness Full-length, 1995

EGZEKUTHOR (POLAND)

Based on the second demo, the band play cool high-speed technical thrash bordering on death metal at times, akin to Infernal Majesty's faster material, or Massacra and Hellwitch. The songs start in a heavier stomping manner (these elements also spring up sometimes in the middle serving as breaks from the intense delivery), but later develop into fast aggressive bombs, at times on the edge of falling apart. "Degenerated Madness" will spare you, slowing down, increasing the technicality, including nice melodic touches, but this is the only track where the guys don't come out with all the guns blazing.
The band's full-length debut is finally a fact, and is a very good work on all counts. The music is not very fast anymore, and death metal is almost nowhere to be heard; the technical leanings are not that stressed on, which could be considered a drawback, but could be caught here and there. This is very well executed retro thrash with several mellower moments: the slower power/thrasher "Powroty", the stomping "Wodnik", which boasts the greatest lead guitar work on the album. The rest is up-tempo, recalling the more aggressive nature of the band's earlier efforts on the closing "B№dџ Jak Metal", which also reminds that the guys were quite technically-inclined in the not so distant past.
"Hateful Subconsciousness" includes all the songs from the demo of the same name, the remaining 6 tracks being in pretty much the same vein: very cool thrash/death metal with a clever technical edge. "Immortal Sinner" is a sweeping speedster, pure death metal all the way, which sets the tone for what is to come, the remaining material being way more death metal-fixated, played at high speed with early Death and Massacra the prime influences.

Czas Sumienia Demo, 1988
Hateful Subconsciousness Demo, 1992
Zuk Demo, 2004
B№dџ jak metal Full-length, 2008
Hateful Subconsciousness Full-length 2009

EIDOLON (CANADA)

One of the finest Canadian metal acts of the past 15 years, this band based their debut more on power metal, infused with a few progressive passages, which is quite surprising since their "Blue Tape" demo from 1994 featured great instrumental speed/thrash, really heavy stuff with a very good production and a standout performance from Glen Drover; that's why "Blood Rain" at the end comes as a complete surprise, thrashing out with an almost death metal-like intensity. "Seven Spirits" was a nice step in the right direction, stepping firmly on a thrash metal ground, featuring awesome both technical pieces and heavy crushing ones. The staple razor-sharp guitar work of Glen Drover has been fully implemented here, and it remains the main characteristics of the band's style. All-out fast numbers like the aforementioned "Blood Rain" from the debut are nowhere to be found, but your soul will be taken by the brilliant instrumental "Tribal Fury" where the "fury" is in the form of up-tempo technical guitar work, mixed with swirling head-spinning leads, rather than any headbanging parts.
"Nightmare World" contains some of the band's most interesting material, and indeed, the title-track which opens the album, is a really worthy take on dark heavy power/thrash. "Eye of Illusion" beats it in terms of speed, unleashing great aggressive riffs in a way no worse than the often-cited "Blood Rain". No more speedy surprises of the kind as the rest of the songs are in the band's trade mark brooding mid-pace.
"Hallowed Apparition" follows on the path of its predecessor, adding "fuel to the fire" with dynamic speedy thrashers like "De-Evolution". "Coma Nation" one year later thrashes even harder, with the title track being a full-on intense speed/thrash., with several subsequent songs almost reaching its intensity. "Apostles Of Defiance" is a step down from the last 3 efforts, seeing the guys obviously tired with their busy schedule, especially Glen Drover whose talents impressed first King Diamond, who recruited him in the late 90's for a couple of albums, and then Dave Mustaine who at the time when this album was released, had already managed to secure his presence for the recording of the new Megadeth album "The System Has Failed" (Mustaine also acquired the services of Glen's brother, Shawn, at the same time, who is still a full-time member/drummer of Megadeth; Glen is no longer there). The misleading "volcanic" "Volcanic Earth" and "Demoralized" thrown in the beginning cheat big time, offering full-throttle aggressive thrash, only to be followed by monotonous lacklustre power metal songs based around elaborate progressive structures, finished with the colossal, but ultimately flawed, 10.5-min "Apathy for a Dying World". This album was completely overshadowed by the released the same year Best of Compilation "Sacred Shrine", which revealed some of the band's best kept secrets, and some of their best performance: the raging thrasher "Black Rain", which is actually the original version of the aforementioned "Blood Rain", the excellent lead-driven instrumental "Race with Time", the marvellous cover of Fates Warning's "Silent Cries", all these ably "assisted" by a couple of songs taken from their "Blue Tape" demo included at the end.
Then the Drover brothers had to focus on Megadeth, and they helped a lot in that band's restoring its older glories, which resulted in abandoning their work with Eidolon for about three years, when they were back in 2006 with "The Parallel Otherworld". The band' singers through the years have never been anything too special to talk about, neither of them being too bad, but having always been a weak spot. The new release saw them "equipped" with Nils K. Rue, one of the true greats behind the mike of recent years, who had left the Norwegian progressive metallers Pagan Mind earlier. With this flaw finally corrected, it seemed as though the guys would hit the top. Well, not exactly: the music presented here is a departure from the band's biting razor-sharp delivery, replaced by a kind of a continuation of the complex progressive style of the already not really impressive "Apathy for a Dying World" from "Apostles Of Defiance". Consequently most of the compositions are long, easily reaching the 7-min mark; on top of that the guys have chosen to open the album with the longest one, the title-track, which lasts for more than 11-min (!), and is hardly the best song the band ever composed, staying in mid-pace the whole time, seldom livened up by the occasional more stylish sharper hook. The fast aggressive thrashers, which were present on every album from "Seven Spirits" onwards, are gone, and now there is nothing offered to dissipate the monotony which was already too characteristic of the preceding album. The King Diamond/Mercyful Fate fans will be delighted to hear the cover of "The Oath" from "Don't Break the Oath" at the end, where the vocal performance is simply outstanding, resembling the King himself quite a bit, with Rue unleashing those unholy very high-pitched shrieks almost identically. Yes, the vocals have finally been brought on level with the music; the problem is that now the music's level has dropped, and we'll see how long it will take for the Drover Brothers and Co. to go back on track.

Zero Hour Full-Length, 1996
Seven Spirits Full-length, 1997
Nightmare World Full-length, 2000
Hallowed Apparition Full-length, 2001
Coma Nation Full-length, 2002
Sacred Shrine Best of/Compilation, 2003
Apostles Of Defiance Full-length, 2003
The Parallel Otherworld Full-length, 2006

EIEN (GREECE)

This is dark modern post-thrash with a strong presence of groove and inevitable shades of doom, the latter sections kind of not suiting the not very emotional clean vocal delivery, which comes with a harsher flavour on the heavier moments. This is moody, monotonous stuff which moves forward without many digressions from the established formula, livening up on the more intense, jumpy riffage ("Behind Lies") involved at times.

Closure Full-Length, 2010

EIGHTBALL CHOLOS (USA)

Stoner/doomy post-thrash, expectedly slow-ish, but with good melodic guitars which hit the top on the leads; the speedy moments are not many at all, and the doom metal fans will be definitely left happier after this. There are two people involved in this project, one of whom, Tracy "G" Grijalva, has done servide with DIO (R.I.P.). The guys played classic thrash under another name, The Warning, during the mid/late-80's.

Satan's Whore Full-length, 1996

EJACULATE (HOLLAND)

"This is not real": based on the "They Are Not Real" demo, these guys offer raw core-ish thrash with a pretty bad sound quality. The music is quite amateurish, with distorted guitars, messy rhythms, and very bad shouty death-ish vocals, which are desirably missing on the tender, by the band's standards, instrumental "Let's Calm Down". It's surreal to hear how this ultra-messy approach can be sustained during whole 11-min on the epic basher "Subconscious Attack", which will seriously damage your "subconscious" beyond repair. Later this act mutated into the death metal outfit Abscess, with the drummer Richard Willemse later joining Within Temptation (!?).

They Are Not Real Demo 1990
Germicide Demo 1991

EKHYMOSIS (COLOMBIA)

Based on "Nino Gigante", this band plays power/thrash metal with a somewhat pop-ish sound which at times is downright annoying; on their sophomore effort they completely abandoned the thrash metal idea concentrating on the abovementioned pop-ish sound.

De Rodillas EP, 1991
Niсo Gigante Full-length, 1991
Ciudad Pacifico Full-length, 1992

EKTOMORF (HUNGARY)

This is groovy post-thrash with a more playful jolly attitude and a couple of jumpier sections; the approach for 3 songs works all right, but a whole album of this heavy proto-stoner riffage may be a tiring experience. And indeed, "Redemption" is a kind of that experience blending heavy post-thrash with even heavier doomy riffs which now are pure doom on quite a few times. To some this may be the better choice, especially when we have nice semi-balladic doomsters like "Sea Of My Misery" where the vocalist abandons his gruff shouty tone for the sake of a more emotional cleaner delivery. There are several attempts at a faster play ("The One"), but they come with a strong hardcore colouring.

The Gipsy Way EP, 2010
Redemption Full-Length, 2010

ELBERETH (SPAIN)

Based on "Arimak Pizturik Dirau", these Spaniards play melodic modern thrash with edgy riffs, sweeping melodies, and gruff semi-clean vocals. Elements of the 90's power/speed metal scene can be felt on the faster sections (the soaring galloper "Bakardadearen Senide"). The guys shred with competence, although the dominant mid-pace may wear out at some point, despite the undeniable charm of the ballad "Iraganaren Doinua", which is nicely boosted by appropriate violin tunes. The closer "Sinismen Galdua" is at least a more energetic thrasher, featuring a nice catchy chorus, the latter pretty characteristic for the band.

Gaueko Ilargia Full-length 2007
Arimak Pizturik Dirau Full-length 2009

ELDERGAAD (USA)

These newcomers offer off-standard, minimalistic technical power/thrash, executed in a hectic mid-pace with creepy, intelligent riffs and good mid-ranged clean vocals. The opener "Cult of the Void" would be a misleading piece, developing in a pensive doomy fashion, until the faster thrashy 2nd part hits. "Ruination" is a serpentine technicaller in the best tradition of later-period Coroner and Unleashed Power. "Malevolent Imprint" is a more intense, stomping number, which sets the tone for a couple of songs, before "Aristocracy of Lies" loosens things up with more dynamic riffage. "Nocturnity" is a more ambitious progressive composition, recalling Hexenhaus quite a bit, both the Swedes' early and later period. The remaining 2 tracks stay on a more complex ground as well, although their consistent mid-tempo character may wear out by the end, although the dramatic, steam-roller guitars on the closing "Wormtongue" may be considered a pleasant closing touch. This is a really cool effort, which could have shown more persistence in the technical department, but for the moment it could be viewed as a promising beginning with a pinch of originality.

Children of Gaad Full-length, 2011

ELDERS OF THE APOCALYPSE (USA)

This is ultimately raw, pristine black/death/thrash which comes as one big, rarely penetrable, wall of chainsaw-like noise, from which the leads will pierce your brain big time. The guys play with the utmost intensity with grindcore present more than what the good taste would allow, consequently sounding quite close to the Australians The Berserker on the more brutal, shorter, material. The singer merges with the rest, although on the higher tones one could distinguish utterly agonizing, evil guttural shouts coming straight from "the very bowels of Hell" (hello, John Milton! (or was it William Blake?). At present the guys are busier with their other project: the death/grinders Your Kid's on Fire, with whom they have two full-lengths released so far.

The Law of Iron Full-length, 2011

ELDRITCH (ITALY)

These guys have taken their name from the Watchtower song "The Eldritch" from "Control and Resistance", and indeed, some of the Americans' complexity can clearly be felt on the band's debut, although to talk about thrash metal on this one would a bit stretching since its base is the 80's American power metal sound infused with nice complex progressive arrangements and very heavy crushing guitars. "Headquake" harden the course quite a bit lashing steel sharp riffs in an admirable progressive power/thrash metal fashion, although the fast direct explosive thrashers, so typical for the band's later works, are only slightly hinted at ("Erase" is a nice up-tempo headbanger). The really heavy guitar work remains, recalling both Eidolon and Nevermore, but the riffs here weigh more. "El Nino" spreads its "wings" wider, and apart from the established classic power/thrash metal base we also have modern elements with a "sniff" of groove, as well as keyboard-infused sections directly taken from the 90's power/speed metal scene. Still, this effort thrashes quite hard on a few times, although in a not as fast, mostly mid-paced, manner.

Then the band took a well deserved lengthy 3-year break, for better or worse, which saw them coming up with "Reverse". The modern thrash hints made earlier have now taken a full hold on the sound, and this effort is a crushing heavy riff-fest, again not far from Nevermore, the difference coming mostly from the presence of the keyboards: the only "reminder" of the past which the band have decided to preserve, and, of course, the excellent clean emotional vocals of Terence Holler. The complexity has been decreased considerably, and for most of the time the album develops in a less elaborate, but quite a satisfying, modern technical thrash fashion. The only downpoint is the cover version of the horrible The Knacks' "My Sharona" which for some idiotic reason has "enchanted" quite a few metal acts through the years (including Destruction). This shift in focus, however, left quite a few of the band's old fans cold who were not happy with this modern and less progressive transition.

It took the guys another 3 years to produce a follow-up to "Reverse", but it was really worth the wait. "Portrait Of The Abyss Within" is a great blend of the more modern sound, introduced on the predecessor, and the old more progressive-inclined one. As a result there is something for everyone here: from all-out direct bombastic retro thrashers to complex labirynthine sections, to pounding heavy modern groovy passages, to really nice melodic ballads (which are actually a trade mark of the band, being present on each of their efforts, sometimes even more than one). "Neighbourhell" is not a radical departure from the previous album, but the guys have gone over the top a bit on the shorter material, which is really fast aggressive thrash, touching proto-death with ease on the most intense moments. Those numbers would definitely be a delight to the headbangers, but combined with the mellower more elaborate compositions (both styles alternate throughout the album almost track-by-track) create a starking contrast to the point that one may get the impression that the two sides have been composed during different periods of the band's career.
"Blackenday" is the band's most straight and least complex achievement. From a thrashy point of view it holds quite a few surprises, by the way, with a very hard-hitting modern guitar sound, which brings this album very close to "Reverse". "Silent Flame" is the prototypical Eldritch power/thrash opener, in a good mid-tempo, nice chorus, and fine more aggressive breaks. As expected, the next one "The Deep Sleep" speeds up, and is another traditional for the band faster thrasher, again graced by a cool catchy chorus. "The Blackend Day" is a nice heavy semi-ballad, followed by the steam-rolling modern power/thrash number "Why" in a pounding mid-pace; no more mentioning of the good choruses. "Black Rain" is again for the headbangers, thrashing more intensely, after which comes another semi-ballad: "Broken Road", but this one is edgier than the first, and better. "Rumours" is a laid-back track, with a shade of gothic ala mid-90's Paradise Lost, and is the most progressively-sounding one of the lot. However, the guys never let this album lose steam, and we have "Frozen": a great speed/thrasher with mighty sharp guitars, and more classic-sounding. "The Child That Never Smiles" jumps on the groove wagon, and is a bit clumsy and slow, saved by the great chorus. Time for more moshing around with the dark faster paced "The Fire", and the other progressively-charged number "Shallow Water Flood" which is a nice mix of hard riffage and softer parts which again recall Paradise Lost in a very good way. "Never Dawn" is a not very impressive ordinary modern power metal closer which again doesn't forget about the gothic theme: will this trend be later developed by the band, only time will tell...
A big 4-year gap is finally put an end to with "Gaia's Legacy". The gothic leanings are, fortunately, nowhere to be found, but the synthesized, boosted edge of the guitars remians. Still, this is not a big detriment, the guys pullng out another good performance for the creation of a new opus, which lyrics are this time centered around the global warming phenomenon, and the measures taken against it to save the Earth from extinction. The dark, sharr riffs of the opening "Deviation" already promise a lot of thrashing, with again the expressive dramatic vocals of Terence Holler providing the more melodic relief. "Our Land" is another crushing, dynamic composition, but the overuse of the keyboards (which are a constant presence here) kind of stifles the guitars' edge. "Vortex Of Disasters" is a steam-rolling number with heavy riffage and a few technical sections, followed by the staple ballad, appropriately named "Mother Earth". "Everything's Burning" is exemplary hectic, technical thrash, pretty fast as well, with a great melodic chorus. "Thinning Out" is a more relaxed power/thrasher with another memorable chorus, but "Like A Child" admirably speeds up again, also boasting a few heavy, smashing sections. "Signs" is the traditional for the band's early days progressive metal cut with a more relaxed, semi-balladic approach, before "Thoughts Of Grey" swtiches on complex thrash once again, this time not as fast, with slight adherence towards the ballad, which gets a full grip on the following "Thirst In Our Hands (Dry Tears)", this cool effort finished with a good cover version of Fates Warning's "Through Different Eyes". The band have done well again, staying true to their roots, by sounding fresh and inspired, although some may mourn the relative lack of those short, aggressive thrash metal pieces, which offered such a good break from the band's more complex style not too far from now.

Seeds Of Rage Full-length, 1995
Headquake Full-length, 1997
El Nino Full-length, 1998
Reverse Full-length, 2001
Portrait Of The Abyss Within Full-length, 2004
Neighbourhell Full-length, 2006
Blackenday Full-length, 2007
Gaia's Legacy Full-length 2011

ELDRITCH (JAPAN)

The strong 80's Japanese thrash metal scene experienced a strong recession in the next decade, with many of its representatives' music having mutated into various modern styles, with just occasional hints at thrash. This album is a cool mix of thrash, speed, power and heavy metal, with a nod to the Bay Area heroes in the more thrashy sections. The problem is that, like it happens with many other Japanese bands, the music ventures into more melodic territories quite often ("Pig Blood Blues", "Lifemaker", to name a few), losing considerably its edge. However, the presence of good headbangers like "Moon Hawk Project" reminds of the former glories of Japanese thrash.

Blood Breed Calls My Name Full-length, 1993

ELDRITCH RITE (USA)

A first-rate demo of speed/thrash metal which will make you headbang more intensely than some full-lengths released around the same time (Blessed Death's debut, Destructor, Anvil Bitch, etc.). The overall style resembles Helstar's "Remnants of War" and Sentinel Beast's "Depths of Death", but this demo is more energetic than both. You can hear great melodic guitar lines, supported by stylish intricate riffs and cool mid-ranged vocals which nicely follow the guitar melody at times.

Demo Demo, 1986

ELECTRIC CHAIR (CROATIA)

Classic power/thrash metal of the less intense variety with progressive overtones; "The Sultan of Evil" is a nice Oriental doomy power/thrasher, but the rest is not as striking, if we also exclude the energetic speedy opener "Brainwashed".

Electric Chair EP, 2009

ELECTRIC HATE MACHINE (POLAND)

A pretty uneven mix of thrash and death metal with a noisy fuzzy sound quality with elements of hardcore/crossover thrown in as well; the music is not constantly fast, and there are times when the guys just plainly entertain themselves pulling out jolly merry crossover to which the aggressive low-tuned death metal growls do not suit quite well.

Souls to Steal Demo, 1997

ELECTRIC SHOCK (BULGARIA)

This obscure Bulgarian outfit pulls out classic thrash metal trying to follow mid-period Sepultura for most of the time playing tight and fast, but the very buzzy noise created by the guitars would be a pretty big obstacle for the listener to fully enjoy this album; which is a pity since the leads are quite good, both melodic and technical, and the riff-work is not far behind being fast and intense. The songs are varied, some being speedy exercises in retro thrash, others serving heavy pounding rhythms. There is an unexpected cover of the Dutch technno-dance masters Two Unlimited of their most famous hit "No Limit", here called "Electric Limit", which is not very appropriate, sustained in a merry optimistic crossover manner, having not much to do with the much more serious brooding tone of the rest. After it the thrashing carries on with the nice diverse instrumental "Clap-Trap" (what's that?!) and a couple of other vigorous pieces until another instrumental "Scotch", this time short and semi-acoustic, closing this cool effort with style. The singer is gruff in a way similar to Max Cavalera, and the leads are a delight to listen to all over providing the finest moments played effortlessly making one want to hear this guy perform with a better sound and with a better side-support.

Die with Emotion Full-Length, 1993

ELECTRO QUARTERSTAFF (CANADA)

A talented act from the land of technical metal, not betraying the reputation of their motherland, indulging in fairly complex music, comprising progressive, modern thrash and a tad of death metal; at times a pretty wide amalgam coming close to the controlled chaos of Toby Knapp's "Guitar Distortion". This is purely instrumental stuff, the guys shredding quite wildly, making some passages not a very easy-to-swallow experience due to the overabundance of time and tempo-changes. There are certainly intense headbanging moments, but they generally last for a short time, since the band are eager to carry on with the constant change of rhythm every odd second. Still, this complicated orchestration doesn't fall apart, and fans of the technical side of the genre will by all means be delighted.
"Aykroyd" is a more laid-back affair, and could be considered the band's "Traced in Air" (hello, Cynic!) in this sense, the guys toning down their brutal busy musical approach, which on "McNutty" develops in a rather peaceful, still quite head-scratching, pace. "Waltz of the Swedish Meatballs" is already a wilder affair, shredding with a nice shade of melody and the odd more brutal stretch towards death metal. "Unholy Gravy" is a very elaborate shred with cacophonic dissonances galore; strangely compelling stuff. "Descent By Annihilation Operation" is wild aggression with a few more melodic stretches, influencing "The Blacksmith", and reaching the culmination on the short explosive technicaller "Stroganoff". The final "Japanese Upside Down Cake" is a multi-layered progressive extravaganza, containing a lot of complex music on a more moderate, melodic base which gets pretty addictive near the end, despite its vortex-like qualitties. Generally this effort is more restrained than the unbridled shred heard on the band's older works (for better or worse, depending on the taste), but as a work of though-out progressive music, it delivers on all counts.

Live EP 2002
Swayze EP 2004
Gretzky Full-length 2006
Aykroyd Full-length 2011

ELEGIA (USA)

A decent entry into the speed/power/thrash metal hybrid which starts in a not very convincing way with the prototypical cheesy 90's speed metal anthems "Ellos Son" and "La Llorona". Things don't get much better after the sleepy balladic "Pobre Humanidad" and the ordinary mid-tempo power metal hymn "Manipulaciуn Mental", and to some of you the patience may run out here. The more patient ones will be delighted to hear the furious speedster "Fin del Pacto" and the edgy constantly galloping progressive number "La Traiciуn de Luzbel", but the thrash metal fan should spare his energy for the end which is in the form of the brutal shredder "Temor Asesino". Sadly surprises of the kind are not that many.

Almas En Pena Full-length, 2008

ELEKTRASH (PERU)

Based on "Recycled Noise": these guys score high in the modern progressive post-thrash department, mixing direct headbanging riffs with numerous atmospheric/gothic/industrial elements resulting in a fairly intriguing, albeit frequently uneven, listen. Surely electronic variations could have been left out ("System"), as well as pointless balladic outros ("Celula Madre"), but the band is determined to add more and more originality to the proceedings, and here comes the brutal industrial death/thrasher "Morphine", and the tender, but quite good ballad "In Every Dark Place". This is far from an easy listen, and sounds kind of unfinished, like a draft for something "better" to come. It would do no harm to try and track down this "Anemone"... The band richly deserve their name, by the way, with the constant electronic/industrial element present in their music, which one should either learn to love, or hate with passion.

"Filosofнa del Caos" is more aggressive, although the electronic/industrial implements are present on almost every track, and the variety is not that big. Every song develops in the same way: very fast passages take turns with electronic atmospheric breaks, and out-of-nowhere comes a groovy break to make the listener even more confused. There is a Deep Purple cover towards the end of "Bloodsucker", which is the best song; one thumb up as well for the intense industrial thrasher "Nuestra Existencia" at the end, but that's about all.

Excusa para Morir Full-length, 1998
Filosofнa del Caos Full-length, 1999
Recycled Noise Full-length, 2000
Anemone Full-length, 2001

ELIGORIUM (RUSSIA)

Based on "The Newest Testament": the introductory piece "Vixilla Regis Prodeunt Inferni" is a scary weird track consisting of noises on a surreal organ background, and albeit quite a stylish touch, it has nothing to do with the rest which is covers-only of old heroes from the past: Venom ("Witching Hour"); Sodom ("Sodomy and Lust"); Celtic Frost ("Jewel Throne"); Destruction ("Invincible Force"); and Possessed ("Evil Warriors"); all of them relatively easy to recognize. The songs are competently done, but the guitar sound is reall awful being very buzzy, chainsaw-like, and the singer semi-growls in a not very intelligble deathy manner distantly recalling the early singing efforts of Tom Angelripper. The outro "Elements Of Immortality" is another oddity of the funeral doomy variety ending this short effort in the same bizarre manner.

My Hate... Full-length 2008
The Newest Testament Full-Length, 2011

ELIMINATION (UK)

A 6-song live demo of quite decent Bay Area-influenced thrash akin to Metallica (both their early and late-80's period) and their compatriots Xentrix; there are both heavy, semi-technical, and faster tracks here; the sound quality is a bit muddy, though.
"Destroyed By Creation" is a decent effort although the aggression of the earlier output has been diminished and the riffs are more modern-sounding sticking to the mid-pace with galloping outbursts, infectious melodic tunes, and generally it is seldom pure thrash, but comes as a mix of power, speed and thrash metal. The Bay-Area influence is only slightly hinted at on the more vigorous "Rising From The Grave", and on the technical headbanging smasher near the end "Hell's Battlefield". The rest is of a less striking nature creating a friendly relaxing atmosphere without too many intense moments.
"Through the Eyes of Madness" comprises of 3 tracks which continue the growing modern trends from the last effort consequently reducing the speed even further which again relies more on galloping riffs ("Prisoner of Tomorrow"). The songs' length has moved up a bit as well, and inevitably more interesting arrangements can be felt (the diverse pounder "Destroyed By Creation"); still, it takes more to win the thrash metal fans' heart who may feel a bit betrayed again.
"The Blood of Titans" is a similar effort, with 2 of the tracks from the preceding EP present, for the production of another slab of modern thrash which this time is more intense, also introducing the odd more classic tune (the semi-galloping power/thrasher "Eyes of Madness"). "Prisoner of Tomorrow" is a cool, more melodic composition with progressive shades and a very good sense of melody, mostly in the lead department. Generally the songs develop in a heavy, mid-paced manner which may wear thin before the end, the situation partly improved by the more energetic closer "Claustrophobia".

Raw , Live And Still Evil! Demo, 2007
Welcome To Death Row EP, 2008
Destroyed By Creation Full-length, 2010
Through the Eyes of Madness EP, 2011
The Blood of Titans Full-length, 2011

ELIMINATION (USA)

Thrash/crossover of the more aggressive type, reminiscent of Cryptic Slaughter, but certainly not as fast as the latter's early material; the guitar work here is maybe a bit better and more melodic (the leads).

Process Of Elimination Demo, 1989

ELIMINATOR (CROATIA)

A 4-song EP of retro speed/thrash metal in the spirit of Whiplash's "Power and Pain"; fast energetic music with harsh, not very pleasant semi-death metal vocals.

Front is Coming EP, 2007

ELIMINATOR (LITHUANIA)

Based on the "Bombraid Over Vatican" demo, this act offers intense retro speed/thrash with early Destruction a main influence music-wise; in the vocal department the guy tries to sing, but fails most of the time, producing unrehearsed semi-growls with a strong death metal reverberation. "Bombraid Over Vatican" is a sudden aggressive Slayer-esque headbanger, and is a valuable edition to the speedy lashing material which is at times spiced by more stylish leads, but the very fuzzy guitar sound is a major detriment for any more ambitious musical attempts.

Garage Demo Demo, 2007
Front is Coming Demo, 2007
Bombraid Over Vatican Demo, 2008

ELIMINATOR (USA)

This is a one-man project, going under the pseudonym Warchild, who uses a drummer to help him with recordings. On both demos the guy does a fairly good job, offering classic thrash, quite speedy, mixed with slower epic/war tunes; the style comes as a blend of the Brits Sabbat (there are some Slayer-esque riffs present as well) and Destroyer 666, both their early and later period.
The full-length debut is an elaboration on the material already heard on the demos: standout fast-paced thrash with vicious black metal rasps topping the speedy sharp guitars. The songs move in almost lightning speed, but never jump to other genres. The leads this time are quite good, albeit sharp, and the guitar work is generally quite proficient. Tracks like "Holocaust War Metal" and "The Punisher" are instant speed/thrash classics, mixing the best from the German and American scenes, the latter even scoring in the more technical department, as well as the technical blitzkrieg speed killer "Service Your Leader"- a masterpiece of classic speed/thrash. The closing "Prescription for Extinction... Time Enough at Last" begins like a faster interpretation of Slayer's "Reign in Blood", but don't expect this to last through the whole 9-min, and the middle is graced by a slower, doomy section, which is soon interrupted by the next assault that stops for a while again at the end, for a very good peaceful balladic outro. This album is a really pleasant surprise, coming out from an obscure, but deserving to join the upper echelons of metal, act.
"And the Brokenhearted Balladeers" would be quite a shock to the fans of the debut being a very eclectic affair concentrating on rock, blues, country and the ballad (well, the album-title is already a hint, although ultimately hard to believe; but a fact), with only one track belonging to the metal genre: "No Answers", which starts as a wild thrashy shredder before degenerating into melancholic post-doom ala more recent Anathema, which is still way more preferrable than the senseless romantic mish-mash heard for most of the time. The listener can not help, but feel betrayed here big time, and may lose his interest in tracking this mysterious sophomore effort, which sprang up suddenly into the band's discography out of nowhere.
"The One They Were Waiting For" is another mish-mashy extravaganza starting with the 18-min progressive death/thrash metal opus "Atish", which is quite an achievement in itself being an engaging, pretty aggressive at times as well, listen. The guys' melancholic side, however, jumps up right after with 2 tender ballads, the 2nd one ("The Man in the Picture... To Become What One Is") brutally broken at the end with an ultimately blasting exit. Then comes "Honey Sacrifice" which is close to 20-min of diverse stuff ranging from merry crossover to traditional doom without reaching any heights music-wise. "Goodness is Dead... Enter the Black Hole, Fucker!" is an intense death/thrasher without any merits, all this brought with several sample dialogues thrown in-between the songs to no purpose, among a few more stylish quiet, dreamy interludes.

...Will Kill You Demo, 2007
Eliminator Demo, 2007
Breaking The Wheel Full-length, 2008
The One They Were Waiting For Full-length, 2010
And the Brokenhearted Balladeers Full-length, 2011

ELLIPSIS (FRANCE)

This talented French outfit are one of the more prominent parctitioners of complex progressive metal on the contemporary scene their music being a diverse amalgam of styles thrash metal playing a fairly important role, mostly during their mid-period. "From Beyond Thematics" is a nice fusion of heavy crushing guitars and keyboard tunes creating a dramatic atmosphere recalling the Swedish scene of the late-90's: the last Hexenhaus album, Memento Mori, Pathos, Fifth Reason, but the French are more complex and ambitious. There are frequent adherences to the ballad in the middle resulting in a couple of sprawling mild compositions. Harsh more aggressive modern explorations on modern thrash await the listener near the end ("Dark Sensual Nymph", with a nice doomy twist as a finishing touch), but the tempo throughout most of the album is slower rich on mood with a gothic flavour.
"Imperial Tzadik" is a good slab of multi-layered progressive thrash which starts crushingly with the heavy stomper "Perfect Rage" which doesn't promise much progressive, but "Imperial Tzadik" springs up, an ambitious composition immersed in a dark semi-doomy environment ala mid-period Moonspell. "The Witness Tree" is an atmospheric groovy post-thrasher completely cancelled by the dynamic thrashing rhythms on the next "A Box in Ocean" which get dissipated in the 2nd half due to surreal quiet lead-driven passages which last for too long to be a very nice touch. More stomping groovy post-thrash on "Tribal Misericordia", before the gothic-tinged semi-ballad "Possessed by Dilemna". The thrash metal fans will have another go on the dark Nevermore-influenced "Temple of Anarchist Empire", and on the heavy pounding "Green Kommando" which turns to doom near the end. But "Liquid Machine X" does a further damage with sharp intense riffs also falling under the detrimental tendency of the band to diminish the aggressive guitars in the 2nd half. The closing instrumental "Kingdom of Hate and Green" is an interesting, albeit flawed, progressive number which tries to sum up all that's been heard so far, and succeeds to an extent using mid-paced thrash as a base on which more melodic keyboard-ornated passages supercede the overlong balladic intro; good, maybe a bit monotonous, stuff. The singer hesitates between a more emotional and a gruffer, more authoritative, style, but he should have hit the higher registers more often to better suit the varied nature of the music; his constant mid-ranged tember lacks the emotion and melody carried by the guitars and the keyboards.

Build The Nation EP, 1999
Comastory Full-length, 2003
From Beyond Thematics Full-length, 2004
Imperial Tzadik Full-length, 2006
The Grace Decapitated Full-length, 2009

ELWOOD BLATCH (CANADA)

5 songs of typical modern thrash/death metal "courting" the Gothenburg school spicing the typicality with the odd more technical hook. The approach is melodic with mid-period In Flames an obvious influence, so don't expect too many speedy surprises. The guitarists do a pretty decent job, though, and it may be good to focus later on the more clever arrangements.

Set vs Horus EP, 2009

ELSE (GUATEMALA)

5 songs of all-instrumental symphonic speed/power/thrash metal mixing fast furious sections with calmer semi-balladic ones; the music has an edge, and comes close to the Polish Hellfire on the more extreme moments ("Until My Last Breath", the crushing monster "The Wolf's Lair"). The guitar sound is a little thin, and the concentration is more on riffs and hooks, with not a very wide coverage of the lead performance, like it used to happen a lot on the all-instrumental works.

Deus Ex Machina EP, 2009

ELVARON (FRANCE)

Elvaron's style is mostly progressive/epic power metal with a slight presence of thrash, of the classic and not very fast type, on the first two albums. Both albums are cool affairs, "Mages Battle" being the more immediate and thrashy, with shorter songs and edgier riffs. "The Five Shires" shows the band taking themselves quite seriously, elaborating their approach a lot, the culmination being the 30-min opener "The Five Shires", which is clearly the longest opener in metal history, and is a small album in itself, although the level of musicianship is not that big, and the riffs and patterns keep getting repeated over and over. The other songs on that same album are like hard/grindcore outbursts compared to this one, although the shortest one is just over 5-min. The last two efforts show the band having found the way to play quality complex music, although thrash is almost completely gone. Still, they should be given a listen by all fans of well-executed metal although for the longer compositions one still needs to have more patience, some of them going over the 10-min limit with ease.

Mages Battle Full-length, 1997
The Five Shires Full-length, 2001
The Buried Crown Full-length, 2005
Gravitation Control System Full-length, 2007

ELYSIUM (CZECH)

Based on "Nine Ways to Leave", this band plays modern thrash which mixes stylish semi-technical decisions with heavy groovy passages without forgetting about the Swedish thrash/death metal heritage. The album has both its fast headbanging and slower atmospheric sides the latter nicely boosted by the short, but great, acoustic instrumental "The Last Sunrise" near the end. On the last two songs, however, the guys let the moody doomy riffs take over losing the speed completely.

Private Hell Full-length, 2007
Nine Ways to Leave Full-length, 2009

ELYSIUM (USA, Florida)

An impressive demo coming from this very little known band from the heydays of the genre; both fast and slower tracks could be found here. The sound pays tribute to the Bay-Area Scene: Metallica, Testament, Vio-lence, as well as Kreator's more technical period ("Coma Of Souls").

Inspired Hatred Demo, 1989

ELYSIUM (USA, New Jersey)

Based on "Coal Black", these guys offer quite cool progressive power/thrash with echoes of Toxik's "Think This" and Watchtower's "Control and Resistance". The guitar work is both melodic and sharp, but the pace is mostly mid, and heavy pounding riffs ala Sanctuary can also be caught ("Minion Of Fate"). "Pyrrhic Victory" is a nice turn to technical thrash with "Ninth Hour" a close companion to the latter also offering something in the headbanging department near the end. Still, this little gem remains a pretty complex affair with the puzzling riffs and the meandering arrangements, also boasting a very good sound quality. The singer is really a "sunshine" (this is his artistic pseudonim) with his very cool melodic clean delivery reminiscent of later-period Eric AK (Flotsam & Jetsam), never high-pitching, never attempting anything gruffer either, but managing to sound emotional and attached the whole time.

Tortura Demo, 1989
Coal Black Demo, 1990

EM RUINAS (BRAZIL)

A cool 4-track demo of energetic speed/thrash metal in the vein of Warrant (Germany) and Helloween (the first two songs); "Morbid Pits" is a very cool aggressive track with a touch of hardcore ala Nuclear Assault, partially ruined by the bad live sound quality. The other live recording: "Destructed Life/Dead City", is a cool speed/thrasher in the vein of early Whiplash.
The full-length expectedly contains all the songs from the demo (compare the titles) surrounding them with another 4 (there are two short intros/interludes as well) numbers which are in the same vein: retro speed/thrash metal with the Whiplash debut and early Razor the main influences, apart from the more stylish Germanic shades. The vocals are in the drunken hardcore-ish manner, half-Lemmy/half-Tommy Victor, mostly mid-ranged without any unpleasant shouty "surprises".

From The Speed Metal Graves Demo, 2007
From the Speed Metal Graves Full-Length, 2011

EMBER (USA)

Raw, but appealing, old school black/thrash metal sitting somewhere between early Bathory and Burzum with more concentration on the brutal faster side. "...into Death..." is on the other opposite offering a powerful epic sound, and "... Divinity" is an excellent bursting number with melodic death metal "decorations". "Earth A.D." in the middle is a primal energetic cover of Misfits the main difference coming from the vocal department where the guy doesn't change his gruff vicious raven-like tone. "Dance Of The Ancients" later on is a cool laid-back doomster recalling Impaled Nazarene's "Blood is Thicker than Water", if we exclude the exiting hyper-blasting sections. As a whole we have a pretty competent walk over the black metal spectre with thrash metal being just a humble assistant, but the sincere classic delivery and the versatile musicianship ensure an interesting engaging listen for all metal fans. Some of the band members also take part in the death/black metal formation Pazuzu.

Chapter III · Concession & Anthology Full-length, 1998

EMBERS OF EUPHORIA (USA)

An excellent new progressive power/thrash metal band; the style is a fine cross between Vicious Rumours' best period (1990-1994) and Agent Steel (their new sound, after the reformation). The only downpoint is that for seven songs only featured on their debut, the inclusion of one ballad and a short semi-balladic instrumental kind of lessen the impact of the more aggressive material. Surely these guys' finest hour is yet to be witnessed.

Embers of Euphoria Full-length, 2007

EMBRACING DARKNESS (PORTUGAL)

This is pleasant gothic thrash obviously influenced by Moonspell (but who isn't, of the contemporary Portuguese acts?) with mid-tempo riffs and really stylish melodic hooks. "Whispers" is a nice dark thrasher which will also remind you of the Finns Sentenced ("Amok", in particular). The thing which might annoy here is the melodic alternative vocals opposing to the gruff death-ish main ones.

Gloomy Storms Demo, 2006

EMINENCE (BRAZIL)

This band was formed by former members of one of the most famous (and oldest) Brazilian metal bands Sepultura and Overdose. Of course, such a line-up would raise the expectations high, but unfortunately this turns out to be unimpressive industrialized modern thrash reminiscent of Sepultura's mid-90's period ("Chaos AD", "Roots") plus a few more intense death metal passages and noisy hardcore-ish vocals.

Faces EP, 1996
Eminence EP, 1998
Chaotic System Full-length, 1999
Humanology Full-length, 2003
The God of all Mistakes Full-length, 2007

EMINENCE (USA)

Even the bad sound quality of the debut demo, which gives the guitars a slightly fuzzy sound, can not hide the sheer talent displayed here: this is standout speed/thrash metal which has a surprisingly German flavour: think Angel Dust's debut and Iron Angel. This is great, mostly fast, music with nice lead guitar and heavy sharp riffs. The only pullback would be possibly the vocals which sound a bit strained somewhat like an unrehearsed James Rivera.
"Staring at My Face" takes a heavier turn towards the Bay Area, and reduces the speed a bit, concentrating on pounding riffs; the sound quality remains bad, even worse, and the songs this time are unnecessarily long, plodding and quite boring, simply because the same riffs have been repeated over and over. The vocals are also worse taking a slight hardcore-ish shade.

Demo Demo, 1986
Staring at My Face Demo, 1987

EMMOS (FRANCE)

The band mainman and the only known member JeFF takes part in numerous other French underground acts, but listening to the first demo one may not be very curious to check out the other efforts: this is minimalistic amateurish black/thrash metal of the old school spiced with softer punk-ish overtones. The music crosses early Venom with early Bathory with the casual slower doom metal section thrown in. JeFF should improve something in the vocal department, though: these awful drunken shouts could barely pass for singing.

Tyrant After Tyrant Demo, 2005
Guided by the Devil Demo, 2006
Last Breath Demo, 2006
DIY #2 Split album, 2006
Your World Is A Warfield Full-length, 2007
Vol. 1: Emmos Kratos Demo, 2009
Vol. 2: The Meaning of Death Demo, 2009

EMPATIC (POLAND)

Modern thrash/death metal which mixes slow and fast songs with some gothic aesthetics ("Tomorrowland") ala Crematory and later-period Sentenced springing up on occasion. The slower material takes over in the 2nd half, leaving death metal aside, but the riffage becomes too samey, and will remind you of the Finns Gandalf, except for the rough low-tuned vocals.

Gods of Thousand Souls Full-length, 2010

EMPERY (SOUTH AFRICA)

A 2-song demo of good technically-minded thrash clinging towards the Bay-Area when it's more classic-sounding with a heavy pounding rhythm section, not far removed from late 80's Metallica, also recalling Dew-Scented and Corporation 187 when it speeds up, which is when it acquires more modern tendencies. Both influences are well mixed on "Beyond Human", whereas "Ascending" is less dynamic, but more technical and complex, mixing more intense parts with heavy punishing ones, plus a very cool balladic section near the end. The singer is on par with the music with his aggressive low tuned semi-death tone.

Beyond Human Demo, 2009

EMPHERIS (POLAND)

These Poles pull out classic black-ish thrash with quite good clean pagan vocals (as opposed to the vicious black rasps), predominantly fast tempos, one cool cover of Venom's "Lady Lust", one raging black metal bomb ("Necropulsar"), and two very badly-sounding live and rehearsal songs at the end.

The Rituals Of Possession In Blasphemy Split, 2006

EMPIRE'S DARKNESS (MEXICO)

These Mexicans play retro power/speed/thrash which, if it wasn't for the very bad sound quality, could have struck a deeper cord with fans of Savage Grace, Exciter, and occasionally, Whiplash and Hallows Eve (the intense thrashing madder "Perfect World"; the furious shredder "Terrormaniac"). A few epic heavy/power metal hymns also "roam" around ("Strongest Steel"), to which the rough death-ish vocals need to be adjusted better.

Posers Annihilator Full-length 2011

EMPOWER (AUSTRIA)

3 numbers of playful hardcore-ish thrash, more on modern side; abrasive choppy riffs aplenty, and a fine semi-ballad, with both industrial and doom overtones, as a finishing touch: "Illusions", ruined by the subdued death metal vocals.

Promo Promo, 1999

EMPTOR (NORWAY)

This band's members later took part in the formation of some important Scandinavian black metal acts, among whom was the notorious Erik Brшdreskift- the man who committed suicide in 1999, but before that "graced" with his presence bands like Immortal, Gorgoroth and Borknagar. The style here is pure thrash, dark and brooding, but quite speedy, too, along the lines of Rigor Mortis and the Canadians Dissection. Some tracks ("Child Miolester", for example) feature atmospheric doomy parts, "decorated" by stylish lead guitars, which are actually the highlight of the demo, and are a nice contrast to the otherwise gloomy atmosphere. A very surprising, and a totally unexpected choice for a cover version awaits you at the end: Samantha Fox's "Touch Me"; the guys must have liked this song a lot (or rather they had liked Samantha, and especially her... enough said here), since it was released just less than a year earlier; of course it would be difficult to recognize it, as the tempo is fast and intense, adjusted to the predominant style of the demo.

Demo Demo, 1988

EMPTY SHELL (RUSSIA)

Quite intense retro thrash/death metal which doesn't rely on speed all the time, but nicely slows down for the odd mid-tempo smasher ("Slave Of The Grave", "Humanoid"). There is nothing new or groundbreaking here, but music made with such enthusiasm and energy can not possibly be bad.

Soul Surgery Full-Length, 2008

EMPYRIOS (ITALY)

Based on "And The Rest Is Silence": a talented young outfit from Italy, who are in the same league as their compatriots Chaoswave, but the music here is more atmospheric and complex, and not as intense. So we have progressive power/thrash of the modern type with very cool clean emotional vocals. The music ranges from more laid-back progressive ala Symphony X and Evergrey ("Tort", "Unbalanced Equilibrium"), to all-out modern thrashers ("Insomnia", "Perseverance") in the spirit of Nevermore and Eldritch ("Reverse"). Combinations of the two work very well, too: the technical riff-fest "Failure Of Eye".

"The Glorious Sickness" is a better effort, stepping on the pedal more aggressively, lashing out more intense riffage, which nicely contrasts to the very good clean vocals. The riff-fest is top-notch on heavy numbers like "Decadence Parade", which also boasts great lead guitar work. "Empire" is a bigger "monster" with smashing ultra heavy guitars, recalling early Meshuggah and Nevermore, as well as their compatriots Eldrith's album "Reverse"; another hit in the more brutal riff department is "The Eve Arose", which also serves really vicious death metal vocals that can also be heard on the more laid-back, but faster "PSG". The openly modern approach may irritate you to an extent, on the less intense, more conventional "The Glorious Sickness" and, partially, on "The Chaosbreeder", which constantly hesitates between more dynamic thrashy sections and plain boring groovy ones. "Destination: Null" thrashes quite intensely, being the most brutal composition here, with added deep death metal growls. "A New Dawn" is the obligatory more balladic number, quite well done. Like with the previous album, there are times when one could praise these guys sky-high, but one can not close his eyes for the several not very convincing moments, where the music loses both its aggressive and progressive edge for the sake of ordinary pointless groove which doesn't work out even if intended as a break.

And The Rest Is Silence Full-length, 2007
The Glorious Sickness Full-length, 2008

EMURSION OF THE ISLANDS (UK)

Quite decent classic thrash/death metal mixing straight-forward sections with more intriguing technical ones, the overall approach recalling Morbid Angel and other heroes from the early Floridian scene. The lead guitar work is outstanding (check out "Ascension"), some of the best to grace such an album, but the riffs are not too far behind being of the stomping mid-paced type for most of the time. The end is left for a slightly underwhelming cover version of Metallica's "Ride The Lightning", done in a direct manner abandoning the clever guitar play for the sake of pounding, abrasive hooks, with the shouty semi-death metal vocals another mismatch.

Emursion Of The Islands EP, 2011

EN-COMA (CHILE)

Buzzy industrialized post-thrash with faster hardcore overtones; this is bashy, but catchy, stuff with comprehensive shouty vocals ulling one fine speed/thrashy roller-coaster ("Sobredosis!") as a finishing touch, which may drill your brain with its very screamy leads.

Sobredosis Demo, 2007

ENCHANTER (USA)

Cool power/speed/thrash metal reminiscent of Deadly Blessing, Liege Lord, and Agent Steel; the tempo is energetic with sharp riffs and very good leads. The guys like to mix it up with heavy breaks and acoustic or lead-driven passages (check out "DOL"), which is not bad, but their real power lies in the speedy galloping tracks: the excellent "Progressive Entrapment".

The Gates of Insanity Demo, 1989

ENCRYPTION (GERMANY)

An interesting band playing progressive power/thrash metal mixed with Gothenburg-styled melodies; the style clings more towards the classic school, and there are blast-beats inserted here and there, but it might pull back some thrash metal fans a bit because of the presence of cheesy moments from the 90's power/speed metal scene (mostly in the choruses and the leads).

Perishing Black Light Full-length, 2000

ENCUMBER (RUSSIA)

Dark gothic-tinged thrash/death/death/doom metal sounding like a mix between the Austrian one-album-wonder Visceral Evisceration and Bolt Thrower; so don't expect too much speed and aggression, but doomy heavy riffage with sudden grindy bursts ala "Realm of Chaos", and sparce shifts into Swedish death metal ("The Fairyrod"). The songs are long, and dragging slow sections may stretch your nerves a bit, although you never know when the guys will start thrashing, or grinding with passion: these switches are very sudden, and come not quite heralded. The singer is predictably a very low-tuned grunter, at times assisted by an angelic female choir ("Go Far Away... Eternally"). Not bad, but the thrash metal fan may find himself losing focus more than just occasionally. The guys are currently involved in the brutal death/grind project Antesser.

Silent Witness Of Past Full-length, 1998

END-TIME ILLUSION (USA)

Based on "Eminent Profane", this act pulls out workmanlike modern thrash/death metal with a certain technical edge. The tempo varies the whole time, moving from fast to slower in no time, and the sudden technical decisions make the sound interesting, albeit a bit incoherent here and there since those moments are never developed beyond the compulsive-casual-break stage. The leads are very good, being stylish and proficient on every track, except on the clumsy 10-min closer "Surrounded By Deception" which doesn't quite live up to its technical/progressive pretensions moshing in mid-tempo with hectic more technical insertions; it will inevitably stretch your nerves a bit with the overlong quiet break in the middle (this is relative) and the loss of speed which was an essential ingredient on the other songs.

So Below Full-length, 2005
Eminent Profane Full-length, 2008

END AMEN (GERMANY)

This is a joint effort of the Deathrow mainman Uwe Osterlehner and two members of Psychotic Waltz (Dan Rock and Norman Leggio), featuring also the eclectic rock legend Frank Zappa's Son Dweezil as a guest musician during a tour together that same year. The style is a direct take on Deathrow's more technical period sounding like a mixture of the band's last two efforts (not as solid and consistent as "Deception Ignored", but decidedly better than "Life Beyond"). The album starts in a magnificent way, with the imposing grandiose orchestral intro, which will hypnotize you with its escalating dramatism, seamlessly flowing into the opening "World In Decay", which promises an entertainment quite close to the brilliance of "Deception Ignored", although here the headbanging thrash is more widely covered. "Prisons Of Posterity" starts without a pause between the two songs, thrashing intensely, adding swirling virtuoso lead guitar work. "End Amen" is a heavy mid-tempo track with a nice balladic intro which grows into a formidable wall of technical razor-sharp riffage, accompanied by sinister whispers, synthesized drum beats, and one of the finest lead sections in metal history, which will leave you with your mouth gaping wide. "Rebirth" is a great progressive opus, with the keyboards playing a major role in creating an ominous atmosphere, ably supported by the leads again, which on the whole album are on a level seldom surpassed before and after; aggressive thrashing takes hold near the end. Progressive thrash at its uncompromising best comes served on "A New Day's Absurdity" which also boasts a catchy chorus along with the dramatic keyboard background; not much room for direct thrashy moments on this one. "Nocturnal March" compensates with its more conventional straight approach thrashing with full force until the very complex mid-passage throws the listener in bewilderment for the upteenth time. "Your Last Orison" slows down, calming the ball, offering heavy mid-paced rhythms with mot much complexity involved. Watch out for the mesmerizing overwhelming closing instrumental "Silence" which is noises mixed with a slightly distorted guitar, providing the perfect soundtrack to any film about the Apocalypse. This incredible album easily reaches "Deception Ignored" on the best moments, and is a sheer testimony that the real genius can rise above any ongoing trends effortlessly making fun of both big and not so big names on the music scene.

Your Last Orison Full-Length, 1992

END IT (USA)

Groovy thrash metal with death-ish vocals; the music recalls mid and late-90's Entombed, and the last two Massacra albums. There are attempts at more up-tempo thrashing ("Better Than God", which goes even beyond the boundaries of thrash), but they are not that many. Near the end comes the Testament cover of "Nightmare" from the "Practice What You Preach" album.

Meet Your Maker Full-length, 2001

END OF MAN (PHILLIPINES)

The EP: quite well done classic thrash, following the high standards of Vio-Lence's "Eternal Nightmare" pretty closely; this is aggressive fast-paced stuff providing 5 pieces of non-stop headbanging thrash with mighty sharp riffs. Along explosive balls of fury like "The Scourge" and "Servitude" stand calmer semi-balladic delights: "Devoted Mistake" (this is the only one of its kind here, don't worry).
It took the guys 5 years to finally materialize their full-length debut, but "Power, Corruption and Lies" is worth every bit of the wait; it takes the sound offered on the demo, and develops it further, by not straying too far from the already successful formula. So this is a fairly satisfying slab of Bay-Area thrash, again "courting" Vio-Lence, among other representatives of the genre. The music is more diverse this time, coming with more frequent moshing mid-tempo sections, although the all-out speed/thrashers are clearly the highlight: the more melodic speed metal-based "Power, Corruption and Lies" and "Hate Attrition". "Invocation of the Flesh" is a slower stomping number coming in the middle, kind of influencing the subsequent two tracks, but before the thrash metal fan starts changing his initially good opinion about the music, comes the intense thrashing closer "Pagkagat ng Dilim", which is a cover version of a song of the guys' previous band Mass Carnage, and is very close to being the highlight of the album with its razor-sharp riffs and dark slower late-80's Slayer-esque parts.

End of Man EP, 2003
Power, Corruption and Lies Full-length, 2008

END OF THE ROPE (USA)

Based on "Til' It Bleeds", these guys play groovy thrash/death, which has its intense headbanging moments: the ball of aggression "From Vanity To Dregs", which largely compensates for the couple of blatant tedious tracks. The problem is that later on there is only one similar song to offer the same headbanging entertainment ("Faithless").

Shades of Loss EP, 2002
Through Callow Eyes Full-length, 2004
Til' It Bleeds Full-length, 2009

END ZONE (RUSSIA)

This band had a short, but very impressive career. Their debut is a striking first effort, with brilliant very technical guitar work, not too far from later period Death, although here the death metal elements are not too many; this is mostly power/thrash with a strong technical edge and gruff death metal vocals, which are not very pleasant, and do not serve the great music right. That same music is mostly mid-paced, with a couple of effective speedy outbursts: "S.O.D.", "Ulterior Solitude". All this is overshadowed by the exquisite instrumental "The Edge of String"- a whirlwind of amazing guitar work. Later you will hear a nice, more technical and atmospheric cover version of Sodom's "Remember the Fallen". Another super technical instrumental follows suit: "Candlestick of Parcass", and then another, which is quiet, semi-acoustic: "The Castle of The Woman of Mine", all this finished with a very original joke song called "Rock'n Roll", which mixes a jolly rock-ish melody with vicious brutal riffs.
"Thalatta et Thanatos" is an all-instrumental album, a fabulous mix of speedy numbers and slower, classically-influenced ones; relieved from the not very capable singer, the guys unleash a storm of mind-blowing guitar pyrotechnics; two of the instrumentals from the debut are also included, but there are no any changes in them (and there shouldn't be).
To the utter shock of the fans, their swansong is a very ordinary, progressive metal offering; no speed involved, much of the technical flamboyance has been gone, and the new vocals are even worse with their emotionless, alternative blend. It has definitely found its audience, but for thrash metal fans it would have a very little appeal.

First Bequest Full-length, 1995
Thalatta et Thanatos Full-length, 1996
Eclectica Full-length, 1998

ENDANGEREDFECES (USA)

Thrash/crossover with a modern heavy groovy doze, but also quite dynamic and energetic, without jumping on too aggressive wagons. The songs are longer for the style, 3-4min, and some are full-blooded thrashing pieces (the pounding "Cadaver Breath", the nice speedy instrumental "Impale The Wicked", or the smashing Destruction-like "Screaming Mantis") with really sharp riffs.

Plethora of Waste Full-Length, 2008

ENDERS GAME (USA)

Based on the full-length: modern thrash with catchy melodic hooks aplenty, scarce outbreaks of speed ("The Silent Man", the intense short speedster "Desensitized"), and flashes of the good old heavy metal ("Return To Dust"). Feelgood stuff with cool diverse vocals which main blend is mid-ranged semi-clean, but they easily get harsh and more brutal in no time.
The debut EP contains 4 songs of more energetic music again staying within the modern parametres speeding up on occasion to almost headbanging proportions with infectious melodic hooks ("Life In Oblivion") which touch more recent Annihilator with ease without sounding derivative.

Game Over EP, 2003
Breathe New Live EP, 2006
What We've Lost Full-length, 2010

ENDITOL (CANADA)

Two musicians are involved in this project which sees them playing competent modern progressive thrash metal with other influences springing up from time to time (alternative, industrial, death metal, pure progressive ala Spastik Inc and Sieges Even, ballads, etc.). The guitar work is sharp and technical with casual keyboard implements here and there; sprawling, but good, leads; and cool clean vocals in mid-range recalling Warrel Dane when getting more emotional. The more intense Nevermore-sque parts ("Ayin") seem to work better where really aggressive riffage comes forward, although drier more mechanical exercises in modern thrash ("Exerminans") are not bad, either, also thrashing pretty hard on occasion. "Heavenvein" is a potent mixture of dreamy balladic and heavy brutal sections with standout guitar performance. Piano can be heard on a couple of moments as well as short atmospheric semi-acoustic instrumentals serving as interludes. This is interesting larger-than-life stuff which will also remind you of Gojira, Altered Aeon, Zero Hour, among others.

ENDITOL Full-length, 2010

ENDLESS DISTRUST (GERMANY)

Based on "Collateral Damage", this band plays diverse thrash/death, which is closer to death metal, with quirky techncial elements, which are not very fully developed, since the guys try to blast out with passion as well, recalling Morbid Angel at times. When thrash takes over, the results are very close to Coroner at their best: the excellent technical piece "Children", which is a twisted puzzling cut sligtly ruined by the super-fast closing sections. The problem is that elsewhere the guys fail to acquit themselves as well, with probably "Wrong Solution" producing something more stylish with echoes of Obscura and Suffocation. The vocals are scary low-tuned growls.

Conscience EP, 1996
Colours Of Death Full-length, 2003
Collateral Damage Full-length, 2011

ENDLESS PAIN (ITALY)

A wild mixture of thrash, black metal and hardcore, quite fast and brutal, bordering on grindcore at times, reminiscent of another Italian band of recent years, Vexed, but these guys are more vicious and noisier. No trace of Kreator here (allusions made by the band name).
"De-Generation War" offers the same wild frenetic, frequently out of control, blend this time adding death metal even: "Sindon". The speed is too high most of the time, and this could be a major obstacle for some to appreciate this stuff. "Silent Sickness" is logically the best track, slowing down, providing a good thrashy relief from the very big intensity. "Cold Like Death" is the other big surprise: high-octane gothic/doom with heavy meaty riffs and haunting balladic sections; done with style. The immediate follower "Lost Of Control" sticks to the thrash metal idea leaving room for two more hardcore-based, but intense and enjoyable, closers.

Born in Violence Full-length, 2005
De-Generation War Full-length, 2008

ENDLESS TEARS (FRANCE)

This is strange music: there are solid thrashy riffs included, but the concentration is on moody balladic pieces bordering on dark/gothic wave; only for the romantically-inclined thrashers.

Emotion Full-length, 1994

ENDLESS TORMENT (UK)

Based on the "Endless" EP, this is very good technical thrash/death metal, on the heavy side without brutal, ultra fast sections, sounding like a more technical Bolt Thrower mixed with thrash. In the guitar department some moments remind of the great Chuck Schuldiner (R.I.P.), that's why it doesn't come as a complete surprise the cover version of Death's "Symbolic" at the end.

Endless EP, 2003
Of Mankinds Fall EP, 2007

ENDLESS TORTURE (SWEDEN)

4 "killing carols" of first-rate retro thrash is what we have here. "I Am Your Friend" (yes, guys, you are, indeed!) is an intense opener, with great speedy guitars. "The Reapers Ripping Rest-In-Peace Service" offers entertainment of the slower, mid-paced type, but the guitar work remains classy. "Killing Carol" thrashes in the same way as the opener: fast and uncompromising, and the last "carol" "Drawn To A Spotless Mind" is a stomping, again not as fast-paced, track with a nice technical edge.

Killing Carols EP, 2007

ENDLESSIGHT (CANADA)

Power/thrash metal with blues-ish and doomy parts similar to Agony Column and Violent Playground; shades of old Black Sabbath can also be heard. This is not hard-hitting stuff, but some mid-paced more intense numbers will make your head bang a bit: the very good instrumental "Unusual Dream".

Shadow Of The Highseas Full-length, 1990

ENDORPHINE (ITALY)

This is an interesting band: their style could be described as modern technical/progressive thrash, a thrashy Opeth, if you can imagine the picture. The songs are complex, sprawling sometimes, recalling the Swedes in many ways; here is also the typical alternation between the death-ish vocals and the cleaner ones. There is a melancholic atmosphere reminding of Katatonia ("My Breath Away"), but the music is hard-hitting most of the time, with nice technical guitars and twists, not very fast, mostly mid to up-tempo.

The Future Seed Full-length, 2004

ENDORPHINS (CANADA)

This band does not belong to the technical field like the majority of the Canadian metal bands; typical representatives of the Swedish modern school- think The Haunted, Carnal Forge, etc.

Volume One EP, 2002
Where Evil Lies Full-length, 2006

ENDOVEIN (ITALY)

Based on the first demo, which offers a very bad fuzzy sound, these guys offer ok retro thrash, which can be quite speedy at times ("Savage Heart"), but the predominant tempo is mid, with clear doomy overtones on the slower moments ("Kickinthebutt"). "Goodbye... but Where I'm Going?" totally ruins everything, being a bland bluesy piece lasting for more than 7-min.
"Waiting for Disaster" is an obvious improvement over the demos offering energetic classic thrash spiced with the odd slower proto-modern break ("Lynched by Fate"), and the more stylish technical insertions ("Problem of Humanity"). "Kick in Your Ass" is a jolly crossover-laced track preceding the concluding group of heavier more complex numbers which still leave room for joy (check the merry melodic rhythms on the closing "Endovein Are Adrenaline... for Your Fuckin' Summer!!!") ably assisted by the optimistic carefree clean vocals.

How to put Jack in the amp Demo, 2005
Problem of Humanity Demo, 2007
Lynched By Fate EP, 2009
Waiting for Disaster Full-length, 2010

ENDSIGHT (GREECE)

Based on "To a Falling Word", these Greeks play predictable modern thrash/death metal of the Gothenburg variety, with melodic guitars, fast tempos, and gruff shouty vocals. The music is energetic and vivid, but there is nothing that hasn't been done thousands of times before by the hordes of Dark Tranquillity and The Haunted clones.

Evil Will Grow Full-Length, 2003
Endsight Demo, 2011
To a Falling World Full-Length, 2011

ENEMY DIVISION (POLAND)

Modern groovy post-thrash which sounds energetic on quite a few moments, but not enough to make it stand out of the pack even nowadays. Those more energetic moments are crossover-tinged ("The Curse Of Mill Island Part 1") and jolly and light-hearted, contrasting to the couple of heavier doomy compositions ("Darkside Of The Sun", "How Dare You") occupying the end. The closer is a nice acoustic ballad with the horrifying title "Abuse Your Infernal Madness", with a nostalgic Nick Cave-like tone, also strengthened by the very cool clean vocals in the best tradition of the aforementioned singer.

Sentenced To Lie Full-length, 2008

ENEMY INSIDE (AUSTRIA)

There are not too many attempts from the thrash metal field coming from Austria these days. This is a fusion of contrasting styles: the dominating one is mid-paced 80's thrash, but there are death and classic heavy metal moments. It works well most of the time with quite a few nice headbanging riffs present.

Explicit Treatment Full-length, 2006

ENEMY IS US (SWEDEN)

This is one of the bands where one of the most hard-working musicians from the Swedish metal scene Lawrence Mackrory (Darkane, F.K.U., Andromeda, etc.) also takes part. From the aforementioned bands the sound of this one is closest to Darkane, but is more direct and straight-forward. In other words, we have another Swedish thrash/death metal act who are a bit more classic-inclined than the rest, adhering to old school riffs from time to time.

We Have Seen The Enemy... And The Enemy Is Us Full-length, 2004
Venomized Full-length, 2008

ENEMY OF THE SUN (GERMANY)

This is the new band of the ubiquitous Waldemar Sorychta (Despair, Grip Inc, Voodoocult), and the hopes immediately are for a return to the sound of the great Despair. Well, this is not exactly the case: this act pulls out firmly modern-sounding thrash with a somewhat progressive edge. The closest soundalike from the Sorychta bands is Grip Inc, and most of the songs could fit very well on "Nemesis" or "Incorporated": "Lives Based On Conflicts", "Clearly Surreal", etc. Other songs are quite hectic and jumpy ("Carousel"), recalling Fear Factory. The singer also sounds not too far from the clean tember of Burton Bell (remember GZR). There are interesting touches, like the inclusion of flamenco guitars on "Feel The Beating". The problem is that there is not enough energy involved, and it's in the second half when the first fast-paced number comes up ("Satisfied by Ego Purposes"). But there are also tracks, which are nothing more than blatant groovy fillers ("Brain Sucking Machine", "Liar"). If this will be Sorychta's full-time occupation for the future, he will definitely have to put more effort to make the music more appealing; now this Grip Inc. rip-off with a slight twist would not hold water for long.
"Caedium" is hardly an improvement over the shaky debut, being a bit more aggressive riff-wise with awkward shades of death metal, both in the guitar and, sparcely, vocal department. The songs are scattered collections of influences among which modern thrash is the dominating one, again Grip Inc. coming to mind most of the time, with jumpy riffs, a lot of groove, several more dynamic moments (the intense thrasher "Stolen Sky", etc.), and stretches into other sub-genres, more or less appropriate. The variety is by all means big, but all the flaws encountered on the debut are here, even more accentuated on. The wait for a more capable effort is still on...

Shadows Full-length, 2007
Caedium Full-length, 2010

ENEMY UNKNOWN (UK)

Good Bay Area thrash metal in the Metallica, Testament, Exodus-tradition; "Feel The Burn" opens this debut in a nice headbaning fashion, but in the 2nd half the material is mostly mid-paced with heavy smashing riffs clinging towards Metalica's late 80's period and early Xentrix.

Alert Status: RED Full-length, 2005

ENEMY WITHIN (UK)

Heavy mid-paced power/thrash metal kind of reminding of the Venom period after the Cronos departure ("Prime Evil"-"The Waste Lands"). There are crossover elements ("Potential Threat") to be heard, but deviations like that are not too many.

Potential Threat Demo, 1991

ENEMYNSIDE (ITALY)

This is another band for the talents of Francesco Grieco and Davide Scala from the technical thrashers Rainspawn. The style here is less adventurous, but no less impressive, being classic retro thrash with nice guitar work. The tempo is quite energetic throughout, and modern elements could be heard, including shades of groove ("Your Enemy Inside"). The overall sound is quite close to Paradox's "Product of Imagination" and "Heresy", with similar dual vocal-choruses and hard-hitting riffage. "Peace of Mind" is the only track where the guys slow down (it still contains a fast-paced section), but this is a very pleasant deviation from the pattern, being a cool blend of thrash and a gothic-laden atmosphere ala 90's Paradise Lost (think "Icon" and "Draconian Times") with vocals strongly recalling Nick Holmes (there is no change of vocal styles just for the sake of one song here, it's just that it's hard to compare the vocals to Holmes on the faster material). Hopefully this will not remain just a solitary effort...
"In The Middle Of Nowhere" arrives after a lengthy 5-year hiatus (from the "middle of nowhere", I guess), and the beginning may not impress fans of the debut, since the opener "Harmonic View" is a crunchy mid-paced modern thrasher. Well, not for long: "Lesson Learnt" nicely speeds up, and brings back the 80's sound, but only for a while, as the next "Unfold" is a mild semi-ballad, again with a more modern sound (later on there is one full-blooded ballad: "Get Lost"). That same sound settles down on the rest of the tracks, with a couple of more vigorous moments present: the up-tempo "N.B.T.(No Blank Theory)", the late 80's Metallica-esque "Freak Show", the brisk speed/thrashing "Solstice". Overall this effort may be considered a disappointment, hesitating between the modern and the classic sound the whole time, failing to find the perfect balance between the two, losing in the process a lot of the speed and the edge which made the debut so entertaining.

Let the madness begin... Full-length, 2003
In The Middle Of Nowhere Full-length, 2008

ENERGETIC KRUSHER (UK)

This is probaly the most brutal slab of thrash metal to come out of the UK from the heydays of the genre: fast, short, aggressive thrashers bordering on death metal is what these guys offer; an obscure, but commendable release.

Path To Oblivion Full-length, 1989

Vibrations of Doom

ENERTIA (USA)

90's Flotsam & Jetsam worship all over; at times you may even want to check whether you haven't made a mistake, and have put some of the Flots' CD's in the player. Enertia are perhaps more thrashy than the 90's Flotsam, but the song structures and the overall approach are pretty much the same.

Law Of Three EP, 1996
Momentum Full-length, 1997
Flashpoint Full-length, 1999
Force Full-length, 2004

ENFORCE (AUSTRALIA)

Based on "Campfire Night": technical thrash/death metal sounding like a mix between Kreator's more technical ("Coma of Souls", "Renewal") and Slayer's heavier late 80's period, with gruff death metal vocals. This is not bad, but the guys have the tendency to complicate their music quite a bit, resulting in some harder-to-swallow moments. "Nuclear War" is a good example of the latter, being a compilation of various tempos and moods, managing to sound both technical and brutal. "As Death Sets In" and "Brutal" are typical aggressive death metal, and are the downside of the album. "Slayer", which music-wise is not really a tribute to the Americans, is a good moderate technical number, and there are times when the music loses the speed and the technicality, settling for mid-paced riffage ala Amon Amarth ("Campfire Night", "N.D.E.F.D.").
"Message of Death" is more direct and more aggressive, sounding closer to death metal with the fast blasting sections now more frequent. The purer takes on thrash are the better side ("Sick, Sick, Sick", "The Few, The Many & The Far Inbetween") despite the loss of speed, which is compensated by cool mid-paced epic riffage. It's a pity that the guys have decided to abandon the technical play, which only springs on the excellent epic death/thrasher "Constellation of Planets", and partly on the more dynamic "Born of Two Worlds".

Campfire Night Full-length, 2000
Message of Death Full-length, 2003

ENFORCER (CHILE)

Based on the "Violent Speed" demo, these guys play furious speed/thrash metal not too far from the Finns Solitaire. This is very fast uncompromising music which would also appeal to fans on Necrodeath, early Kreator, and even Impaled Nazarene. This is a demo which richly deserves its title.

Violent Speed Demo, 2003
A Violent Night Demo, 2006

ENFORCER (SWEDEN)

Enforcer is also the pseudonim of the person who founded this band, real name Olof Wikstrand, and this same person is pretty much the new thrash metal guru in Sweden who is also responsible for other underground gems like Oppression, Caustic Strike, Corrupted, etc. The music presented here is not too far from what we've heard on the works of the other bands; here the style is also classic speed/thrash metal, but this time it has a more melodic touch reminiscent of Exciter, or a more thrashy Savage Grace. This man has so much talent when it comes to thrash that for me it's a sheer mystery how he has been just an underground phenomenon all this time...
Wikstrand concentrated on this band mostly, but the continuation is strictly in the power/speed metal mode with two full-lengths released so far which catapulted them straight to the top of the metal scene of recent years, and made them one of the major stars of the show at present (you've seen the guys on covers of various metal magazines, including Terrorizer).

Evil Attacker Demo, 2005

ENFORCES (CHILE)

4 songs of tight blitzkrieg retro thrash metal topped by brutal death metal vocals; crystal clear production which boosts the guitars quite a bit, in this case for the better, and fast lashing riffs all the way will keep you headbanging for about 15-min with slight semi-technical leanings ala the Dutch Expulsion sharpening the ear on occasion.

The Executioner EP, 2011

ENGENDRO (BRAZIL)

A 4-song demo of modern groovy post-thrash; nothing really special with repetitive heavy riffs and angry semi-shouty vocals.

Infecto Demo, 2007

ENGINE OF ARIES (USA)

Stylish modern technical thrash, pretty dynamic stuff with plenty of tempo and time changes helped by a slight unobtrusive keyboard background. "That Look" is a hard-hitting piece with a heavy rhythm-section, a lot of dynamics, and loads of intriguing technical hooks. "Breeze" increases the presence of the keyboards, and the guitars are a tad more melodic, but also fuzzier. The fuzz remains for the more atmospheric/progressive piece "The Party Bomb" which is a labyrinth of moods and time-changes. "Exploded So" is an aggressive technical shred with cool stylish leads which are a relatively sparce presence on the EP. "Get Inverted" is a more laid-back composition with the leads hitting high again to produce a satisfying jazzy amalgam with more intense riffs added this time only as an assistance. The ideas thrown in are good, albeit aready heard on the works of bands like Electro Quarterstaff and Achokarlos, and despite the several flaws encountered, this engaging all-instrumental picture can deliver the goods even better with a little refinement.

Deny the Odds EP, 2011

ENGINE OF PAIN (HOLLAND)

Not original, but well done mix of classic and modern thrash; there are the obligatory influences from The Haunted and the likes, but these guys are more technical and an overall better listen. "Fuel the Engine" introduces the mixture in an awesome way, staying closer to the old school, followed by the thrashing madness "Cycle to Cycle". Later on modern elements come up, bringing with them nice melodic leads, which are a delight to listen to, albeit very short, but the sound remains crushing and heavy. The shouty, but not annoying, hardcore vocals are sparcely interrupted by attempts at a cleaner singing. Retro thrash returns with the aggressive, Slayer-esque "Man of the Year", and stays until the excellent closing intense, but also technical thrasher "Extreme Fakeover", graced by, again, good leads and impressive bass work. This is a promising beginning for one of the bigger recent hopes of Dutch thrash.

Here is the Pain! EP, 2004
I Am Your Enemy Full-length, 2007

ENGORGED (USA)

Although Engorged started their career as a pure death/grindcore act, their self-titled follow-up introduced a considerable amount of thrash riffage which, along with the more aggressive blast-beats and the snarly Jeff Walker-like vocals, made up for a potent, frequently interesting, mix. With death metal being just a memory on their last offering, the band messed it up with uninspired cliched thrash which hopefully would remain just a solitary experiment, and the guys would return to the thrash/death metal hybrid where they have already proven their worth.

Death Metal Attack 2 Full-length, 1999
Engorged Full-length, 2002
Where Monsters Dwell Full-length, 2004

ENJOY SARMA (SERBIA)

"No Fake Smiles" provides a heavy modern approach to power/thrash, not too far removed from 90's Flotsam & Jetsam and Dearly Beheaded. The music here is more melodic on a few times, as well as faster, and this is where the band starts to sound more convincing, albeit straying from thrash ("Empty Shells"). On the other hand, some songs are handled with a very heavy intensity, sounding like pure doom ("Chained Soul"). Yes, the diversity here is big, also strenghened by the jolly crossover closer "Beer Attesting Day".

Reborn Power Full-length, 2000
No Fake Smiles Full-length, 2002

ENOLA GREY (USA)

This is your average modern post-thrash, heavy mid-paced groovy stuff with sparce faster outbursts; the band members can be seen in several other projects: the metalcore formation Martyr AD; the death metal acts Mortifest and Crylyte.

Cabal EP, 2005

ENOR (FRANCE)

A decent mix of classic and modern death/thrash metal which is both dark and moody ("L'impasse") and fast and furious ("Obrerour Ar Maro"), all coming with a nice sense of melody, but with not very pleasant gruff rending vocals with a black metal shade.

Ifern Ien Demo, 2007

ENRAGED (USA)

Based on "Presence Of Fear", this is a very good old school mixture of Bay Area thrash, Slayer and Sepultura with Phil Anselmo-like vocals. The music is quite fast and intense most of the time, but there are no shades of death metal, or any modern gimmicks; this is pure old school thrash attack. Only seldom does the music lose its edge and slides down to thrash/crossover: "Funny Farm".

Enraged Full-length, 2000
Presence Of Fear Full-length, 2003

ENSLAVED (GERMANY)

Based on "Where Is The Meaning?", this band play very well executed technical thrash/death metal which combines the best from early Massacra, Pestilence's "Testimony of the Ancients", Loudblast's "Sublime Dementia", Agretator's "Delusions", among others. The album will offer you plenty of stylish technical riffs, as well as songs in different tempos: brutal pieces: "Your Way", mid-paced moody ones: "Death on Wounded Knee", great exercises in technical play: the instrumental "For a Friend".

Twisted Nature EP, 1993
Where Is The Meaning? Full-length, 1994
Kleine Seele Full-length, 1997

ENSLAVER (CHILE)

Apart from one of the worst sound qualities that ever graced these ears, what else do we have: very brutal death metal vocals topping up better music in the spirit of the late 80's/early 90's French wave; in other words this is a thrash/death metal concoction, with Agressor's "Neverending Destiny" being the closest soundalike, although the musicianship here is on a lower level, and the guys have the tendency to slow down to doomy Celtic Frost-like dimensions, but in an awkward clumsy way, interrupting an intense headbanging passage, which never manages to recapture the speed later on.

Degradation Demo, 1991
A Place of Terror Inside Demo, 1993

ENTENTE (GERMANY)

This band was formed by the Skeptic Sense guitarist Michael "Mick" Salomon. Well, the music here is not bombastic technical/progressive thrash metal; Salomon and his gang provide us with a good slab of energetic 80's thrash metal along the lines of Anthrax and early Megadeth.

Degree Of Punishment Demo, 2002
Outlined Demo, 2005

ENTER VI (AUSTRALIA)

Good "updated" classic thrash metal which predates the similarly-styled efforts of much more renowned bands like Exodus, Kreator and Onslaught. The music has a somewhat clinical, dry shade which will remind you of late 80's Voivod, but more aggressive and less technical. There are moments where the band sound quite modern ("Passed Realized"), and moments where classic thrash takes over ("Rejuvenation"). The modern production, however, brings the overall sound towards the modern tendencies, but the sharp guitars and the intense riffage (the concentration is clearly on riffs, not on melody) will surely please the listener. Having shown the way it has to be done, this band have gone silent...

Dreams Full-length, 2000

ENTERA (GERMANY)

Based on their last work, this is modern melodic thrash reminding me of the Germans Perzonal War, but with less Metallica-influences. The sound quality is bad although this is the band's third official release. The singer is clearly not an asset with his shouty undeveloped voice. The music is heavy mid-paced to slow-ish, often interrupted by quiet balladic moments. The band abandon the thrash metal idea at times courting power metal with a gothic twist ("No Winner", "Sanguis Draconis"), and the results are better. "Defluvium" is a cool short track with a semi-technical guitar work and a faster tempo, but the following "Fools Game" is a very insipid pop-ish piece, and when the closing "Like A Dream" follows the same pattern, you know that you would hardly give this album another listen.

Crossing EP, 1993
Betrayal Against Time Full-length, 2000
Believe, Fight Or Die Full-length, 2003

ENTHERROR (BRAZIL)

Aggressive classic thrash metal with stifling noisy drums and brutal semi-black/semi-death metal vocals; otherwise this is not terribly bad the guitars having both heaviness and sharpness producing a few commendable dark headbangers ("Death In Heavens") along the way.

Terror That Never Ends Demo, 2010

ENTICE (USA)

This band mix thrash and power metal in a way not too far from Laaz Rockit's "Know Your Enemy", or early Helstar. These guys are perhaps more power metal-inclined, and vary things more with balladic and slower, almost doom-laden passages, but when they feel like thrashing, they really do a very good job (The Church"). Most of the tracks are over the 5-min range, and are quite elaborate, without sounding too technical; it's just that there are numerous tempo changes (some of them maybe not too necessary). The guys have the tendency to start their tracks in a quiet, balladic way, creating a kind of dramatism (which is actually the key-word to describe the band's music), which later develops into a cool power/thrasher of a less ordinary nature. The lead guitar is really striking at times ("Deceiver"), and is given quite a space here, even to the point of a show-off.

Entice Demo, 1989

ENTICER (AUSTRALIA)

What comes up when members of two of the best Australian thrash metal bands (in this case Mortal Sin (but of course!) and Addictive) join forces? Enticer: a 2-song demo of first-rate speed/thrash akin to Agent Steel and Deadly Blessing. Busy with their main acts, the guys never found time to make a follow-up to this striking effort.

Reaper Of The Earth EP, 1989

ENTICER (USA)

Power/thrash metal sounding like a more aggressive version of Griffin and Jag Panzer; "Morta Mode" is a nice instrumental piece which shows the band's more technical, and more preferrable, side.

Enticed Demo, 1987

ENTOPHYTE (GERMANY)

Entophyte are one of the progressive/thrash metal bands who graced the German metal scene in the early 90's (Depressive Age, Lost Century, Megace, End Amen, etc.). Expect good technical/progressive speed/thrash with sharp riffs and an overall more aggressive and fast-paced delivery than the ones of the other aforementioned acts. The vocals are a bit weak being very melodic and not powerful enough for the better music; the singer throws some brutal growls from time to time, but this doesn't improve things a lot. The highlight of the album is the place where he takes a little part: the excellent technical speedster "The War of Khyr". The style is not too far from Depressive Age, but the guys here come up with really good proficient leads, and the music here is more hard-hitting and a tad more straight-forward. Some of the musicians had previously taken part in the short-lived thrash metal act Exurist.

End of Society's Sanity Full-length, 1992

ENTOWNIZER (CANADA)

Excellent fast-paced thrash courting bands like Devastation and Sepultura with more intense parts ala early Death; the guitars are sharp semi-technical, the leads are particularly good. The vocals are in the death metal camp reminding of Martin Van Drunen (Pestilence, Asphyx, etc.).

Cycloptical Vision System Demo, 1991

ENTRACURA (HONG KONG)

This is melodic thrash/death metal, mid-paced, with a slight Gothenburg influence in the guitar sound, dark, gothic-tinged, with even epic elements inserted ("Odin Battle"). The main vocals are brutal low death metal ones, but there are semi-clean ones as well, with a somewhat alternative tember, and it would be better if they don't show up too much for the future. This is stuff which would also appeal to gothic and doom/death metal fans.

In The Face Of Hatred Demo, 2007
Untitled Demo, 2006
Demo 2006 Demo, 2006
Into Oblivion Demo, 2007
Trails of Death Demo, 2008

ENTRAFIS (CANADA)

The debut demo displays a band trying to inject a certain doze of technicality into the Floridian death metal sound (think its heavier slower side: Obituary, Autopsy), and as such we have steam-rolling mid-paced to slow music with a couple of more clever technical decisions in the guitar department. This mix is a bit uneven, but is strangely listenable also recalling the similar moments from the Infernal Majesty debut, and some of the more complex passages will make you listen with more care. The singer is not a very valuable addition with his rough death metal tember.
The "Kerfuffle In The Koop" demo is much more technical and jumpier resulting in a much better listen even touching Coroner on the most inspired sections. Again there are not many speedy passages to be encountered, but still this unusual intriguing amalgam is more on the positive side if we exclude the vocals again and the bad sound quality.

St. Granville recording Demo, 1991
Kerfuffle In The Koop demo, 1992
Into Out Demo, 1994
Entrafis Demo, 1995

ENTRENCH (SWEDEN)

This young Swedish outfit pulls out quite good classic speed/thrash following the 80's German patterns closely, the Exumer debut (mostly the songs on the "Into Oblivion" demo), Necronomicon's "Apocalyptic Nightmare" and early Destruction being the prime influences. "Mourn the Living" is blistering speed/thrash, fast and merciless, with more aggressive proto-death moments present. "Harvest Hill" is vintage mid-80's Destruction, with the singer not shying away from the typical Schmier delivery, also attempting occasional high-pitched hellish screams in his vein, with a pinch of Mem Von Stein (Exumer) on the higher tones. "As Dawn Breaks" is in the same vein, raging aggressive thrash, reminding me of "Eternal Ban" from "Eternal Devastation" and early Kreator. The formula is repeated on the other material, with "Blind Illusion" slowing down in the middle, but retaining the very crushing cutting riffage. The guys don't bother looking for any technical or melodic deviations, but this shouldn't be considered a downpoint, since the sincere, direct and dedicated to the past approach will easily delight any thrash metal fan.
"Inevitable Decay" is built around the songs from the demos, so don't expect too many new songs, nor any changes of style: this is the good old germanic thrash brought to the new millennium for the upteenth time. Still, those who are fond of everything old school played with passion and dedication should be salivationg over this recording, which boasts a crystal clear production, boosting the sharp guitars quite a bit. "Portrait Of A Phobia", one of the new numbers, is a stylish "journey" into the realms of more technical metal, producing 6.5-min of clever riffs and varied paces. Near the end the new material shines again, first with the excellent 2-min instrumental "Crossing The River", and then with the closing "Where Only Ruins Remain", which is another slab of varied technical thrashing lasting for over 7-min. The singer this time is more shouty and quarrelsome moving more towards early Mille rather than Schmier, but his antics are the perfect match to this very well-executed tribute to the genre's glorious past.

Untitled Demo, 2006
Demo Demo, 2006
Into Oblivion Demo, 2007
Trails of Death Demo, 2008
Inevitable Decay Full-length, 2011

ENTRENCHED (USA)

A US duo which provides classic-sounding thrash/death in the vein of the early 90's Scandinavian school (Unleashed, Entombed, etc.). This is straight-ahead stuff, pretty fast without any extremities, favouring death metal more, to which the brutal death metal growler suits very well.

Preemptive Strike Full-length 2011

ENTROPIA (CANADA)

Based on the debut full-length: classic/modern-ish stuff "courting" thrash, speed and power metal in equal dozes with the speedy side being the most attractive one ("Shelshock", "Fatal Dreams"). "Fate Of My Soul" is an excellent heavy ballad in the best tradition of the Metallica "exploits" in this field which influences the remaining material which takes a turn towards the Black Album culminating on the 10-min opus at the end "Entropia" which apart from the heavy hammering riffage finds time for a cool faster exit.
"Electric Chaos" is more thrash-oriented, and as such may be the better listen to some. The guitars have acquired a certain abrasive vibe, but surprisingly stay closer to the classic patterns which were hinted at on the debut. The moshing goes on full-throttle on quite a few times reaching the climax on the furious headbanging instrumental "InstruMETAL". The singer now recalls James Hetfield quite a bit leaving a positive impression all over except on the few moments when he adds gruffer death-ish tones. The end is a bit underwhelming coming in the form of an overlong peaceful balladic instrumental called "Tears of Blood".

2007 EP, 2007
Lust For Apocalypse Full-length, 2008
Electric Chaos Full-length, 2010

ENTROPIA (UKRAINE)

A decent entry into the classic speed/power/thrash metal genre which starts in an open headbanging manner with the furious speedster "Mirage Christianstva" akin to their neighbours from Shah and early Master, but later on the tracks become longer and slower with sparce speedy outbursts, belonging to power/thrash metal; more engaging thoughtful listens with progressive pretensions. The singer is not bad at all, and his clean attached delivery fits very well the melodic diverse nature of the music.

Mirage Full-length, 2010

ENTROPIC ORDER (UK)

Good classic power/speed/thrash metal with nice solo work, spoiled by the indifferent emotionless vocals; the guys play energetically, inserting melodic hooks whenever they have the chance, and combined with the great leads, make each of the 4 tracks quite interesting. "I'm Watching You" is probably not on par with the others, being slower and more melodic, partially saved by the more aggressive ending. "Ragnarok" is a full-blooded thrasher, where the singer finally tries something more exciting, in this case a high-pitched shout ala Tom Araya. "Field of Dreams" is mostly power/speed metal, but delivers the goods, although the vocalist does his best to ruin it, producing his worst performance.

King of the Damned Demo, 2006

ENTROPY (CANADA)

Progressive thrash metal band; the debut is quite worthy with long complex songs, beautiful acoustic atmospheric passages, great technical riffs and brutal death metal thrown in ("Psionic Dissection"). The guys are not strangers to some furious playing which suddenly flows into a complex more melodic passage, and vice versa ("Ashen Existence"). Some tracks are more accessible ("Necrothon", the heavy thrashy ballad "Darkness Weaves"), but the band's power is in the more elaborate material: "Machine`s Way", which is slower and pounding, with a fast section in the middle, and very proficient lead guitar work; "Exalted Sith", which is a nice galloping progressive thrasher, with a beautiful quiet passage; "Traces Of Time", which is a monstrous 10.5-min progressive composition, which shows the singer, who has a nice semi-clean tember, at his best on the mesmerizing balladic beginning; later on the thrashy riffs spring up, but the song never goes for sheer speed, remaining quite heavy and doomy, supported by great leads.
The band's second effort tones down the technical play opting for a more simplistic modern post-thrash sound, and is much less satisfying.

Ashen Existence Full-length, 1992
Transcendence Full-length, 1995

ENTROPY (UK)

Ripping classic speed/thrash metal in the best tradtiion of Paradox's "Heresy" which wastes no time with unnecessary gimmicks, but goes straight for the throat with the excellent uncompromising speedster "Gulf Of Misery" which boasts excellent leads. "Weapons For War" is the ambitious track here, a 7.5-min opus with lashing heavy riffs, which are mid-paced in the beginning, but later evolve into another virtuous speed/thrashing crescendo. "Reclamation" adds some sophisticated technicality to the proceedings which remain on a pretty intense speed/thrash metal base. "The Eyes Have It" continues the speed/thrashy saga with full force ending this very cool short effort with dignity. The singer is a vintage Charly Steinhauer (Paradox), but staying closer to his more recent, gruffer less melodic, tember. The British scene has grown quite a bit from a thrash-metal-point-of-view in recent years, but this talented act would surely turn into one of its more prominent representatives if willing to continue to the full-length stage.

Reclamation EP, 2011

EN TU AGONIA

Furious black/thrash metal with a dual vocal attack: one kind is your prototypical raven-like rasp, the other very brutal low-tuned. The music is quite fast, never crossing the borders towards annoying blast-beating, and the guitar work is quite proficient. "Tinieblas" is a surprisingly melodic crossover track, but the guitars on it are great, producing addictive tunes. "Lo Que Dicta La Razon" is the other slight deviation, slower, with nice orchestral atmospheric black motifs, and a couple of industrial overtones. The closer "Lejos" follows the same path for a while introducing a nice female voice at some point, but the end is strictly for the fierce thrashers: raging thrash guitars close this fairly enjoyable work coming from this very obscure act about which more additional information would be highly appreciated.

Sobreviviendo EP, 2009

ENVENOMED (MEXICO)

Edson Sбnchez from Strikemaster leads the show here, for the production (based on the "Temple Of The Morbid Innards" EP) of a 4-track effort of decent retro thrash with shades of both crossover and speed metal (check the diverse roller-coaster "Crimes Against Humanity" for both). The energetic main tone of the EP is nowhere betrayed the guys thrashing hard with no remorse, adding the odd heavy, late 80's Slayer-esque passage ("Sadistic Lepper") on occasion.
The "Temple Of The Morbid Innards" EP is 4 songs, which show a more serious attitude with a more thought-out approach resulting in longer tracks which keep the energy high throughout, Slayer-esque intensity reached easily at the end with "Sadistic Leper".

Evil Is Back EP, 2009
Temple Of The Morbid Innards EP, 2011

ENVENOMED (AUSTRALIA)

4 songs of classic melodic power/thrash ala Iced Earth and Meliah Rage, mostly in mid-tempo, with more speedy moments ("Slave No More") and alternative vocals, the latter strangely reminding of the German depressive doomcore stars End of Green. The lead guitar work is quite good, and is given quite a space on almost every track.

Envenomed EP, 2009
Temple Of The Morbid Innards EP, 2011

ENVIRONMENTAL HAZZARD (USA)

This band were one of the first to pick the angry thrash tunes of Exhorder and Pantera, and although there are still quite a few classic elements present, the music is pretty much a "product" of the 90's. The sound is less heavy than the one offered by the aforementioned bands, and at times has a jolly crossover feel.

One Stands Alone Full-length, 1992

EPEDEMIC (SWEDEN)

A very cool 4-song EP which crosses the speed/thrash metal heritage of Germany (Angel Dust, Warrant: "Rest in Peace") with the heavier semi-technical music of early Coroner (the first two albums: "Radioactive"). "Futuredoom" is a stylish 8-min opus which combines both sides presented here: a feast of stupendous riffs and tempo changes, featuring a stomping doomy beginning and great leads.

Futuredoom EP, 1989

Vibrations of Doom

EPHEMERAL GODS

5 songs of melodic modern thrash/death metal, pretty pedestrian although the riffs smash and the energy is pretty big. "Repulsion" is a nice attempt in the progressive genre: an atmospheric diverse semi-ballad.

Rise EP, 2009

EPIC (USA)

4 "zombie hunters" are on the way to causing more damage on the retro thrash metal circuit with their heavy mix of thrash/crossover and more aggressive shred (think Evildead's "Annihilation of Civilization" and Slayer), entwined into longer song-structures, without many more stylish ornamentations. Clever, longer cuts ("Kiss My Fist"; the cool progressive melo-thrasher "Crosshairs of Suicide", which is the only temptation at a more lyrical song-writing) also "roam" around, as well as a few proto-groovy pieces ("Deep"). The singer is a gruff semi-death metal shouter, but his antics are expressive and comprehensive. There is not much epic-ness to be heard here, but the band definitely have the skills to pull something more ambitious in the future, if they feel like it.

Zombie Hunters Inc Full-length, 2011

EPIDEMIA (SPAIN)

Based on the self-titled album: nice retro thrash, fast and intense with elements of speed metal ("No Hay Perdуn") and sparce proto-modern moments ("El Pestoso"); the guys really know what they are doing, blasting out in a mighty fashion: the ultra-speedster "Sabor a Muerte", which boasts great stylish leads ala Kirk Hammett; the short explosion with a death metal-tinge "Virus de la Tierra". "Cadбver Insepulto" is a crushing mid-pacer with swirling guitars and a furious closing section, again coming close to death. "Chema en Palladium" is a 1.5-min crossover joke which is actually an enjoyable take on the techno practitioners Two Unlimited's most famous hit "Twilight Zone". More raging thrash of the semi-technical variety comes after that with "Tu Degeneraciуn" and the closing "Epidemia", the latter being a non-stop speed attack ala Wehrmacht.
"Propaganda" is not a total waste, although it has acquired the modern tendencies quite a bit, but brisk speedy thrashers of the old kind still "roam" around ("Muneco de Trapo") as well as a few brutal takes on proto-death ("Beverly Gil's"). The energy of the debut has been well translated into a newer more modern "language", and the music as a whole is an interesting vigorous cross of the two trends.

Epidemia Full-length, 1994
Propaganda Full-Length, 1996

EPIDEMIC (BRAZIL)

Retro thrash of the heavy type, with consistent meaty riffs and not very pleasant semi-deathy/semi-shouty vocals. The initial idyllic atmosphere is rudely broken on the aggressive moshers "Psicodelica Destruicao" and "Animal Hero"; "Barrigada Agressiva" even reaches death metal with ease thrashing out in a fast, uncompromising manner.

Psicodйlica Destruiзгo Demo 2008

EPIDEMIC (GREECE)

Based on the EP, these guys play forceful intense thrash, and could have easily become the leaders of the 90's Greek thrash metal scene. But the leaving of the singer (who later formed the gothic/death masters Nightfall) and some frictions with other members of the scene (Flames-who else?; caused by envy?) forced the band to change their name to Descend and take a more death metal-oriented approach.

Artificial Peace EP, 1991
Industrial Full-length, 1994

EPIDEMIC (UK)

4 songs of decent retro thrash metal mixing both fast and slow moments the latter predominating bringing the sound close to their compatriots Slammer and Xentrix. The riffs are heavy, the leads screamy, and the vocals are cool semi-clean with a nice emotional blend. This is not bad, but more dynamics for the future would make those guys more convincing.

Demo Demo, 2008

EPIDEMIC (USA)

One of the first bands to mix thrash with the more and more fashionable death metal, and this is exactly what the band's debut delivers. "Decameron" takes their aggressive attitude even further incorporating hardcore elements in the already brutal wall of sound. The last album is pure death metal of a very average quality.

The Truth of What Will Be Full-length, 1989
Decameron Full-length, 1992
Exit Paradise Full-length, 1994

EPILEPSIA (PERU)

A surprisingly good classic thrash metal debut coming from this not very big on the metal map country; this is music which has its quite a few technical moments nicely intertwining with the generally fast tempo. Kreator's "Extreme Aggression" is an obvious influence, as well as Toxic Shock's "Change From Reality". There is no mercy, except on the short, 1-min acoustic instrumental "Triste Lugar", which is put in the middle of the album, serving as a kind of an interlude, and is followed for a compensation by the most aggressive number here "El Antichristo" which contains both brutal blast-beats and the most technical guitars. A really impressive debut which brought us some great thrash... again.
"Human Race Extermination" is another commendable achievement, with Kreator's later period again paid special attention, as well as the Swedes Hypnosia and the Danes Invocator. The album starts in a swirling tempo with the prime headbanger "Muere Mierda", and this track pretty much sets the tone for what follows which also courts speed ("The Path") and proto-death metal ("Perverse Lust") along the way, but getting nicely jumpy and technical ("Resistir") at times, too. The listener won't be spared as mid-paced passages are very rare, only present as casual parts from the songs, and he may have to get accustomed to the vicious vocals which come semi-whispered with a low-tuned death metal blend reminiscent of Ingo (the 1st Necrodeath singer).

Comando de Aniquilamiento EP, 2003
Thrash Again Full-length, 2004
The Exorcist EP 2009
Human Race Extermination Full-length 2010

EPILEPTIC BRAIN SURGEONS (CANADA)

A thrash/crossover band also providing quiet post-punkish and even country numbers, and having a generally more restrained attitude.

Epileptic Brain Surgeons Full-length, 1990

EPITAFIO (VENEZUELA)

Based on the "Dominion" demo, this band plays very good technical death/thrash metal with heavy sharp riffs, recalling a more thrash-based Suffocation, and, of course, much less brutal. The music is choppy and mid-paced creating an almost funereal, doom-death atmosphere at times. "Ghost of Conscience" is a superb technical number drawing comparisons with Atheist and Cynic.
The full-length arrives after a long hiatus, and the music now is not too close to the one heard on the 90's demos: it is still technical, but the aggression has been reduced quite a bit, and now the music sounds too 90-ish, with groove added, which breaks the technical patterns at times. Suffocation is nowhere near sound-wise, but in the 2nd half the guys wake up for a more intense delivery: there is one song which scores high in the faster department, though: the technical speedster "God" and partially the chaotic frantic "monster" "Control Planning Scheduling"; the closer "World Damnation" lashes directly without too many technical compromises, and is a violent aggressive thrash/deathster.

Reflections of Pain Demo, 1993
Dominion Demo, 1994
Dying Out Full-length, 2007

EPITAPH (AUSTRALIA)

Frantic aggressive technical retro thrash/death metal relying on smashing heavy riffs and twisted elaborate sections; "Inevitable Demise" is a cool jumpy technical death/thrasher with a jazzy passage not far from Atheist, and "Desensitized" is more immediate fast-paced thrash. "Persecution" crushes hard in mid-tempo, and one may wonder where the technicality from the beginning had gone; no more questions of the kind after "Machine For War" which provides more technical shred and a fine balladic lead-driven part. "Deceived" is the highlight, combining the aggression, the heaviness and the technicality.

Mind Control EP, 1994

EPITAPH (FINLAND)

2 songs of of mid-paced thrash metal with dark doomy overtones and gruff unrehearsed vocals; comes as an inferior Infernal Majesty with a buzzier guitar sound.

R.I.P. Single, 1988

EPITAPH (NEPAL)

Classic thrash/death metal coming straight from the Himalayas for you; the guys know their craft, though, coming with both atmospheric and aggressive music which is only marred by the brutal death metal growls. The lead guitar is particularly strong (check out "Campaign of Terror"), and the doomy, battle-like feeling on numbers like "Fire Burning Down" will remind of Bolt Thrower quite a bit. The speedy pieces are not that many, but at least the final touch ("Silhouettes") is a forceful slice of hard-hitting thrash with consistent mid to up-tempo riffs.

Barbaric Regulation Full-length 2007

EPITAPH (SWEDEN)

This obscure act have released the missing link between "Beneath the Remains" and "Arise". This is excellent aggressive thrash in the best tradition of Sepultura, which here comes spiced with more frequent slower breaks, more typical for "Arise" rather than the other album, but rest assured that there's no speed lost on this "monster". The sound is almost as vicious as the one on "Beneath...", reaching a death metal-like intensity on the fastest material. The songs lash out with no remorse, all fast and intense, assisted by capable aggressive Max Cavalera-like vocals. On "Tranquility" the guys prefer the up-tempo, which also comes served with more melody, and "Private Hell" is the odd very heavy mid-paced steam-roller. The leads are short and quite screamy, and this is probably the only shortcoming one can find on this commendable, but very unknown, addition to the thrash metal genre.

Tranquillity Full-Length

EPITAPH (SWEDEN, Sollentuna)

This band have done a good job to join the death metal cohorts in Sweden in the early 90's (Edge of Sanity, Unleashed, Entombed, etc.). Their style is more of a mixture between thrash and death metal, bringing them also closer to the French scene (Massacra, Agressor), as well as their compatriots Merciless. Cool thrashy riffs alternate with fast, aggressive blast-beats. With this genre getting more and more popular among the metal fans at those times, it's a pity that these guys never recorded a follow-up.

Seeming Salvation Full-length, 1992

EPITAPH (USA, CA)

This is the early incarnation of the Polish technical thrashers Astharoth with the guys moving back to Poland shortly after the release of this demo; it is a display of the band's technical skills, although here the music is more conventional, and decidedly more aggressive. This is dark heavy thrash with a genuine technical edge recalling Infernal Majesty's "None Shall Defy", and early Coroner at times, but hardly reaching the more complex heights which the guys hit a bit later. The tempo is predominantly mid-paced with sparce more aggressive outbursts.

I Am Alive Demo, 1990

EPITAPH (USA, OH)

Based on the "A Portrait of Horror" demo, this band comes up with well executed classic thrash which recalls some of the greatest American bands from the 80's: Anthrax, Nuclear Assault (mostly in the vocal department), Forbidden, Metallica, etc. The music is quite heavy with meaty stomping riffs split by faster technical ones which would later serve as a backbone for masterpieces like "...And Justice for All" and "Victims of Deception". "A Portrait of Horror" is a magnificent representative of the more technically-inclined side of the band. "Rest in Pieces" is a great thrashy ballad ranking among the best achievements in this field. The impressive musicianship displayed here easily puts to shame many of the more celebrated bands of the time.

A Portrait of Horror Demo, 1987
No Man's Land Demo, 1989

EPITAPHY (SPAIN)

Based on the "Voces" demo, this is modern, groovy thrash/death metal- a poor version of what the French Massacra did on their later period ("Sick","Humanize Human"), but slower, almost doomy at times.

Fire Demo, 1995
Gabino Single, 1998
Promo '99 Demo, 1999
...Y el silencio borro sus nombres Demo, 2001
Voces Demo, 2002
Ecos Demo, 2006

EQUIMANTHORN (HOL)

This band was founded by members of Dead Head, including Robbie Woning- the man who hit the drums for the death/doomers Beyond Belief later. The music here is cool, mid-paced thrash which recalls Bathory's "Blood, Fire, Death", including in the vocal department, where the guy really tries some unholy shouts in the early Quorthon (R.I.P.) vein.

Clouds of Death Demo, 1989

EQUINOX (NORWAY)

The best Norwegian thrash metal band of the old generation (not that there were many of them back then); their debut is a sure-handed entry, offering cool energetic thrash, which on the more inspired moments reached out towards the dark technical style of Metallica's "...And Justice For All" ("Dead by Dawn"). Otherwise the music is of a more simplistic nature compared to the next releases, although the guitar work is not bad at all: check out the great instrumental "Violin" (there are no violin tunes here).
"The Way to Go" enters the technical thrash metal arena, but leaves enough room for straight riffs for the headbangers to enjoy. There's still enough energy involved in the proceedings which works well combined with the more complex song-structures. "Xerox Success" is a major step forward into a very technical/progressive thrash metal territory, similar to Voivod, and even Mekong Delta. The music still hits hard preserving the more energetic moments from the previous efforts, even on the most technical numbers, like "My Sweet TV" and "Nothing at All". Even playful rock-ish semi-joke tracks like "Now" have a strong technical flair. "Succumb to the Law" is the odd track here, perhaps, being slow and dragging, still "ornated" with surreal abstract guitars. This album was the band's crowning achievement, and "Labyrinth" took a logical direction into other sides of metal, still complex, but much more melodic, similar to what Voivod did on "Nothingface".

Auf Wiedersehen Full-length, 1989
Skrell EP, 1990
The Way To Go Full-length, 1990
Xerox Success Full-length, 1991
Nuh! EP, 1992
Labyrinth Full-length, 1994

Vibrations of Doom

EQUINOX (USA)

A 5-song demo of Bay Area-influenced thrash with touches of a more aggressive play ala Slayer; it starts quite promisingly with the good instrumental piece "Waiting for Destruction", which boasts cool leads and even technical guitars, but the rest is much less impressive: generic uninspired thrash with indifferent unsteady vocals and sparce surprising displays of a more stylish play which are hopefully a sign that the guys's skills are yet to find a full realisation some time in the future.

Demo Demo, 2006

ERA (BULGARIA)

Having started as a pure heavy metal outfit, this legendary band, one of the founders of the metal movement in Bulgaria, switched onto retro thrash during the 90's, and have done a good job on "Point Of View", paying tribute to the Bay-Area fraternity, as well as Sepultura and Slayer. Some "flirtations" with the groovy sound are inevitable ("Who's Got"), but the rest is heads-down classic stuff, mixing more aggressive ("Preacher") with more laid-back, slower numbers ("Lonesome Loser"). "Sexuality" is a cool attempt at "funk meets thrash", but the guys quickly give up developing it completely, and turn to aggressive thrashing at some point. "Something Wrong" is another attempt, but this time towards a more stylish semi-technical play, and is arguably the best song. "Fuck It" is an energetic punk-ish joke adding up to the diverse nature of this album.
The "Suicide" EP is 4 tracks of more laid-back power/thrash metal, still pretty classic-sounding, with moderately sharp riffs, which are at times nicely supported by an atmospheric keyboard background. There is a hilarious jokey attempt at blues at the end: "Big Shit River Blues" which stretches into whole 6-min and beyond without trying to sound any more thrash-related; but this is an EP, after all...

Studioworks LP EP, 1990
Era Full-length, 1990
Suicide EP, 1992
Point Of View Full-length, 1994

ERA OF HATE (SLOVENIA)

Modern thrash of the calmer proto-doomy variety; this is peaceful stuff with cool melodic guitars and appropriate balladic insertions ("Pay Back"). "Hiding Behind a Mask" is an interesting jumpy technicaller, a pretty intense track by the band's standards, but don't expect anything of the kind on the good doomy/gothic closer "Silence" which is beautiful dark music with echoes of early Paradise Lost and Lake of Tears.

Echoes Of Truth Full-Length, 2011

ERA VULGARIS (IRELAND)

An impressive debut of progressive thrash which will remind you of some of the old veterans from the scene: Obliveon, Anacrusis, Coroner, etc. The music is a mix of the modern and the classic sound, and is mostly mid-paced, filled with interesting riffs and time changes. It's certainly not an immediate listen, but it greatly works both as a whole and as separate pieces, some of which one may want to listen over and over for their sheer brilliance. The shorter tracks, which are only two (3-4min long), are for the more conventionally-inclined thrash metal fans, although there one could also catch twisted guitar parts. The others are above the 5-min range, and are quite elaborate pieces which never lose coherence, and manage to sound different from each other. The album closer "Irram" is an epic 11-min instrumental, long on both atmosphere and musicianship. The only irritation would be the occasional hardcore-ish shouts which mix with the basic vocals.

What Stirs Within Full-length, 2007

ERADICATOR (GERMANY)

Good debut of classic thrash, having taken something from its compatriots of the 80's, but also adding more modern riffs ala Annihilator and Overkill ("Capital Punishment"); actually on the faster parts the style recalls very strongly Headhunter's debut "Parody of Life": "Possessed by the Devil", "Thrashing Through The Pit", ably supported by the cool Schmier-like vocals. The problem is that for most of the time the tracks are mid-paced, with numerous melodic hooks, also courting the power/speed metal scene from time to time. The guys have a good sense of melody, but more concentration on the more hard-hitting delivery may be more beneficial, at least for the thrash metal fans.

The Atomic Blast Full-length, 2009

ERAZOR (GERMANY)

The 80's German thrash metal movement has one more supporter in the face of these newcomers, who don't spare speed and energy to rock your world, although throughout the album one will come across heavy stompers ("Nyctophobia"), but on the other hand death/black/thrashers are on guard to give you a taste of more atmosphere and aggression in the best tradition of early Dissection ("Demise Of The Unhallowed". "Thrashing Legions" is, of course, your staple old school thrash ala Kreator & Destruction, enriched mith more intense death metal semi-blasts, and later on both sides intertwine, as the concentration in the 2nd half is clearly on melody, culminating on the pompous orchestral thrash/death metal saga "Vortex Of Brutality", and on the closing pagan/doomy moments ala mid-period Bathory on the final track "Demonic Slaughter".

Erazor Full-length, 2010

ERBEN DES ZORNS (GERMANY)

Furious death/thrash metal with heavy meaty riffs, quite dynamic, in various tempos, with the occasional groovy section ("Tod Im Pit"), and an Amon Amarth-like epic feeling present ("Vers 5"). The album contains enough cool headbangers ("Stur", "hasswerk I") to pull it through during a thrash test, but the death metal-based pieces ("Sumpf Aus Stahl", especially the fierce "Peiniger") deliver the goods no worse.

Hasswerk I Full-length, 2007

EREBO (MEXICO)

Modern thrash/death metal with hysterical screamy black-ish vocals interrupted by more brutal ones ala Karl Wilets (Bolt Thrower); the music delivers the goods, jumping from one style to the other, not forgetting about their "shabby brother"- black metal, from time to time. The longer compositions ("Leather Fragments", "Final Choice") are complex, with a few tempos changed within, and more stylish guitar work. The shorter ones are often aggressve death-laced bashing. "Resurrection" is a cool deviation in the middle being slower atmospheric thrash with a pinch of gothic. At the end you will hear an interesting aggressive thrash/death metal version of the Judas Priest's greatest hit "Breaking the Law" (but, please, ignore the horrible vocals): this is probably how Rob Halford and Co. would sound if they finally decide to play some death metal for a change (it's high time, if you ask me- ha ha!).

Conquered by the Faith Full-length, 2007

EREBUS (USA)

Very good aggressive Slayer-esque thrash metal which sounds quite brutal, at times reaching an almost death metal intensity ("Crawl to the Altar").

Demo Demo, 1988

EREBUS (USA, WISCONSIN)

Based on "Monuments to Human Enlightenment", this band specializes in modern thrash/death of the more playful, melodic semi-groovy type with elements of stoner/doom embedded well ("Good for Nothing") into the picture. The album develops in calm mid-tempo fashion, the guys adding the desirable epic shade ("Natural Enemy", the inspiring "When the Battle's Over") here and there. "The Regression of Man" is a surprising aggressive thrash/deathster with interesting technical decisions, but those adventurous moments are not many at all.

Prey for Our Nation Full-length, 2006
Monuments to Human Enlightenment Full-length, 2011

ERECTI COCTOPUSS

Heavy modern groovy post-thrash with stylish jumps and tempo changes, acquiring funky tendencies as well, but not in an annoying way; a few very fast aggressive hardcore sections may be heard, but most of the time the music is mid-paced to slow.

Bust a Nut Full-Length

EROS (BRAZIL)

Excellent speed/thrash metal in the Germanic tradition; for fans of Angel Dust, Iron Angel and the Exumer debut. This is full-blooded head-banging attack with some "pauses": the semi-balladic composition "Road to Wisdom", and the heavy stomper "Atomic Messengers" which has a nice speedy thrash/crossover ending.

Road to Wisdom Full-length, 1990

EROSION (GERMANY)

Despite the high quality of each of the band's releases, Erosion remained in the shadow of other, more or less deserving, representatives of the German thrash metal movement. "Mortal Agony" is a sure-handed debut with its aggressive approach and nice technical guitar work; fast-paced intense pieces take turns with stylish more technical ones. "Aftermath" is an interesting turn towards a much slower heavy style which nicely contrasts to the blistering technical speedster "False Prophets" which follows it: the highlight of the album. "Into the Void" is more restrained speed-wise, but is a fabulous display of technical skills: the most technical number here.
"Thoughts" is more thoughtful (no pun intended) and more restrained, but still quite impressive and sharp. It begins in the same take-no-prisoners fashion like the debut, with the furious, but also quite technical "H", and although the speed is preserved at least for the next track "The Scourge", later on the band delve deeper into technical territories, and the sound gets considerably slower, featuring again one very heavy doomy track: "Nightmare". The guys wake up to nail one more speedy technical instrumental at the end: "Strike", before finishing with the very technical and chaotic "Change".
"III" is not a very radical departure from the band's sound, if we exclude a few more direct numbers with a hardcore flavour: "Revenge", "Power Within". The guitars are still technical on the longer and more complex tracks which actually take turns with the hardcore-ish ones in the beginning, but towards the end hardcore takes the upper hand. The last song "Dead Europe" is a monstrous 13-min long doomy opus which could indeed manage to depopulate all of Europe, and would please fans of Saint Vitus, Sleep and the likes, above all.
"Down" comes with a clearly more modern sound, and the guitar work is considerably lighter, but the pace remains fast, with a hardcore shade, this time stronger. The technical riffs are gone completely, and the vocals, which have always been not very pleasant hardcore shouts, this time come with a certain industrial edge, making them even more irritating. Of course, some slow, doomy tracks are present, but the inclusion of big dozes of groove makes them sound a lot less impressive than the similar numbers from the past. Having been released in one of the weakest years in metal history, this album is not a total disaster, like quite a few other efforts (Invocator, No Return, Mercyless, etc.) the same year, but is far from a worthy exit for the band from the music scene.

Mortal Agony Full-Length, 1988
Thoughts Full-Length, 1990
III Full-length, 1992
Down Full-length, 1995

EROTIKILL (USA)

A perfectly acceptable piece of speed/thrash from the last stage of the classic thrash metal period, energetic and profesionally done; the guys don't spare energy and some of the songs are quite speedy (the last two), but most of the time the sound has this stomping, heavy quality recalling Nasty Savage's "Indulgence", or Wargasm's "Why Play Around".

Virgin Speed Full-length, 1990

ERRATUM (SLOVAKIA)

A dark brand of gothic thrash not far from mid-period Cemetary and Sentenced, with the odd post-death flavour ala Entombed; the guitar work is heavy, albeit a bit repetitive, ably assisted by the vocal "duel" created by gruff semi-death metal growls and high-strung semi-operatic female vocals. "Living Toy" is a nice surprising touch livening up with brisk fast riffs with a crossover shade, and "Bullet" well deserves its title being a fine short speedster. The rest never leaves the mid-pace the closer "World of Heavenly Lies" being a fine epic orchestral piece.

Tabula Rasa Demo, 2008

ERUPTION (SLOVENIA)

A fairly convincing debut of classic Bay-Area thrash mixing the carefree attitude of the Heathen debut with the more serious tone of late-80's Metallica. It opens with the explosive semi-technical speedster "Prayers, Betrayers" which seamlessly flows into the smashing direct speed/thrash attack "Monumental Mind". More "monumental" things await the listener; first, more headbanging thrash on the vigorous galloping "horse" "The Auditors", then a more technical pounding sound on "Democracy" and "Electrifried" (this one is a fine technical thrasher with a Coroner touch). "Playing With Matches" unleashes more speed metal fury with rolling riffs, but "Twisted Reality" will "twist the reality" being a pure ballad in the beginning, but expect quite a bit of hard-hitting thrashing during its close to 8-min, although the pace there remains mid at best. "Inner Wastelands" follows the same pattern at first, but being purely instrumental it manages to provide nice technical twists, again mostly in mid-tempo, as well as very good melodic leads. The closing "The Sands Of Time" is bound to capture the speedy spirit of the earlier material, and does it in flying colours thrashing far and wide mixing the fast riffage with great technical hooks near the end recalling Helstar's "Nosferatu" and Coroner again. It would be interesting to see how the guys will manage to continue from here having in mind that the lathe has been placed quite high from the beginning with this strong first effort.

Lifeless Paradise Full-length, 2009

ERYTHROCYTE (TURKEY)

A good thrash/death metal outfit with a female singer who doesn't try to conceal her influences (Angela Cossow from Arch Enemy, that is), and has a really powerful throat, and may also remind you of another girl from "hell": Rachel Heyzer (Occult, Sinister). The music is more modern-sounding, with nice Oriental elements, and the pace is quite dynamic, albeit seldom leaving the up-tempo.

Revival EP, 2009

ERZFEINT (GERMANY)

Based on the Promo, which is only two songs, this band offers cool classic thrash mixing slower and faster tempos on both numbers as the preferences would go for "Path Of No Return" which is more intense with a Bay-Area flavour also recalling their compatriots from the not so distant past Pyracanda. The singer has an angry hoarse, but intelligible, voice recalling mid-period Mathias Lodmalm (Cemetary). Music-wise the guys have no ties to Sodom, but their full-length debut is in the makings at the Tom Angelripper studio.

Erzfeint / Demo 2006 Demo, 2006
Tiefe Sehnsucht Demo, 2007
Promo Demo, 2009

ESCABIOS (ARGENTINA)

Based on "Altering The Future" (despite the Death-allusions which this title brings, the music has not much to do with this band), Escabios play thrash/death metal which surprisingly is not influenced by their Brazilian counterparts, but opts for a sound which brings to mind early Pestilence, the Germans Morgoth, maybe Massacra in the better moments, with a more thrashy attitude. There are blast-beats scattered throughout, as well as slow, almost doomy sections, and signs that the album was released in the 90's after all, ala Pantera and Exhorder (but not many). The last song is a cool cover of Dead Kennedys' "Holiday In Cambodia".

Necesidad Extrema Full-length, 1992
Altering The Future Full-length, 1994

ESCADRON (HOLLAND)

A very well produced demo featuring cool, slightly technical old school thrash; if we exclude the metalcore vocals, all the rest is done with style and gusto; one of the young talents from the Dutch metal scene. "In Order To Survive" is a great way to start this short demo: an intense technical thrasher with stylish melodic hooks. "You Will Be..." is more ordinary, and never speeds up beyond the mid-tempo. "Black Heart Wounds" brings back the technicality and the speed, and is another smashing piece. "Way of Life" carries on in the same vein, introducing a stomping heavy middle section. "Sworn Defeated" is a ball of fury, reaching the top aggression-wise, adding sparce blast-beats to the overall appealing picture.

Demo Demo, 2005

ESCALATION ANGER (USA)

Based on the Split, this band specializes in aggressive classic thrash/proto-death akin to Devastation and Merciless; at times the music is plain bashing death metal ("Pick At The Scab"). This is good intense music with harsh semi-hardcore/semi-death metal vocals with a certain hysterical pitch. "Emperor Of Lies" and "Lunatic Cause" are slow with shades of doom/death and recall Asphyx quite a bit. Near the end comes the cool faithful cover version of Exodus' "Lesson in Violence". The guitarist and founder of the band Aaron Dallison later is more famous as a doom/sludge/stoner practitioner with his more recent formations Keelhaul and Abdullah.

Escalation Anger Demo, 1993
Violent Breed Demo, 1994
Escalation Anger / Schnauzer Split, 1996

ESCAPE (UK)

A mixture of the Slayer heavier late 80's period and the groovy 90's thrash of bands like Pantera and Machine Head; this is hard-hitting crushing music aggravated by the strong vocals in the Phil Anselmo-vein.

A Living Faith Full-length, 2003

ESCARNA (BRAZIL)

This is heavy modern cyber-thrash/death metal with a noisy industrialized guitar sound and brutal Chris Barnes-like vocals. The riffs are crushing like a tank forming a consistent whirlpool of mid-paced riffs seldom interrupted by sudden blasts ("Start Over"). Grab your seats, though, for the closing "Whispers" which music-wise is a total contrast to its title being a wild death metal/semi-grinder ala the Australians The Berzerker.

Mortified Full-Length, 2007

ESCHER'S KNOT (INDIA)

Post-thrash is mixed with industrial on this hallucinogenic effort which will drill your mind with dry sterile riffs and hysterial screechy black metal vocals which are desirably intercepted by throaty death metal ones. Otherwise, some songs will catch your ear with their more ambitious shred: "Mayan Calendar", others will roll over you like a tank: the hammering "Break The Cypher", which also introduces the odd more technical hook. There is certainly potential here which may even take Meshuggah-sque proportions in the future, and may eventually turn into a needed antidote to the overpopulated retro thrash metal scene nowadays.

Tessellations EP, 2010

ESCOLA ALEMГ (BRAZIL)

Based on the "Vergeltungswaffe" demo, these guys offer 3 songs of speed/thrash along the lines of Hallows Eve, in other words this is slightly messy rough-around-the edges stuff. The tracks are long (7-8min), but apart from changing of tempos from fast to mid there is nothing really special going on. The leads are too soft, and the instrumental "Germany School" logically tries to bring more aggressive Germanic thrash to the fore, and ends up sounding not far from Sodom's early amateurish efforts.

Demo Demo, 1988
Demo 2 Demo, 1988
Vergeltungswaffe Demo, 1989

ESDRELON (BRAZIL)

Esdrelon play thrash metal mixed with more aggressive death metal parts (the vocals also fall in that category) and an epic atmosphere reminding of the power/speed metal scene of the 90's. This is far from a mish-mash: the mix works fine as a whole, and the side elements do not detract from the hard-hitting thrashy nature of the songs. This is an interesting style which needs further development, and hopefully this is what would happen on the band's later works.

Your Truth EP, 2005

ESH (RUSSIA)

Nothing more than the staple 90's post-thrash will one find here. The deviations come on the form of more laid-back heavy/power metal passages, which are of the lyrical, semi-balladic kind. The guitars are soft also "flirting" with groove and grunge on occasion ("V Trance"), supported by cool clean vocals.

Golova Full-Length, 1998

ESKIZOLEPSIA

Heavy groovy post-thrash ala Puncture and Grope; the 2nd track speeds up for a while, smelling death metal; could be good if the band further develops this tendency...

Demo Demo, 2008

ESLABON (URUGUAY)

Power, speed and thrash metal shake hands here, trying to find the perfect balance between the more cheesy power/speed metal pieces, and the more intense thrash-tinged ones. The tempo is constantly fast, so even though from a thrash metal point-of-view this album would be of no big value, the energetic riffage and the cool harsh semi-melodic vocals would at least make you stand through the whole album without being majorly bored.

No Hay Piedad Full-length, 2006

ESLAVON (SPAIN)

Modern thrash/death metal of the energetic, intense type; slower digressions are certainly to be found, but they are appropriately used. The lead guitars are a nice addition, as well as the fierce deathy sections ("Inconsciente"). "Condenais" is a marvellous atmospheric thrash/deathster with fine surreal motifs, which is the end of the more attractive side of the album, since the 2nd half is just average mid-tempo stuff with a pinch of groove. The vocalist is a brutal low grunter, but his antics are fairly intelligible.

Estado:Psicуtico Full-Length, 2010

ESOTERIA (SWEDEN)

Thrash metal with a gothic atmosphere; there is a mixture of very good clean vocals and deathy semi-whispered ones. A slight keyboard tune could be heard in the background, too. Septic Flesh meets thrash metal: what do you think about that?

Insert reality into drive A: Demo, 2003
Demi/Mond Demo, 2004
Setting sails for the future... Demo, 2004

ESPINOZA

Look no further than the good old groovy post-thrash tested so many times before and after; this album here lacks an edge in the 1st half, and the only time when one may listen with care would be on the energetic speed/thrasher in a more classic vein "Dog Eat Dog". The 2nd half offers more moshing with the edgy faster "Suicidal Dream" and the heavy Pantera-sque "Selfdestructive World". The guys are prone to ballads reflected in one full-fledged ballad, one semi-one, and one nice peaceful instrumental with the appropriate title "Peace of Mind".

Soul Decay Full-Length, 1994

ESQUIZOFRENIA (COLOMBIA)

An extreme mix of thrash, death metal and occasionally grindcore; not bad with casual technical implements, and a couple of vigorous pure thrashers (the more immediate "Tierra Muerta" and "Neurastenia", and the more complex technical "Viviendo Pesadillas"). The tempo is fast, especially on the more death metal-laced compositions ("Erupcion de Maldad"; the turbo rocket "Tormenta Mental", a very cool semi-technical number sustained in the best tradition of mid-period Messiah), and as a whole there's no speed lost here, although the music very occasionally reaches unbearable dimensions.

Esquizofrenia Full-length, 2010

ESSENCE (CROATIA)

Based on the "Larva" demo, these Croatians offer a softer alternative version of the modern post-thrash, occasionally interesting, but mostly groovy and repetitive. The vocals are very hysterical semi-black metal rasps, and don't suit the music too well which is nicely melodic at times with melodic hooks gracing almost every song, touching Tool on the more inspired moments.

Dirt in frame Demo, 2000
Rea Demo, 2002
Larva Demo, 2004

ESSENCE (DENMARK)

Based on the full-length: the synthesized sound of the guitars slightly ruins this otherwise competent take on the classic thrash metal idea which blends slow numbers with a power metal flavour ("Blood Culture"), with all-out speed/thrashers ("Trace of Terror"), both sides finding "shelter" on the more serious semi-progressive title-track which, however, suffers from an overlong quiet mid-break. The closer "Aggressive Attack" deserves its title, though, being a full-frontal thrash assault lashing fiery riffs from all sides for a bit over 5-min.

Art In Imperfection EP, 2007
Lost In Violence Full-length, 2011

ESTIGIA (SPAIN)

One of the better bands from the not very prolific Spanish thrash metal scene; the sound is energetic classic thrash with excellent sharp riffs. "Insubmission" is a good debut featuring up-tempo Bay-Area thrash for most of the time, with nice deviations from the more standard approach, in the form of the excellent instrumental "Dissident"; the rest is cool headbanging material, straight and direct. Despite the big, 7-year gap between the two works, "Trip to Nowhere" carries on in exactly the same vein, providing another fine portion of headbanging retro thrash.

Insubmission Full-length, 1989
Trip to Nowhere EP, 1996

Vibrations of Doom

ESTIGMA (PERU)

Good thrash/death metal with a classic late 80's/early 90's sound; there is a lot of variety offered here: fast death-y numbers, up-tempo galloping thrashers, slower atmospheric, almost "gothic"-sounding, ones. The vocals are on the death metal side with a slight hardcore shade.

The Bloodstained God EP, 1997
The Bloodstained God Full-length, 1998

ESTOQUE (BRAZIL)

Thrash/crossover of the jollier type with very cool, almost jazz-like at times, bass work; often does the music jump on the aggressive thrash wagon ("Mudos A Rezar", "Males Sociais"), but the friendly crossover tone is not very frequently broken on the other compositions. Very interesting technical decisions could be heard at times as well: the jumpy eclectic 3-min wonder "Descendentes", and the longer, almost progressive "Colonizadores", where the guitar work suddenly takes very stylish intriguing directions, again with a fine jazzy shade. This is an interesting combination of contrasting styles which will seldom leave the listener bored.

Thrash Core Anarquista Full-length, 2006

ESTRUS (CANADA)

This is heavy power/thrash still retaining some of the classic models, mixing them with a couple of more modern hooks. The music is heavy trying to keep up with late-80's Metallica, but the speed is not enough to live up to those expectations, except perhaps on the more dynamic technical stomper "Cast Into". The guitar work is really heavy with a slight abrasive edge ably supported by a thick Cliff Burton-esque (R.I.P.) bass bottom and not bad forceful semi-clean vocals. The "slumber" will be rudely interrupted on the closing title-track which is an intense semi-technical thrasher with solid up-tempo riffs.

Enter The Rage Full-length, 1996

ESTUARY (USA)

Thrash/death metal obviously influenced by the Swedish scene: think Arch Enemy, Dark Tranquillity, etc., with a bit more brutal vocals than what generally comes along with this style. This band are far from mere copiers; on the contrary: they manage to come up with nice technical guitar passages and melodic solos which, combined with the faster, aggressive sections (which sometimes are really fast), makes their works a really worthwhile listen.

Riding the Tides of Malice EP, 2002
To Exist And Endure Full-length, 2004
The Craft of Contradiction Full-length, 2007

ETERNA OSCURIDAD (ARGENTINA)

Ordinary modern thrash/death metal which crosses melodic with brutal fast sections on a slightly fuzzy guitar base. The shorter more death metal-based numbers ("Eterna Oscuridad", the proto-black deathster "Levantense en Armas") seem to deliver better being compulsive outbreaks with shreddy aggressive riffage.

Baсado Con la Sangre del Cordero EP, 2009

ETERNAL (COSTA RICA)

This new band, coming from a not very likely for metal place, offer retro thrash metal with long songs, which are not technical, but the tempos within them change frequently, the predominant one being up-tempo. The guitar work is quite good straight-forward with occasionally more stylish decisions, mostly in the lead department, where often do the guys hit the top: they have to somehow compensate for the awful raspy undeveloped vocals which would sound harsh even on a Mayhem (Norway) album.

"Seeds of Evolution" contains three of the four songs from the EP, and the rest is up to par being aggressive classic thrash metal with more frequent technical decisions. After the interesting lead-driven instrumental intro "Deconstruction", the guys hit mercilessly with "Cults to Eternal Hatred" which is an intense technical proto-death piece ala Pestilence's "Testimony of the Ancients". Then comes "Revolt" from the EP which is more ordinary speedy thrash establishing a pattern closely followed by a couple of tracks, before "Thunderbolt" impresses with great, both melodic and technical, leads. Then things return to the more common formula hitting the top on the smashing closer "Seed of Evolution", another fine blitzkrieg thrasher with proto-death tendencies boasting fine bass support, which is pretty high on the whole album, by the way. The singer again doesn't impress much with his gruff deathy tember, although it's obvious that the guy has rehearsed more this time coming with a more polished comprehensive delivery.

Eternal EP, 2007
Seeds of Evolution Full-length, 2009

ETERNAL AGGRESSION (USA)

A 3-track demo of good American speed/thrash metal akin to Anvil Bitch and Destructor; these guys are a tad more aggressive, and the singer tries some high-pitched wails ala John Cyriis at times, which work quite well ("Mayhem" actually speeds up admirably, also recalling Agent Steel).

Beyond the Crypt Demo, 1988

ETERNAL AUTUMN (SWEDEN)

Based on "From The Eastern Forest": this band offer a mix of atmospheric Gothenburg-influenced death metal and a little bit of straight-forward classic thrash. "The Ashes of the Witch" is, on the other hand, typical pagan black. The rest is more energetic mixing the aforementioned styles in a not very convincing way, and the band's desire to court other genres along the way (black metal, gothic, etc.) makes things only more confusing reaching its culmination on the 16-min long "Eternity in Vengeance" which is a mish-mash of too many styles; you'll get lost there. On the folllowing "Statues" the guitar sound gets so melodic that you may want to hear Ratt, or Motley Crue for a change, to liven up. "7,2" is a nice little thrasher which comes at the end, but too late to save the day.

The Storm Full-length, 1998
From The Eastern Forest Full-length, 2000

ETERNAL DECEPTION (RUSSIA)

This band plays a more aggressive, blacky brand of melo-thrash/death with the staple Gothenburg leanings. Dissection are an obvious influence, but the sound quality here is not as polished, from which suffer the raw death metal vocals above all, and the hollow drums. Otherwise the guitar players know their craft alternating between fast and slow sections the whole time, seldom blasting out uncontrollably, also coming with something technical ("Valley of Oblivion") from time to time.

Covered By Darkness Full-Length, 2011

ETERNAL DECISION (USA)

The band's debut has a decidedly Metallica-influenced sound (resemblances in the vocal style, too), mixed with modern groove, bringing it closer to the Black Album, rather than the Metallica works of the 80's, and the overall impression is not bad with heavy riffs and tracks which do not stick to one another, but have their own "face". On the follow-up they recruited another singer to probably leave the Metallica-tag behind, and by adding some more modern elements (think Pantera, Machine Head), the final result is not as satisfying.

Eternal Decision Full-length, 1996
Ghost in the Machine Full-length, 1999
E.D. III Full-length, 2002

ETERNAL DEVASTATION (BRAZIL)

Excellent fast-paced death/thrash metal with a classic flavour; although having taken their name from a Destruction album, their sound is more along the lines of bands like Defleshed and Ravage. The guys thrash with gusto and conviction, producing a very fast and sharp sound, which at times threatens to fall apart, but doesn't: "Into Christian’s Mind". Every song is a gem of aggressive speedy thrash as the death metal elements play a secondary role here. Even the longer tracks, like "Sober’s Sacrifice" and "Hunting Priest", which closes on 6-min, are fast and relentless (this is actually the most brutal piece, with shades of death metal and a short Slayer-esque slower mid-section). This is explosive uncompromising classic thrash at its best, and although the Brazilian metal scene has been producing similarly styled acts in heaps for the past few years, these guys have no reasons to worry that they will be soon forgotten, even if they don't release anything else for a long time after this one.

Slaughterhouse Full-length, 2006

ETERNAL DIRGE (GERMANY)

Based on "Morbus Ascendit", this band come up with cool technical thrash/death metal, reminiscent of Pestilence's "Testimony of the Ancients" and Death's "Human". The music is closer to thrash metal than those two albums, but the approach is virtually the same: nice technical guitars, not very brutal sound, except on a few occasions ("The Decadence Within"); the guys nicely change tempos all the time, and the music twists and turns making this album a really enjoyable experience. There is a sparce, but very effective use of keyboards, creating a great haunting atmosphere.
"Khaos Magick" increases the presence of keyboards which stifles the guitars a bit, and the technical riffs have been reduced for the sake of a somewhat epic sound not miles away from Bal-Sagoth. The music has shifted more towards death metal, and whereas this album is also long on atmosphere and interesting moments, it might not appeal as much to the thrash metal fan as the better debut.

Morbus Ascendit Full-length, 1992
Khaos Magick Full-length, 1996
My Sweet Satan EP, 1996

ETERNAL DRAK (COLOMBIA)

One person (Gerson "Demonslaught" Toro) is behind this short atmospheric black/thrash/gothic metal opera which sits somewhere between early Emperor and The Irish Cruachan, but never as fast as the former sticking to moody mid-paced patterns with both lyrical and wild hyper-blasting deviations served in equal dozes. The vocalist is the prototypical black metal "raven" who croaks incessantly playing a leading role in the proceedings in a way not too different from Dany Filth.

La Resureccion de la Orden Guerrera EP 2002

ETERNAL LEGACY (USA)

The band's debut is cool progressive power metal with elements of speed offering stuff not too far from early Symphony X, maybe a bit more melodramatic. "Lifeless Alive" is a more aggressive affair with overt thrashy overtones starting with the fine heavy semi-technical brooder "Lifeless Alive" which ends in a brutal speedy manner. "Souls Of Prey" is a prototypical galloping power metal number, followed by the edgier and slightly faster "Abadon", which boasts a nice balladic mid-break. "Visionary Sin" remains more in the power metal field again, but "Misery's End" hardens the course adding great lead guitar work to the proceedings. "Lost But Not Alone" is a hectic semi-technical take on speed metal, followed by the vigorous epic power/thrasher "Fight The Heavens". "Wicked Glory" crosses American power metal with the 90's power/speed metal scene to a good effect, before the coming of "Braindead" which is a cool mid-paced instrumental, and the actual closer, with one bonus track added after it: the creepy doomy "The Dead Matter". Although the band is often placed in the symphonic/neoclassical department, there is not much to relate it to the flashy show-offy flamboyance of the practitioners from this sub-genre, the guys opting for a more stripped-down approach similar to Mystic Prophecy and early Eidolon. The singer gives a subdued, but powerful, performance suiting well the music with his mid-ranged emotional delivery which goes one note up on the slower balladic sections. Two members of the power/thrashers Wretch also perform here: the guitarist Shaun Vanek, and the bass player Tim Frederick.

I EP, 2004
The Coming of the Tempest Full-length, 2007
Lifeless Alive Full-length, 2009

ETERNAL NIGHTMARE (HOLLAND)

The sound quality of this demo is bad, but the music isn't: cool speed/thrash crossing Whiplash's debut with early Destruction; the singer has an interesting deep semi-clean voice (interrupted by occasional high-pitched screams ala early Warrel Dane) which, combined with the fast simplistic guitar work, work quite well.

Total Tear Up Demo, 1990

ETERNAL PURGATORY (CANADA)

A 2-track demo of instrumental classic thrash, slightly reminiscent of another Canadian instrumental band- Mastery, but with longer tracks, and a somewhat epic atmosphere. The music of these guys is more technical, and not as fast and aggressive; the intro to "Unleash Roman Steel" will remind you of Metallica's "Sanitarium".

The Outhouse Demo Demo, 2005

ETERNAL REST (FRANCE)

Modern thrash/death with raspy black metal vocals; the music covers all possible tempos, from raging blasting sections to doomy ones with gothic overtones, plus the odd epic-tinged Bathory-like section.

The Four Winds Of Evilness Full-length, 2007

ETERNAL TEARS OF SORROW (FINLAND)

These melodic death metallers used to "court" thrash in the good old days, still mixed with death metal (based on the "Bards Burial" demo), pretty atmospheric and epic-flavoured, an interesting listen which rather recalls their neighbours Amon Amarth, than their future more dynamic efforts. The riffs are solid without being very varied, and the good taste of melody is already here also expressed by the nice keyboard background and the very good leads.

The Seven Goddesses of Frost Demo, 1994
Bards Burial Demo, 1994

ETERNAL WINTER (UK)

Based on the promo, this is cool power/thrash metal in mid to up-tempo reminiscent of Meliah Rage, mid-period Metal Church, Squealer, etc.; the tracks are longer (5-6min), and don't have a very big hit potential being more complex and winding, mixing melodic with hard-hitting riffs the whole time. Some of them tend to lose steam in the middle exploring balladic and other mellower territories. The vocals are mid-ranged clean, and more passion in them could have been better.

Promo Demo, 2006
Live in rehearsal Demo, 2009

ETERNITY BLACK (USA)

With three members of the legendary Helstar present, expectations were raised very high for this band, especially after James Rivera messed it up with "Multiples Of Black". The higher the expectations, the bigger the disappointment. Well, at least mine was big; no shades of Helstar whatsoever: this is groovy power/thrash, strictly from the modern school with the obligatory groovy parts and all esle, and if the bewilderement wasn't so big, I would have probably found something (but not much) to like here. If you approach this band with an open, unprejudiced mind, you might stumble upon a winner to some extent, as the music is not completely without merits.

Eternity Black Demo, 2005
Demo Demo, 2006

ETHEREAL COLLAPSE (USA)

Based on the "Fallen Hope" EP, this band play typical Swedish death metal (think early In Flames, above all), crossed with thrash of the more classic type. The guitar lines are cool and melodic, and there is at least one track which will make the thrash metal fan really happy (the nice speedy "Fallen Hope").

Fallen Hope EP, 2004
Breaching the Citadel Full-length, 2006
Categories EP, 2008

ETHEREAL SCOURGE (AUSTRALIA)

This band are representatives of the Christian metal scene. The style at display here is quite unique: the songs are mixtures of mid-tempo death metal, crunchy semi-technical thrash, and doom/gothic. There are not many headbanging moments, but the quiet melodic breaks on the other hand, are aplenty, including several short acoustic instrumentals. "Estranged from the Womb" might make you move around with more energetic thrashy riffage, but tracks like the doomy slow "Earthshaker" are also present to make sure that you won't die by headbanging. "Giver of Life" is a good gothic thrashy number which would also stand well on Paradise Lost's "Icon". The vocals are gruff semi-death ones reminiscent of Mathias Lodmalm (Cemetary).

Judgement & Restoration Full-length, 1997

ETHOS (RUSSIA)

This young act indulges in soft heavy/thrash with plenty of romantic, balladic stretches, but heavy crunchy riffs ("Filcam", the rough shredder "Religion") can also be heard, of the doomy mid-paced type. "Bezlikie" is an energetic piece, speed/thrashing in up-tempo, but such moments are a rarity, the overall mood being peaceful and serene.

Show Planeta Zemlia Full-Length, 2011

ETILICA (URUGUAY)

A 6-song demo which presents decent retro speed/thrash which develops in an intense up-tempo, with a few more aggressive moments: the melo-death sections on "Mi Amigo El Alcoholico"; the wild 1.5-min death metal explosion "Obreros". The last two songs are more moderate, in mid-pace, a bit underwhelming, their mellow nature not really suiting the gruff death metal singer.

Volvimos Demo, 2009

EU E OS MEUS ONANISMOS (SPAIN)

A brutal thrash/death/grindcore mix reflected in short blitzkrieg tracks (1-2min) which make sense, actually, and contain a couple of intriguing riffs as well as, of course, numerous headbanging moments. It's a pity that those numbers are not longer since the guys throw a few more interesting ideas, and the guitar work is not bad albeit constantly fast and ripping. The only real drawback would be the singer whose undeveloped rough declamatory delivery has almost no ties to singing.

O Fim So Full-Length, 2009

EUCRASIA (ARGENTINA)

Based on the "Engendrado Por El Odio" demo, these guys refuse to lay to rest the 90's trends, and play heads-down 90's thrash ala Pantera, Machine Head, mid-period Sepultura, etc. The exception is the aggressive proto-death number "Traidor" which is a pleasant deviation with its sharp riffs and a headbanging tempo.

Traicionera relidad Full-length, 1998
Campos de Batalla EP, 2005
Engendrado Por El Odio Demo, 2007

EUDOXIS (CANADA)

The EP is enjoyable speed/thrash similar to Exciter and (but better) early Razor. By the time the full-length saw the light of day, the music has lost its immediate quality, and has taken a turn towards a more ambitious song writing. The sound is heavy, technical similar to Heathen's "Victim Of Deception". Despite the lengthy songs, the music never drags and remains interesting the whole time. "Reflections Of A Lost Past" is a marvellous instrumental close to Metallica's "The Call Of Chtulu". This is one of the better thrash metal albums before the genre's demise.

Attack From Above Single, 1986
Open Fire Full-length, 1991

Vibrations of Doom

EURE ERBEN (GERMANY)

This band are actually the continuation of the thrashers Darkness who split up in the early 90's to reform in the new millennium, apparently encouraged by the revived interest in thrash metal worldwide. The lyrics are entirely in German. The opener is one of Darkness' greatest songs sung in German: "Faded Pictures", and the fourth one is another hit from the past: "Burial at Sea"; they are the most aggressive, and best, tracks on the EP. The others are not too far behind, especially the good headbanger "Staatsfeind", but listening to the old material will probably fill you up with memories of the past, which will overshadow the music, so you might have to give it another listen to appreciate the newer stuff.
The full-length is finally a fact, and this time there are no borrowings from the Darkness catalogue anymore, the guys thrashing hard and fast in a brisk old school manner, at least half the time, strangely recalling more recent Tankard, especially in the catchy chorus department. The "slaughter" begins from the very opener "Terror For Terror" which is a vigorous headbanger with a nice chours, followed by two other splashing "bombs": "Deus Lo Volt" and "Amok". "My Alter Mind" takes more complex tendencies retaining the energy in a sure-handed galloping fashion; this track in particular recalls Headhunter in many ways. No mercy on the following "Adrenalin", a fast lashing piece well deserving its title. "The Ultra-Violence" is not a Death Angel cover, but is a very cool bursting speedster, after which comes time for some "romance" with the heavy semi-ballad "Iscariot". "Monoman" is intense headbanging thrash at its best, but alternation between the two sides continues with the more laid-back power/speed metal-based "Reach The Limits" which "reaches the limits" in the lead departent with the finest leads on the album. Although this effort is not sustained in the thrashy spirit till the end, the good musicianship, the crystal clear sound quality, the very good vocal performance, and the ripping sharp guitars will guarantee a sure entertainment to power, thrash and speed metal fans.

Eure Erben EP, 2006
Eure Fдuste EP, 2007
Terror 2.0 Full-length 2010

EUTHANAUSEA (FINLAND)

Based on the "Melodying" demo, this band plays sombre doomy thrash/death metal which could be suddenly fast and brutal ("Crematorture"), but the rest is pretty slow, mid-tempo at best, with references to melody ("melody" is not "dying" here, folks) and doom. The singer is a raw brutal growler, but comprehensive enough, even managing to sound attached to the musical delivery at times.

Songs of Forgotten Souls / Sadistfaction EP, 1992
Melodying Demo, 1993
Sleep Dream Die Fly EP, 1996
Fire Works!!! Demo, 2004

EVA BRAUN (RUSSIA)

This is the Russian answer to Wehrmacht: vicious brutal music with hardcore overtones and some of the most horrifying hysterical vocals which fortunately are barely audible for most of the time. The delivery makes sense, and if it wasn't for the dirty sound quality, one may have enjoyed this primal aggressive outburst much more. In the middle the guys start grinding with touches of death metal boldly approaching Cryptic Slaughter on the wildest moments ("Satana- Eto Horosho", "Russian Incest"). This is really outrageous stuff, not for the squeamish...

Live In Satanic Bunker Full-Length, 2005

EVERSIN (ITALY)

Power/progressive metal with touches of thrash; the music is quite epic at times coming close to the one of Falconer, but here there is an overuse of keyboards which stifles the sharp guitars. There is not much dynamics present, and although the mid-tempo is sustained throughout, albeit with an obvious effort sometimes; still, it's clear that the guys are fonder of the lyrical romantic side of the genre for which the very good melodic singer is partly responsible for.

Divina Distopia Full-length, 2010

EVERSOR (ITALY)

The band's debut demo and the full-length offer decent, somewhat avantgarde thrash reminiscent of Voivod late 80's period ("Dimension Hatross", "Nothingface"), but less technical and not as ground-breaking. This is thrash metal from the more melodic side of the genre, but contains a few intriguing moments if you can stand the slightly alternative vocals and the not very sharp guitar work.
The "Psychopathic Intentions" EP is arguably the better effort, now thrashing quite intensely with both edge and speed, without any avantgarde or technical leanings. This is straight headbanging stuff with the vocals this time sounding gruff and semi-hardcore, well conformed with the much more aggressive music.

Condition of Death Demo, 1988
The Cataclysm Full-length, 1989
Live of Brutality Demo, 1990
Psychopathic Intentions EP, 1991
World of Illusions EP, 1995

EVERWHERE (SWEDEN)

Based on the "Life & Death" demo, these guys play cool classic power/thrash ala early Iced Earth, Liege Lord and Meliah Rage. Their style in this train of thought is also very close to the Germans Red to Grey. The music varies from prototypical up-tempo thrashers ("Life & Death") to hammering heavy stompers with a nice Oriental decorations ("What it Means"). "Don't Give Up" may also remind you of mid-80's Exciter with its more light-hearted speed metal attitude.
The "Black Dawn" EP hardens the course stepping more bravely on a thrash metal ground. The sound now is a bit more modern, and the guitars' edge is sharper, a situation also improved by the crystal clear sound quality. The music stays in the mid-parameters ("Your Time Will Come" features more dynamic up-tempo riffage), as the guys prefer to crush with heaviness leaving the last "Two-Face" to do some damage in the more intense speed/thrash department. The vocals are harsher, in the semi-death metal field, not far from the ones of Leif Jensen (Dew-Scented).

Safe at Last Demo, 2006
Life & Death Demo, 2008
Black Dawn EP, 2009

EVICTION (USA)

Pretty ordinary crossover/thrash; kind of reminding of the very early humble beginnings of Suicidal Tendencies with some thrash riffs thrown in to keep it floating. The crossover/thrash scene knows better bands.

The World Is Hours Away Full-length, 1990

EVIDENCE OF FEAR (GERMANY)

Modern death/thrash with hoarse, slightly irritating, semi-death metal vocals; the music flows in a cool, predominantly thrashy manner, and hardly needs any unnecessary implements, like the rude blast-beating sections on "Em.by.Da" and "Exorcism". The cool brisk thrasher "Nemesis" even offers more classically-inclined riffs.

Exorcism EP, 2006

EVIDENCE SMRTI (CZECH)

This Czech combo delivers fast intense thrashcore with deathy overtones, coming both from the aggressive vocals and the few more brutal riffs. The album develops in the same speedy manner from beginning to end without any deviations with short 1.5-2min tracks.

Evidence Smrti Full-length, 2011

EVIL ANGEL (FINLAND)

Based on the EP, these guys play old school black-ish thrash similar to modern-day acts like Vexed, Suicidal Winds and Nocturnal; Evil Angel are perhaps a bit more brutal and faster. "Unholy Fight For Metal" introduces a more brutal sound and slightly increases the presence of black metal and blast-beats, but tracks like "Fire in the Pentagram" and "Infernal Hell" are good thrashers, and the album still preserves its appeal to the thrash metal fans.
The demo is an "unholy" slab of black-ish thrash, a pretty primal brutal affair, with thrash metal prevalent, despite the frequent insertion of spasmodic blast-beats. "Evil Angel Has No Boundaries" has very little to do with Slayer's song despite the allusions made with the title.

Dark Forces of Hell Demo, 2002
Metal Onslaught EP, 2003
Unholy Fight For Metal Full-length, 2007

EVIL ARMY (USA)

With its rapid-fire approach and short songs this album reminds me of Hirax and Phantasm; in other words this is the good old school speed/thrash metal. This is fast and intense stuff with jollier crossover songs thrown in ("Wrong Approach", "Watch Me Fall"); some of the tracks are actually longer going over 3-min, but the delivery is the same; the title of one of the songs says it very well: "Relentless Assault". On the EP the assault continues unabated, albeit it is only two tracks, one of which is a cool cover of the Bathory early killer "The Reaper".
The "Armory Demos" contains the two songs from the EP, plus three new ones which deliver in the same way as before with fast energetic retro thrash riffs, short comprehensive leads, direct references to the good old speed metal ("I, Commander"), and cool gruff meanish semi-clean vocals ala K. Weber (Toxic Shock).

Evil Army Full-length, 2006
Under Attack EP, 2008
Armory Demos Demo, 2010

EVIL BLOOD (CROATIA)

Based on the compilation, this band have apparently started with raising the American power metal flag high in a way not too different from early Laaz Rockit, before moving onto speed/thrash reminiscent of early Destruction and Sacrifice. Both styles are handled with style and gusto, and despite the muddy sound quality, the high level of musicianship is undeniable. Later the band moved to London where they changed their name to Lord of Darkness. Either the way of life (or the response to their music) must have disillusioned them, and they moved again, this time to Scotland which caused another name change: Djinn.

The "Midnight in Sodom" demo preserves the American power metal influences, but the music is decidedly more thrashy, touching early Metallica with ease, aiming at the same raw primal sound of "Kill'em All". Actually this is the main target for worship, which is very good, since the music has the same vigorous spirit, and seldom loses speed, shooting speed/thrasher after speed/thrasher, to the listener's delight. Things get quite intense and furious near the middle, on "We are the Satan+S.B.M.B.N.M.", which also contains a nice heavy mid-paced bridge ala early Venom. "To Hell And Back In One Day" is a surprising display of romantic feelings, being a cool ballad, followed by two short blistering thrashers, which bring back some of the German thrash spirit of the compilation: check out "The Beast".

The Best of Djinn/Evil Blood 83'-86' Best of/Compilation, 1986
Midnight in Sodom Demo, 1989

EVIL DIVINE (USA)

Based on the sophomore album, Evil Divine play atmospheric thrash/death of the modern-type, mid-paced, but with more aggressive faster black-ish moments and a nice short orchestral instrumental ("Polarity"). Most of the songs are 6-8 min long, but the tempo changes quite often and keeps the listener interested.

Feathers Have Fallen Full-length, 1998
Dawn Before the Dawn Full-length, 2004

EVIL MACHINE (ITALY)

A good modern thrash/death metal mix, with more technical guitar work reminding of Darkane and Non-Human Level; the songs are long, the shortest being 6.5-min, and the tempo is energetic, without speeding too much. "The Eye Inside" shifts from this description being a slower atmospheric number accompanied by gothic-styled guitars and clean vocals (the main ones are low-tuned brutal death metal ones).

Visions Demo, 2004

EVIL MADNESS (CHILE)

The demo sees an act making a lot of noise on the Chilean underground scene with their seismic blitzkrieg classic thrash approach which comes pelasantly decorated with the more aggressive death metal hook. The music comes close to early Death and Devastation, assisted by a couple of more laid-back reliefs: the merry crossover speedster "Mad Attack".
The full-length debut comes with all the guns blazing to shake your head and rock your world with the good old thrash, which this time sunds a tad less intense with speedy decorations "roaming" around, giving the music a timnge close to more modern acts like Alastor (Portugal), Nocturn, and Solitaire. "Maze of Souls" from the demo is included, but it stands awkwardly with its brutal, proto-blasting delivery, which has no match anywhere else on the album. "Scars" tries to give a more brutal edge to this recording, too, by inserting a few more aggressive deathy passages, but instead the guys turn to more epic power/thrash wtih the longer "Final Death" later on, eventually surrendering to the pure speed metal sound of old on the closing sweeper "Poison". The singer is a typical blacky rasper, again quite reminiscent of The Portuguese Alastor.

Scars of Blasphemy Demo, 2008
Maze of Souls Full-length, 2010

EVIL MECHANIX

Ordinary modern post-thrash with a few jumpy moments, but nothing terribly memorable; boring stuff with alternative passages and noisy leads which "quarrel" with the rhythm guitar for domination the whole time.

First Mechanix Demo, 2010

EVIL OFFERING (CHILE)

Powerful classic thrash metal reminiscent of Nuclear Assault both in the vocal department and in the hardcore-tinged riffs, so expect mostly fast music with straight-forward riffs. The Chileans are more thrashy, and their songs are longer, although there is no much variety in the approach. The "We Bring Your Death" EP is a big improvement over the demos, with even longer, thought-out songs, and more interesting technical riffs.
The guys are finally ready with their full-length debut, and those who liked the more elaborate approach taken on the EP, will be very happy with this great slab of classic technically-minded Bay-Areasque thrash. "Enemy" is a cool technical mid to up-tempo stomper with hard riffs, great bass bottom, and excellent leads. The singer is on par with the very good music singing in a high-pitched attached manner ala Sean Killian (Vio-Lence), only gruffer and a tad less melodic. The guys slightly increase the tempo later coming with the technical headbangers "The Rest" and "Heretic Cult", and especially the more absract Voivod-ish "Burn WIth Me", a masterpiece of complex, but at the same time very dynamic, thrash. "Thrashing Madness" doesn't quite serve what the title suggests being the slowest song on the album also containing playful rock-ish tunes in the 2nd half (!?), but before that the technicality is top-notch producing vortex riffs and interesting tempo changes. "Third World Mediocrity" is a great energetic head-spinner hitting the top technicality-wise leaving the more immediate delivery to the last two songs which concentrate more on direct headbanging riffage without too many complications. A rather unexpected, but utterly convincing, entry from South America which will give hard time to the Brazilian practitioners to match it in the days to come in both the more direct and technical department.

Evil Offering Demo, 2000
Massacre En Antofagasta Demo, 2002
United by Thrash and Beer Split, 2004
We Bring Your Death EP, 2004
Wake up for Another Nightmare Full-length, 2010

EVIL ONE (FRANCE)

Reportedly during their early days the band have played melodic gothic metal, but what we have on "Evil Never Dies" is well-constructed classic speed/thrash with cool melodic clean vocals. The opener "Evil Never Dies" is more in the 80's American power/speed/thrash metal mode, but "Thrashback" is a nice up-tempo thrasher, with a bit overlong balladic stretch in the middle. "Feel The Pain" is an encompassing power/speed/thrashing opus constantly alternating speedy and heavier riffs. "Instant Annihilation" is 2.5-min of lead guitar shred, kind of reminding of the "Violence & Force" intro, but the following "Wounds Of War" is not as uncompromising being a more moderate power/thrasher. "Perverse Morality" comes after that to crush your skull with loads of sharp aggressive riffs, before another opus-like number reach you: "Contract In Blood", again mixing the 3 genres, adding also a couple of doomy guitars in the beginning and the end. Then the attack carries on with the speed/thrash delight "Suprematie", which the fans will immediately recognize, being a nice cover of the early ADX hit: 2 members of ADX actually guest on this one: the singer Phil Grelaud, and the guitarist Pascal Betov. "The Conqueror" is the odd track: epic power metal with a brutal speedy ending. This song, along with the closing tender ballad "Mr Bassman", kind of spoil the impression a bit at the end, but the previous material is by all means one of the more interesting moments from the French metal scene of recent years. The "laurels" for the crisp biting production go to our friend Jeff Waters, who also guests here.

"Militia of Death" sees the presence of numerous guest musicians: Pascal Betov (ADX) is here again, accompanied by Jeff Waters again, Gerre (Tankard), and Herman Frank (Accept). And this supergroup doesn't disappoint producing arguably the band's finest hour: the starter "Militia of Death" is top-notch headbanging thrash with a super-heavy doomy ending. "Evil Invasion" is jollier staying closer to speed metal followed by two heavier slower numbers, before "Baptized by Fire" speeds up nicely with great melodic leads and hooks: this is vintage early Helloween, folks. "Memories" is a cool, albeit overlong, ballad of the heavy dramatic type, and "Fast as a Shark" is, of course, an Accept cover, done faithfully, but with heavier rhythms; Frank doesn't play here, as expected, though. He adds his leads on the next "Suicide Fanatics", which is a heavy stomper, cancelled by the following "Instrumetal", another more moderate speedster with fine lead guitars again. The closing "Militia of Beer" starts in the same way as the opener, but later turns into a joke track with laid-back crossover rhythms. The guys don't betray their staple approach, and as such will hardly betray their loyal fans soon.

Shades of Life Full-length, 2006
Evil Never Dies Full-length, 2009
Militia of Death Full-length, 2010

EVIL PROPHECY (UK)

Pretty fast and aggressive thrash/crossover which on the faster shorter moments easily catches up with Wehrmacht, and even Cryptic Slaughter: check out the grindy piece at the end "The Right To Booze" and the opening 50-sec outrage "This Is Bochum Not L.A.". Later the band changed their name to Inhuman Conditions, and toned down the delivery quite a bit coming up with more moderate thrashy crossover, and a more lasting presence on the scene with 3 full-lengths and 2 EP's.

Demo 2 "Proceeding Decay" Demo, 1987

EVIL RISE (SPAIN)

3 songs of early power/thrash with the legend Debbie Gunn (Znowhite) the main influence on the good emotional singer. The music is heavy, not too fast, with meaty hard riffs, and cool melodic leads. The last track is a good cover of Megadeth's "She-Wolf", done a bit individualistically, in a heavier mode to suit the darker tone of the other material.

In War And Hate Promo, 2010

EVIL SCARECROW (UK)

Based on "Sixty-Six Minutes Past Six", this band plays a dark gothic brand of thrash, quite good, mostly of the modern type. The pseudonims the guys (and presumably a girl) use and the masks they wear may easily put them in the shock rock/metal trend, but their music packs a punch, although not a number matches the intensity and compulsion of the opening "Choose Metal", which is pure headbanging thrash. Later on the delivery loses the speed, and becomes more complex, with longer songs, and nods to gothic, doom and epic, but retains the sharp riffage on steam-rollers like "Sixty-Six Minutes Past Six" and "War and Seek".

Crowcifiction Full-length, 2004
Hell Dog EP, 2007
Sixty-Six Minutes Past Six Full-length, 2009

EVIL SHEPHERD (BELGIUM)

This band rose from ther ashes of Hyena who released one excellent demo of fast energetic Germanic speed/thrash metal in 2007. Expect the same merciless assault here from beginning to end, with direct references to the guys' German peers ("Nailed to the Cross"; remember Destruction's "The Antichrist"). The music is fast and relentless sounding like more proficient and polished "Pleasure to Kill" intercepted with "Infernal Overkill". The guys threaten to break the speed of light at times: the ultra-speedster "Acid Rain Of Death", and one will have difficulties finding any really slow sections on all the 13 songs; and there's really not much room for them the tracks closing on 3-min max. There are quite a few reminders of the glorious German sound of old nowadays, but these guys are doing too good a job to remain buried in the pack.

Sowing Death Full-length, 2010

EVIL SINNER (BELGIUM)

A competent, but not really impressive entry into the thrash metal genre from Belgium of the more aggressive type, similar to their compatriots Cyclone's debut and the Germans Assassin. It's not all-out speed all the time, by the way, and their better side is the heavier, slower one ("Death to You"), where the band sound more stylish. The problem is that tracks of this kind are only the already mentioned one; the rest is brutal thrashing, bordering on proto-death quite a bit.

Evil Sinner Full-length, 1989

Vibrations of Doom

EVIL SYNDICATE (BRAZIL)

This is retro thrash/death metal ala Deceased and Desaster sounding both fast and stomping at various songs throughout where intriguing Oriental motifs can catch the ear ("Black Orient") accompanyimg the very brutal, but comprehensive, death metaL vocals.

Sindicato da Tortura Split, 2009

EVIL UNITED (USA)

Veterans from the 80's American scene (former members of Riot, Watchtower, S.A. Slayer) have gotten together to produce this cool tribute to all songs old school, concentrating mostly on power and thrash metal. The boosted modern production gives the guitars a modern edge, and this leads to inevitable more modern-sounding pieces: the proto-groover "Speak". Still what matters here are the unbridled speedsters, like "Rise And Fall Of Earth And Man" & "Taking Over the Grandmaster", and the more controlled "Wargod". The energy is sustained throughout, though, even on longer, progressively-tinged compositions ("Walking To Sodom"), and there is an inclusion of short, balladic interludes. The singer is a holy shouter/screamer rending the air with his attached antics, but one shouldn't be surprised having in mind taht this is none other than Jason McMaster: the man who pulled out such a performance on the Watchtower debut some 25 years ago.

Evil United Full-length, 2011

EVIL WHIPLASH (COLOMBIA)

These newcomers (whip)lash out energetic retro thrash metal showing an obvious fascination with the German school (think Necronomicon, early Deathrow, Toxic Shock). The band comes up with good vigorous speedsters ("Dawn of the Dead", "Satanґs Arise"), and manage to keep the tempo up the whole time pouring "toxic thrash" all over you, especially on the closing "Toxic Thrash". The singer is a slightly more hysterical mix between Schmier and Mille, but his rending antics are well conformed with the music.

Rituals Of Punishment Full-length, 2010

EVILBASHER (MEXICO)

A cool demo offering intense classic thrash/death metal with a peculiar dark sound reminiscent of Pestilence and Cadaver. The guys prefer to lash out in a fast uncompromising manner, the delivery being closer to thrash, unleashing good forceful pieces: "Spit The Cross", "Katalepsy", which could have been highlights even on Kreator's "Extreme Aggression".

Demo Demo, 2011

EVILDEAD (USA)

Evildead rose from the ashes of Agent Steel when two members of that band (Juan Garcia and Karlos Medina) decided to continue their career, but in a different mode. Their first offering is aggressive thrash bordering on hardcore, a primal brutal slab of metal. There's no speed to spare here; this work is a nice companion piece to the released 3 years earlier "Reign in Blood" and "Darkness Descends", although some songs, like "Annihilation of Civilization" and "Future Shock" offer a nice deviation into a heavier, more restrained territory.
"The Underworld" tones down the aggression, showing the other, more technical and serious side of the band, and is almost equally as strong. "The Hood" thrashes in a way similar to the debut, but "The Underworld" is a display of a more controlled and technical example of the same. "Process Elimination" comes with a lighter, crossover-vibe, and "Welcome to Kuwait" is a nice attempt at more technical thrash with really cool Coroner-like riffs. The last song is a good cover of the first real speed/thrash metal track in music history: Scorpions' "He's a Woman, She's a Man" (in this case, the guys preferred to slow down, instead of making it at lightning speed, like Helstar). Like the guys' previous formation, this band didn't last long.

The "Rise Above" EP is named after a Black Flag song which cover is the opener done in a nice jolly energetic manner, pretty faithfully, a bit faster maybe. Then comes the brutal proto-death ripper "Sloe-Death" which will spill you all over the floor. "Run Again" starts in a more peaceful mid-tempo manner, but just 2-min away is the maddening grindy hardcore outbreak ala Cryptic Slaughter to throw you into consternation once again. This cool little job paved the way for the arrival of the full-length debut by nicely hinting at what the fans should be expecting...

Rise Above EP, 1988
Annihilation of Civilization Full-length, 1989
The Underworld Full-length, 1991

EVILDOER (SWEDEN)

These guys are typical representatives of the modern thrash/death metal hybrid founded by The Haunted. Evildoer are perhaps heavier and faster with a more aggressive, bordering more frequently on death metal, attitude.

Terror Audio Full-length, 2005

EVILE (SPAIN)

This is your average 90's post-thrash served wit a more aggressive edge of the guitars and intense intelligible vocals which strangely sit between James Hetfield and early Chris Holmes (Paradise Lost; remember "Shades of God"). The music is not as generic as one may think, though, and here comes "Freedom Generation" to provide edgy galloping riffs with a classic flavour, albeit cancelled by the 10-ton doomster "Terrorizer" following suit.

Evile EP, 2004

EVILE (UK)

A promising young band who offer to the hungry thrash metal fans really good Bay Area thrash metal: think Testament, Exodus, etc. The demo has a very high sound quality and "Russian Roulette" is not an Accept cover, but is another headbanging thrasher with tasteful Alex Skolnick-like guitar work.
Finally the band's long-awaited full-length debut is out now, and it fulfills all the promises given with their previous efforts. The Bay Area influences (early Testament above all) are still there, but this time the band add a Slayer-like aggression ("Thrasher", "Schizophrenia") to produce a powerful and potent sound.
"Infected Nations" wastes no time thrashing hard form the opening title track which is explosive speedy Bay-Area thrash touching also Sepultura's "Beneath The Remains" on the more intense moments. All the aggression, however, is gone on the next "Now Demolition" which is a mid-paced number with a somewhat dry proto-modern riffage. "Nosophoros" bursts out after it, really fast intense stuff, with a more laid-back mid-section. "Genocide" shows the guys' intention to alternate things this time, being a slightly overlong tedious mid-tempo thrasher. Both the mid-pace and the tediousness continue on "Plague To End All Plagues" making the album lose the inertia quite a bit, before "Devoid Of Thought" and "Time No More" restore some faith with brisk energetic riffs. "Metamorphosis" is another longer and a less speedy song, but the interesting clever guitar work makes it a much better listen than the previous similarly-structured tracks; this composition comes close to being the highlight, also scoring high in the lead department. But this is not all: the closer "Hundred Wrathful Deities" is a sprawling progressive number, lasting for nearly 12-min, mixing heavy stomping moments with quiet balladic ones; the effect is not that striking, though, with the exception of a couple of intriguing technical riffs in the middle; the quiet moments are too long, mostly a vehicle for the good lead guitarist to show his talents. The band have changed their approach compared to the less compromising, more hard-hitting one on their earlier efforts, and eventually they would be able to handle those longer compositions in a better way on future releases; now the considerable loss of speed on at least half of the material offered here may come as a not very pleasant surprise to their fans, at least on a first listen.
One of the contemporary stars of the new/classic thrash metal show, Evile have no choice, but to be a regular presence on the scene, and here comes "Five Serpent's Teeth" 2 years after their sophomore effort, to pour more fuel into the thrash fire. The 2nd album left somethiing to be desired, seeing the guys stretching into more ambitious directions, so one would be curious to see if the band have continued in the new vein, or have opted for the good old school thrash without too many gimmicks. A more coherent combination of the two approaches would have been great, and this is exactly what the gyus have served, in this case for the better: "Five Serpent's Teeth" opens the album in a brisk headbanging fashion with ripping Bay-Areasque riffs and virtuous leads. "In Dreams Of Terror" is more moderate with heavy, crunchy riffage, which translates well on the following "Cult", which is an intense mid-pacer recalling Metallica's "Leper Messhiah" (the renowned Americans being the main influence on the album: their late-80's period) with a more melodic colouring. "Eternal Empire" is already nerve-stretching, being another mid-pacer of the sleepy type, if we exclude the maddening speedy exit. More speedy exits on calmer mid-paced numbers will one encounter later ("Xaraya"), but fillings will fall on the raging "Origin Of Oblivion", which is superceded by the heavy pounder "Centurion". "In Memoriam" is a full-blooded ballad of the tender, acoustic type, but "Descent Into Madness" is a "descent" into the deepest bowels of classic thrash, an invigorating piece with ripping riffs and piercing leads. The energetic thrashing remains for the final "Long Live New Flesh", which is a graceful epitaph to this good opus, which again doesn't rely on too much speed, but at least finds a good balance between the two sides, also giving the musicians an opportunity to show their skills more fully (the lead guitarist, in particular).

All Hallows Eve EP, 2004
Hell Demo Demo, 2006
Enter the Grave Full-length, 2007
Infected Nations Full-Length, 2009
Five Serpent's Teeth Full-length 2011

EVILENCE (POLAND)

4 songs of modern thrash/death metal of the more peaceful laid-back variety (think mid-period In Flames) introducing heavy, but also melodic, jumpy riffs and the odd clean alternative vocals which mix with the typical main high-strung deathy shouts.

Today Is the Day EP, 2010

EVILIVE (BRUNEI)

A surprising unexpected entry from Brunei containing 3 songs of energetic modern thrash metal with melodic leanings and gruff low-tuned death metal vocals. The guitar work is very simplistic with a thin sound which doesn't do the cool leads justice.

Under A Bleeding Sky Demo, 1999

EVILLIVE (DENMARK)

3 songs of melodic modern/classic thrash which develops in a semi-balladic manner with very good leads and sudden switches into full-on retro thrash ("Desert Evil") which should be more focused on for the future since they have both a nice sharp and mellower, more melodic side. The singer is a semi-clean hoarse throat who comes as a more aggressive, lower-tuned James Hetfield.

Demo4 Demo 2004

EVILUST (BRAZIL)

Retro thrash metal with vicious raspy black metal vocals; fast and slower epic-tinged tracks alternate throughout the latter being the more proficient side both in the riff and lead department. All the band members were also involved in Lust Funeral (one demo released in 2006) where they concentrated on more intense stuff, still on the classic black/thrash metal side.

Into the Chaos Demo, 2010

EVISCERATE (ITALY)

The "Eviscerate" demo shows a band sticking to the Swedish melodic thrash/death metal models to produce decent stuff of the mid to up-tempo variety sounding diverse and occasionally interesting, even adhering to epic ("The Chaos Engine") at times. The lead guitar is really good, mostly melodic, compensating for a few flaws encountered in the vocal department. Some of the musicians also take part in the death metal outfit Profondo Rosso, and the death/grind "outbreakers" Putredine.

Demo Demo, 1998
Eviscerate Demo, 2001
Stolen Heartbeats Single, 2003
Shadows Out Of Time EP, 2004

EVOCATOR (USA)

A good thrash metal demo, not too far from Devastation's "Signs of Life", maybe not as fast with heavy slower atmospheric passages and cool attempts at a more technical play ("Psychotic Overdose", "17 Minutes of Anarchy").

Hold the Hands of Time Demo, 1990

EVOGATH (VENEZUELA)

This is vicious intense thrash/death metal of the old school with speedy lashing guitars sounding like Rigor Mortis on steroids. The sound is really fast on some tracks, almost to the point of apocalyptic, The Berserker-esque, grindiness, but the guitars deliver, albeit at times coming with a clinical mechanical shade. The singer is a pretty brutal death metal growler taking too much space with his forceful authoritative antics.

Coding Death MMX EP, 2010

EVOKED CURSE (FINLAND)

Based on the "Fantomania" Split, this band come up with catchy black-ish thrash metal in the vein of their neighbours Bewitched and the Portuguese Alastor. This is energetic fast-paced music, occasionally more brutal sounding ("Necrotrooper", which also features a slower stomping passage ala Celtic Frost). "Lidйrces Alom" is a cool cover of the Hungarian black metal legends Fantom, to whom the whole split is dedicated (there are two more bands featured inside).

Outburst Of Hell Demo, 1999
Altar Of Sodomy Demo, 2000
Cursed Unholy Mausoleum Demo, 2002
Merciless Revenge Demo, 2004
Fantomania Split, 2007

EVOKED DOOM (GERMANY)

It's amazing how much brutal metal has been buried unheard, and forgotten. Based on the second demo, this band come up with some of the most vicious and aggressive sounds put on vynil in the 80's. This is very fast and brutal music, with a certain proto-death taste, but the musicianship is surprisingly good for such an obscure release, featuring a very nice atmospheric intro with a cool guitar melody, recalling the Ennio Moricone scores for the Sergio Leone spaghetti westerns, with a nice twist at the end.

Dead Rehearsal Tape Demo, 1985
Demo Demo, 1986

EVOL (USA)

Based on the demo, this band plays speedy thrash metal with shades of hardcore here and there. At times the sound picks up a lot of aggression coming close to Evildead's debut.

Demo Demo, 1989
Experiment In Fear Full-length, 1992

EVTHANASIA (USA)

A weird mix of thrash and gothic metal blending hard lashing riffs with orchestral keyboard melodies topped by ultra-brutal death metal vocals sounding like the most apocalyptic version of Martin Van Drunen. The approach is mid to up-tempo changing the whole time, but the fuzzy guitar sound obstructs the proceedings a bit. A very cool touch is the 2-min atmospheric orchestral instrumental "Dominion Of Dolls" in the middle. After that the music takes a more ambitious, almost progressive, turn on the 3 remaining songs resulting in a more compelling Bal-Sagoth-esque style which loses the edge of the guitars, but compensates with a lush keyboard environment and more proficient leads.

No Longer Forces Full-Length, 1997

EX-INFERIIS (MEXICO)

Based on the demo, this band is obviously fascinated with the Finns Impaled Nazarene, and what we have here is relentless super-fast black/thrash, which stays much closer to black metal for most of the time.
The EP shares the same vicious ultra-fast approach offering very little outside a mere Impaled Nazarene worship.

Ngul A Crist Demo, 2007
Bitches From Hell EP, 2008

EX-ORTATION (SWITZERLAND)

Based on "C.O.N.T.A.C.T.", this band plays unimaginative modern aggro-thrash which is heavy and at times energetic, also spiced with a couple of cool short ambient electronic instrumentals, but this has been heard so many times before and after including the angry shouty vocals which are not far from Phil Anselmo.

C.O.N.T.A.C.T. Full-length, 2000
Bulletproof Full-length, 2005

EXARSIS (GREECE)

3 tracks of energetic classic thrash metal with unpleasant rough shouty vocals; the music makes sense, though, being speedy with touches of crossover: check out the ultra-speedster "Killing Command", and, of course, the cool cover version of Whiplash's "Power Thrashing Death".
The full-length carries on with two of the tracks from the demo (without the cover) included as well. The music develops in the expected energetic retro fashion "courting" the German scene, above all. The guitar tone is kind of fuzzy the bass playing a major role pounding with passion onwards, the vocalist doing a further damage spitting spiteful, semi-declamatory antics with an open punky shade. "R.I.P. [Resurrection in Progress]" is a nice peaceful, lead-driven interlude near the end, which brings the desired calm, before the last string of headbangers wraps it up.

Demo Demo, 2010
Under Destruction Full-length, 2011

EXCALIBUR (CZECH)

Based on "Auri Sacra Fames", this band plays a mix of modern and classic thrash with crossover tendencies. The approach is not very aggressive often staying in mid-tempo where the finest monents from the album belong: the pleasant gothic-tinged "Pro Tebe"; the melodic power/thrasher "Sons Of Loki"; the semi-balladic closer "Night Trains". The singer is the most aggressive asset being a low-tuned death metal growler who at least on the aforementioned closer tries something cleaner even managing to sound close to Nick Holmes (Paradise Lost).

1994-96 Nenн Cesty Zpмt Full-length, 1996
Apokalypsa Full-length, 1996
Auri Sacra Fames Full-length, 1998
Thurisaz Full-length, 2001
Water, Soil & Sand Full-length, 2002

EXCEED (AUSTRALIA)

Based on the "Deranged Hallucination" demo, this band plays heavy semi-technical thrash similar to early Acid Reign with pounding riffs and very strong bass support. "Decrepit Life" is a very good more dynamic number recallng Celtic Frost with a nice atmospheric slower twist in the middle, and a great uplifting speedy exit. "Corruption Of Conformity" is presumably the joke song being fast optimistic crossover moshing out with jolly merry-go-round riffs for close to 6-min.

Deranged Hallucination Demo, 1990
Tomorrows Past Demo, 1991

EXCEL (USA)

A thrash/crossover band with a style reminiscent of Suicidal Tendencies (members of Excel later joined Cyco Myko, Mike Muir's new band); Excel's sound also shares some of the angry D.R.I. attitude, and is a bit more on the hardcore side. The debut is an enjoyable slab of energetic fast-paced thrash/crossover, lashing out quite intense pieces: "Insecurity", the almost pure thrash shredders "Never Look Away" and "Looking For You", the speedthrashcore killer "Social Security".
"The Joke's On You" is more melodic, although in terms of speed it's not too far behind the debut, but the riffs are less edgy, and the more direct thrashing outbursts are not many at all: "Fired (You're)" comes to mind, but... Quite a few slower softer numbers have been introduced, occupying the middle, a situation livened up by the brisk "I Never Denied". "Message In A Bottle" is a cool cover of The Police hit, after which the band wakes up for only one more aggressive song: "Given Question". As a whole this release concentrates more on the crossover side, sounding quite close to the Suicidals' "Join the Army", maybe a tad less memorable.

Split Image Full-length, 1987
The Jokeґs On You Full-length, 1989
Seeking Refuge Full-length, 1995

EXCIDIO (ARGENTINA)

The sound quality is pretty bad, but one can distinguish simplistic old school thrash with doomy overtones ("Chamico") and a generally sleepy mid-tempo. "En Esta Putta Tierra" tries to speed up a bit, but is soon drowned in heavy crushing riffage; the approach is actually not very far from the one witnessed on Carnivore's sophomore release ("Retaliation"), but the musicianship of the Argentinians is not on par with Pete Steele's (R.I.P.) group. The singer is a brutal low-tuned death metal growler, but his rendings kind of fit the heavy gloomy atmosphere.

Stracciуn Repulsiva Demo, 2007

EXCIDIUM (POLAND)

The self-titled compilation is built around fast, hard-hitting old school thrash which unfortunately comes with a pretty muffled sound quality. Regardless of this obstacle, the guys deliver with sharp riffs and dynamic song-structures, topping up the notch in the 2nd half with a more intense, death metal-oriented approach ("Infernal Oath"), although this shift may not be caught by many, since the delivery is pretty speedy'n furious the whole time, in the vein of Seputura and Devastation, supported by good forceful semi-declamatory vocals.

Infernal Oath Demo 2007
Collector Split 2008
Infernal Thrashing Kцmmandments Split 2009
Excidium Compilation 2010
Decimation Demo 2010

EXCIDIUM (SWITZERLAND)

Excidium offer on their only album intriguing dark modern semi-technical thrash spiced with strange chants and death-ish vocals. The sound is modern, but there are many interesting moments and tempo changes to keep the listener concentrated. There are the odd death blast-beats and the sprawling doom melodies, too.

Innocent River Full-length, 1995

EXCITER (CANADA)

This legendary Canadian act were the first ones there (along with Anvil, of course) who tried their hands on more extreme music in the early-80's. Their debut was a cool energetic speed metal effort, sounding like a more aggressive version of the rock'n roll boogie of Motorhead. It wasn't as impressive as the superior debuts of their US counterparts Slayer, Metallica, Hawaii and Anthrax, but the guys very soon came very close to those high standards, with the fabulous "Violence and Force": one of the best achievements of the whole Canadian metal scene, an unforgettable combination of furious speed/thrashers and smashing heavy riff-monsters. It was hard to believe that the band would be able to top this work up, and they didn't bother with that, but acquired a more melodic approach on "Long Live the Loud", which still retained the speedy sound, and was a good follow-up.
"Unveiling the Wicked" took a more radio-friendly turn, increasing the number of slower, more melodic tunes, and sounded too mainstream for the hard-core fans. Seemingly falling behind the top speed/thrash metal acts at the time, the band decided to relieve Dan Beehler, both the vocalist and the drummer until that point, from his vocal duties, and added a new member (Rob Malnati: the singer of the obscure power metal act Crypt), leaving Beehler to concentrate more on his drumming. Carrying the band name, "Exciter (O.T.T.)" indeed sounded like a new beginning: it had not much to do with the band's older works; it was a combination of power metal and a bit of speed and thrash, sacrificing the energy of the past for a more serious thought-out song-writing. This was by no means a bad album, but at the same time it was hardly what the audience expected, and was met with a wall of indifference.
This logically led to the band's demise, but 4 years later they apparently felt compelled to give themselves another chance, with "Kill after Kill", which saw Beehler taking over the mike again, and the guys bringing back the blistering style from their early days; this effort even came close to the visceral power of "Violence and Force" on its best moments, and was a big slap in the face to those of their colleagues who had, at that point, given up the classic speed/thrash metal idea. Unfortunately this was not a very well chosen time, as the tastes were changing fast then, and the interest in the 80's speed/thrash metal movement was fading quickly. The guys parted again, only to return in 1997, this time without Beehler; "The Dark Command", similar to the 1988 one, tried to bring something new, and admirably succeeded to elevate the band's music to a higher level, relying not only on direct speed metal anthems, but adding more complex arrangements and more varied guitar work. This album restored the faith in the band who looked well-equipped to lead the speed/thrash metal resurrection of the late 90's. But they lost inertia once again, and when the next release was out it offered a simple, direct, and less impressive power/speed metal approach, which owed more to Judas Priest's "Painkiller", than to the dark, potent sound of "The Dark Command". It was by no means a failure, but was left without a follow-up with the guys separating for the upteenth time.
"Thrash, Speed, Burn", despite its pompous and promising title, is hardly the band's best achievement. It has the necessary energy and speed/thrashy riffs to keep the fan entertained, but the approach is a bit samey, not miles away from "Blood of Tyrants". "Crucifixion" and "Evil Omen" try to break the one-dimensional delivery, but are not as convincing as the heavy pounding tracks from the past (remember "Pounding Metal" and "Delivering To The Master" from "Violence and Force"). When speed/thrash metal lives through its 2nd golden period, Exciter need to do more to find a place on the front row, if they don't want to be overtaken by both their old colleagues and the ones who grew up listening to (and learning from) their old works.

Another worklmanlike release from the Canadians, "Death Machine" is an exact copy of the last two albums, one-dimensional speed metal with the deviations being the superior material: the excellent doomster "Power and Domination", the galloping "Demented Prisoner" with a strong 80's American flavour. There is nothing wrong with playing unpretentious old school stuff, but when it's done with a little imagination exercising the same formula for a third consecutive album, some may just get nostalgic in a bad way, and revert back to the band's older material where the better examples of the style belong.

Heavy Metal Maniac Full-length, 1983
Violence & Force Full-length, 1984
Feel the Knife EP, 1985
Long Live the Loud Full-length, 1985
Unveiling the Wicked Full-length, 1986
Exciter (O.T.T.) Full-length, 1988
Kill After Kill Full-length, 1992
The Dark Command Full-length, 1997
Blood of Tyrants Full-length, 2000
Thrash, Speed, Burn Full-length, 2008
Death Machine Full-length, 2010

EXCRUCIATION (SWITZERLAND)

Based on the "Last Judgement" EP, the band mix raw thrash ala early Sodom and Kreator with heavy, crushing riffs in the Celtic Frost-vein. "Angels To Some, Demons To Others" comes after a very long break, and it shows a completely different band; the guys have apparently lost interest in thrash metal, and traces of the genre are nowhere to be found. This is pure doom/gothic, quite well done, along the lines of Paradise Lost ("Shades of God", "Icon") and Cemetary ("Black Vanity", "Sundown") without any ties to thrash metal whatsoever.

Last Judgement EP, 1986
Arise EP, 2005
Angels To Some, Demons To Others Full-length, 2007

EXCRUCIATOR (USA)

A blend of classic and modern thrash metal relying more on heavy mid-paced riffage of the more dynamic variety, but to these ears the full-on speedsters ("Malevolence Impure") graced with a pinch of death, kind of deliver better. The guitar sound is sharp and crisp, and the mean death-ish tone of the singer suits well the energetic music.

By the Gates of Flesh EP, 2010

EXDEMENTIA

Excellent thrash/death metal with a slight technical edge bringing to mind Necrodeath and the French act Witches; the music is energetic and fast for most of the time, and the guitar work is just great. The sound is closer to thrash (only "Enslaved By The Deranged" is the song where death metal dominates), but the vocals are strictly in the death metal field, and of the dual type: the main ones are low growls (very comprehensive, by the way), and the others are higher-pitched rasps. The songs are short (2.5-3min), but the catchy and memorable riffs make them really compelling musical experiences. There is not much known about this band, but the high quality of the material makes them really worth tracking down.

Thou Shall Repulse Full-Length, 2007

EXDETH (JAPAN)

Based on the 2010 3-song demo, this act indulges in aggressive classic thrash with Devastation and Morbid Saint very close soundalikes. Those tracks will "crush your face", like the title of one of the numbers suggests, comprising furious fast riffage and high-strung acrimonious vocals of the shouty, semi-hysterical, variety.

Mass Of Slaves TAPE Demo, 2009
Exdeth Demo, 2010

EXECRATE (USA)

This is quite fast and aggressive thrash in the tradition of Kreator's "Pleasure to Kill" and the Swedes Merciless' debut. This is pure speed (with some parts from "Nuclear Death" being the exception), with no variety, but energetic and done with gusto.

Terminate in Violence Demo, 1986

EXECRATOR (USA)

Based on "The Rage From Within": excellent progressive power/thrash metal with a dark unique sound, not fast, even doomy at times with great haunting, predominantly semi-clean mid-ranged, vocals, nicely recalling Ozzy Osbourne ("Ministry Of Pain") with a genuine wailing tone, but they vary quite a bit becoming much more aggressive and sinister on demand, as well as very surprisingly high-pitched falcettos owing much to King Diamond (check "Chaos (look into my world"), and are surprisingly always on track with the music. The songs are complex featuring some fast moments soon interrupted by groovy ones which in their turn come replaced by more technical ones, and all of a sudden start the leads which are short, of the less melodic variety. The aggression sometimes goes beyond the one which comes along with such style ("Darkest Hour"), but the headbangers will be delighted. The guitar sound is dark, brooding creating a really eerie doomy atmosphere; quite a unique one, maybe recalling the Swedes Pathos' works, but this one is heavier. The guys are experts at ballads, too: a great short piece is included: "Rage From Within" (not much "rage" to be encountered here).
"Hideous The Mind" is another commendable achievement starting in the best possible way with the dark aggressive thrasher "When The Pain Comes" which seamlessly mixes fast intense sections with morose technical ones topped by fine versatile vocal performance the latter creating a lot of dramatism along the way. "The Blue Man" is a short crusher with 10-ton hammering riffs, but comes "Book Of Dreams", and things become serious once again with the next portion of foreboding, sinister guitars and galloping tempos entwined in a hectic dramatic landscape. "Inside Room 531" is a very good semi-balladic composition with smashing doomy guitars and a very cool chorus; plus a few surprising fast arrangements. "I'm Your God Now" is more dynamic speeding here and there among the macabre gloomy riffage, the darkness here dissipated by a sparce keyboard assistance and very good melodic leads. "Army of the Wicked" is hammering steam-roller riffs all over the relief offered in the form of a really nice short acoustic ballad ("Valley of Woe") not far from the one ("Rage From Within") already heard on the debut. "Abomination" is hectic technical thrash on a dark doomy base once again, the complexity increasing for the progressive "Schizofuckingphrenic" sustained in the best tradtion of later-period Hexenhaus and another Swedish act: the already mentioned Pathos. "Lies" achieves similar elaborate heights only being faster and more energetic with the guitars constantly switching between doom-laden and raging sections to an overwhelming effect. That effect is also greatly helped by the standout vocal participation which covers all possible ranges: from very low death metal growls (very occasional, but highly effective) to high-pitched semi-screams ala King Diamond again; the singer's main tember is very convincing, deep clean mid-ranged one not far from Matt Barlow (Iced Earth). This is pretty original music with the two aforementioned Swedish bands close soundalikes as well as the Americans Carbide, and the Germans Psychotron on occasion, but the heavy dark sound achieved here is really one-of-a-kind, and should be more widely exposed to the metal fanbase.

The Rage From Within Full-length, 2000
Hideous The Mind Full-length, 2001

EXECUTE (GREECE)

Straight-ahead Germanic thrash with sparce more aggressive death metal overtones in the spirit of early Death ("Soul Deep"); the guys lash with force sticking to direct speedy formulas accompanied by hoarse death metal vocals, and the odd stomping passage.

Demo Demo, 2010

EXECUTER (BRAZIL)

Executer came late on the scene, but their debut is a worthy slab of classic speed/thrash metal with cool nods towards Kreator's more technical period (1989-1990). "You'll Come Back Before Dying" wastes no time thrashing fast and forcefully, accompanied by vicious snarly vocals, coming as a more brutal version of Schmier. "No Destiny" continues the assault, but "Rotten Authorities" softens a bit with stomping heavier riffs influencing the following "Flight To The Other Side". Rest assured that this is just a deviation, and "Money" is another more intense thrasher, and from then until the end there are no pauses anymore: just fast heads-down thrashing. Failing to make many heads turn, especially when the tastes were changing fast at those times, the band split up.
The thrash metal revival of recent years brought the band back with "Psychotic Mind". This album shows the guys ready to do some major damage once again; the guitars are more technical now, with a tighter and a more compact sound. The delivery is more aggressive with a touch of death metal even: the great smashing opener "Lost Angels" which could fit well into Death's "Spiritual Healing". "Suffering And Pain" is a more temperate thrashing piece with a Bay-Area flavour, which pretty much sets the tone of the remaining songs, some of which are graced by more interesting technical moments: "Message To The Weak Ones", "Chaos Memories".
"Welcome To Your Hell" could be considered the band's finest hour; the guitar work is great, with meaty sharp riffs; the vocals return to the mean snarls from the debut (on the previous one they have acquired a more standard death metal shape). The music is again closer to the German school: the explosive opener "And The Rottenness Goes On..." and most of the songs. There are the obligatory calmer numbers ("13", "Lead Years", both of which are ended in a faster, intense fashion), as well longer more complex ones ("The Big Black Abyss", which slows down and is heavy and mid-paced; "Cause And Effect", which is fast-paced with smashing semi-technical riffs). The bonus track "Power, Thrashing, Death" is a cool cover of the Whiplash early hit from "Power & Pain".

Rotten Authorities Full-length, 1991
Psychotic Mind Full-length, 2003
Welcome To Your Hell Full-length, 2006

EXECUTION (FRANCE)

One of the French death/thrash metal bands who sprang up in the early 90's; the music is more thrash metal-based than the rest of the pack, but less aggressive and not as good, with not very successful attempts at a more complex, almost progressive song-writing which is quite a waste, except for a few really stylish leads thrown in. "Eternal Dreams" shifts from the formula into atmospheric thrash/death metal with numerous keyboard implements in the spirit of Nocturnus, angelic female vocals, gothic/doom aesthetics, short ambient instrumentals, and heavy pounding riffs which pay their "debt" to thrash metal here and there ("Sadness" and on parts of other songs), but the concentration here is clearly on atmosphere and mood.

Execution Full-length, 1992
Eternal Dreams Full-length, 1999
Victim Of My Thoughts EP, 2001

EXECUTION (USA)

Based on the "Dismantle the Cross" demo, this band pulls out fairly cool speedy thrash in the spirit of the 80's German scene. The sound quality is not great, and the guitars are a bit buzzy, but the enthusiasm of the guys is hard to disguise, and the fast energetic riffs deliver the goods. Some elements from the power/speed metal scene could be felt: "Call of the Warrior", with the galloping rhythm and the catchy chorus; the Iron Angel-esque "Dismantle the Cross". "Speed of Death" is awesome speed (or death)/thrash metal also reminiscent of the Angel Dust debut, and is the best song here.
"Sworn to the Evil" is in the same vein, nice speed/thrash of the Germanic type quite close to "Persecution Mania", with a shade of the more speedy approach of Angel Dust ("Midnight Ritual"), the main difference coming from the gruff echoing vocals with an occasional semi-clean blend akin to the ones of Jon Van Doorn (Deathwish).

Dismantle the Cross Demo, 2006
Sworn to the Evil Demo, 2007

EXECUTIONER (BRAZIL)

A 4-song demo of decent retro thrash with hoarse semi-death metal vocals; the guy actually hardly sings, but rather quarrels in a surprisingly intelligible manner. The music is close to the Bay Area sound, if we exclude the melodic leads which stifle completely the other instruments when at play. The tempo is up partially lost on the heavy semi-epic "Savage Sword".

Demo Demo, 2008

EXECUTIONER (ITALY)

Fans of Sodom's "Persecution Mania" and Possessed will be quite happy with this: roughly, 80's produced stuff, fast and intense, with sparce heavy pounding sections ala Celtic Frost arriving to interrupt the speedy, but raw and slightly one-dimensional, delivery. On the more inspired moments the guys really touch "Persecution Mania": "Bestial Desaster", "Violent Mosh" (which is not a Violator cover), the explosion "Drink For Satan", and the music seldom loses the dynamics and the fast pace; it's just that in the sea of modern acts reviving the classic 80's thrash metal sound nowadays, this band would hardly cause a big wave.

Arrival Of The Executioner Full-length, 2008

EXECUTIONER (USA)

Based on "Break The Silence", this is very chaotic, messy thrash with flat vocal performance, and boring riffs spiced up with even worse blast-beats and misplaced solos; only for completists.

In the Name of Metal Full-length, 1986
Break the Silence Full-length, 1987

EXEKUTER (GREECE)

2 songs of buzzy retro thrash/death metal blending fast (the dominant ones) with slow passages recalling both the Floridian school and the French trends. The music doesn't lack dynamics the guys lashing with no remorse asssited by comprehensive, but brutal, death metal vocals ala Marc Grewe (Morgoth).

Mind Exekution Demo, 2009

EXEKUTOR (CZECH)

Based on the "Time of Shadows" demo, which is whole 8 tracks long, this band comes up with first-rate speed/thrash ala early Angel Dust. The musicianship is tight, the riffs are sharp and intense, topped up by vicious, slightly death metal-tinged vocals. The finest moments, though, are the leads, which are simply stunning, albeit not very long, and might remind you of Kai Hansen in the most swirling sections. A fabulous start for a band who never managed to leave the underground.

Time Of Shadows Demo, 1989
Symphony Of Death Demo, 1990
Sympatie ke zlu Demo, 1991

EXELOUME (NORWAY)

The flag of modern thrash/death metal is raised high here this young Norwegian outfit pulling out excellent dynamic music which starts in the ultimate headbanging way with the early The Haunted worship "Blind Billions". "Ignorance is Bliss" is more temperate introducing mid-tempo and technical riffage both served with a good sense of melody which increases for the following "Fairytale of Perversion". Speedy technical thrash takes over on "Locus Ceruleus", a first-rate shredder ala No Return's self-titled album and later-period Death; a tendency nicely translated on the next "Share my Pain (Stalingrad)". "Hellhole" is dramatic abstract technical thrash with echoes of both Coroner and Mekong Delta, before "Psychopath" brings back the hectic speedy patterns without losing the technical performance. "Tool of God" is the lyrical deviation with balladic and doomy overtones mixing with the staple fast technical approach. "Faceless Children" is creepy technical thrash/death with compulsive speedy breaks, a standout composition with impeccable technical shredding all over. "The Bitsa Maniac" is another fine cocktail of technicality, speed and melody influencing the closing "Our Poisonous Creation" which hits the top in all three departments wrapping things up nicely with the odd blasting passage. The singer is a subdued, but expressive and intellgible, death metal growler reminiscent of Andy Kaina (Messiah). Even if you're not a fan of the "fairytales of perversion", you would have no choice but fall in love with this no-brainer of an album which gives a very desirable technical twist to the Norwegian scene, something it has been badly missing since the Extol transformation.

Fairytale of Perversion Full-length 2011

EXENCE (ITALY)

A new rising star in the technical thrash/death metal department, from Italy again, is about to shine. The guys play with tight technical, but also melodic riffs, do not speed too much, relying on semi-complex mid-tempo passages, but watch out for the shorter more immediate, and more intense thrashers: "When Words Are Loose", where the guitar work comes close to Death's "Symbolic" and "The Sound of Perseverance". "Fix From The Ground" goes over the mere technical thrash patterns, and is a very cool elaborate progressive thrash metal composition, quite dynamic as well, followed by the nice, albeit a bit overlong "leads-versus-acoustic" interlude, which can not help, but remind of Death's brilliant "Voice of the Soul", although here the lead guitarist tries to beat Chuck (R.I.P.), unleashing a really outstanding performance. The 2nd half is more melodic, and also less technical, although it begins quite strongly with the labyrinthnine progressive thrasher "Primal Mystic Substance". "Dream of Wisdom" could be considered the tribute to their main influence Death, part of that song directly taken from "Symbolic", which was hardly necessary, since the song was developing in a quite good up-tempo technical death/thrash fashion. "Symbolic Act" (the title an obvious reference to the Death album) is probably the only drawback being more ordinary Gothenburg-like melodic death metal. The closer "Overhate Threshold" is a bit underwhelming, too, starting with a whirlwind of very good melodic leads, but later settles down for a more conventional mid-paced play, not too far from Dark Tranquillity's "Damage Done" and "Haven". Still they are way more than just fillers, and could be considered the break for the band from the intense technical material on offer earlier on. Although Death has been cited a few times throughout the review, the music is not a direct rip-off of that band, like so many contemporary acts have done: it actually has its individual face, accentuated by the proficient leads, the bigger complexity on several compositions, and last but not least, the characteristic high-pitched snarls of the singer, bordering on black metal.

Hystrionic Full-length, 2009

EXEQUIA (COLOMBIA)

Based on "Beggars of Souls": these guys offer cool thrash/death metal which will take you back to the early 90's when this hybrid was ruling the scene. The band plays with competence and inspiration, sometimes thrashing intensely ("Lost Dreams", "For Your Act") with a strong death metal edge, but most of the time the album develops in the great spirit of the Pestilence debut and early Death, graced by the presence of instant thrash/death classics, like "Palabras De Profeta", "Sobre Mis Ruinas", and "Death Society". "A Espaldas Del Creador" shows the band's more thought-out side: a nice technical death/thrasher, worthy even of "Testimony of the Ancients". The guys concentrate on thrash near the end, producing a couple of old school thrash killers, with the closer "Terminal Action" being the culmination of the whole album: first-rate technical thrash/death metal in the best tradition of the French Massacra and again, Pestilence.

Beggars of Souls Full-length, 2000
Earth of Agony Full-length, 2008

EXES FOR EYES (CANADA)

Another standard addition to the modern post-thrash sub-genre served with an annoying doze of metalcore in this case, and a heavily industrialized guitar tone. Expect numerous melodic, balladic deviations along the way which sirprisingly deliver, with the guitars parially losing the noise for the sake of a weird spacey vibe.

The Amsler Grid Full-Length, 2011

EXHOPE (FRANCE)

Cool progressive power/thrash metal which starts quite well with the aggressive hard-hitting "No Return" which with its galloping rhythms will remind you of Helstar's "Nosferatu", and with its sudden melodic breaks and the alternative, slightly emotionless, vocals will bring Depressive Age to mind. Those melodic quiet moments are too much on that same song which later acqiures a dream-like quality similar to Opeth and Katatonia. The other tracks lack the aggressive riffage of that one, except on a few occasions, and concentrate on the progressive side of the music, coming as thrashy Katatonia, or slower and softer Depressive Age (actually, the music here is not miles away from the Germans' 3rd effort "Symbols for the Blue Times"). The compositions are not very long (the longest barely reaches 6.5 min), but the tempos change following a similar pattern: a hard-hitting riff-section is suddenly replaced by a more peaceful progressive one, and both sides of the music alternate throughout the songs. "Lament" is a good acoustic ballad followed by the very good complex progressive track "Breach of Trust", which lacks any thrashy guitars, and is the most melodic song on the album.

Loading EP, 2004
Mad Kind Full-length, 2007

EXHORDER (USA)

Exhorder literally "slaughtered" the metal world with their brutal uncompromising debut which introduced the "angry" side of thrash metal, along with Pantera's "Cowboys From Hell": a style which would later become the dominating one on the whole scene. There is a lot of Bay-Area sound present here as well, going even beyond "Eternal Nighmare": the furious openers "Death In Vain" and "Homicide", before the coming of the 10-ton steam-roller "Desecrator" to suggest at new trends coming soon. "Exhorder" will literally split your head: a merciless piece of aggressive thrash, giving way to the longer, but equally as intense "The Tragic Period". "Slaughter in the Vatican" is the definitive angry thrash hymn, crashing for about 7.5-min, paving the way for the transformation of the style. Whether Kyle Thomas influenced Phil Anselmo, or the other way around, or both simultaneously decided to try to sing as angrily as they possibly could, is hard to debate. However, hats down to the guys for attempting something different, although the detractors will imediately step in, saying that this was the album "which killed thrash metal". Well, different people, ...

"The Law" tones down the aggression and is more polished, but is another fine slab of classic/modern thrash. It shows no compromise on the opening "Soul Search Me" and the following "Unforgiven". The modern sound sets in on "I Am the Cross", and never leaves till the end. The middle is occupied by the very good version of Black Sabbath's "Into the Void". "The Truth" tries to return to the "truth" of the 80's with more retro riffs, but it's a bit late for that. No more attempts of the kind, and the rest puts this album right beside same year's "Vulgar Display of Power" as some of the best aggro-thrash albums of the era. The guys could have owned the 90's, if they had lasted longer, but they decided to give a "green light" to Pantera, leaving them without any competition for a while.

Slaughter In The Vatican Full-length, 1990
The Law Full-length, 1992

EXHORT (BRAZIL)

Based on "Attitude", these guys come up with a very uneven mixture of 80's-inspired power/thrash metal. The opener "Genocide" is a nice up-tempo number in the Sepultura vein with gruff vocals, which is totally misleading, since the next "Slaves Of The Society" is a mild power metal piece where the vocals take a very thin melodic edge. Unfortunately, the remaining tracks follow this path, and despite the cool leads and energetic tempos (the very good speed/thrasher "Brothers"), the weak vocals, the clinging towards the 90's power/speed metal scene, and the two bland ballads, make this effort sound not very convincing in the middle. It, however, pulls itself together afterwards, for the successful attempt at heavy progressive power/thrash "Spreading A Lie" which offers a couple of interesting riffs, and the stomping mid-paced closer "Last Tears" which comes served with quite good lead guitar work.

Attitude Full-length, 1991
P.R.A.Y. Full-length, 2002

EXHORTATION (BRAZIL)

2 songs of good intense thrash/death of the old school with vicious high black metal vocals; fast lashing riffs spiced with a couple of nice melodic licks and leads, close to the Merciless debut.

Selective Suicide Demo, 2006

EXHUMATOR (BULGARIA)

Bsed on the debut demo, this one-man act pulls out raw simplistic black-ish thrash which ranges from up-tempo tracks ("Metalna Artileria") to doomy slow ones ("Voina I Bolka"). The musicianship is not on a very high level, but having in mind that this is just one person behind all, one should give him kudos for the fact that he managed to produce 4 whole full-lengths where reportedly the music is more aggressive with more overt borrowings from both the black and death metal scene. Here it is mostly speed/thrash with the vocals trying to rasp in a sinister manner, which doesn't fit the melodic speed/power metal number "Izmama", a leftover from an earlier demo.
"Okovite Na Mraka" indeed offers a more brutal sound with death metal being the main influence, and as a matter of fact the guy manages to come up with a pretty decent material, consisting of clever semi-technical music, quite similar to the Massacra classic period. Apart from the fast parts heavy doomy riffs can be caught at times, mostly coming as breaks between the constant moshing. Hats down to the man who manages to keep a head-spinning speedy tempo for more than 5-min on "Kapanut" without slowing down for a split second, but very soon after he shows that he can also doom with the best on the hammering "Tutankamon". Time for pure thrash in the 2nd half with "Studeno Surce" which is mild mid-paced thrash, and the furious "Licemer", but the 9-min progressive opus "Semeyna Voina" breaks the intensity relying mostly on crushing doomy riffs again; still not bad at all, featuring also a couple of twisted technical decisions. "Misantrop" will kill you with its merciless approach setting the tone for a string of tracks, before "Okovite na Mraka" slows down, being a softer power/thrasher merging into the closing balladic instrumental "V Pamet na Anton", which is dedicated to a deceased friend of the musician.

"Atrofiq Na Chuvstvata" has a very fuzzy guitar sound which takes away considerably from the sharpness of the riffs. Otherwise this is fast intense thrash/death metal with proficient leads, good arrangements, and vicious brutal vocals. The music at its best comes close to the controlled technical chaos of Morbid Angel, but the Bulgarian is not a stranger to slow, almost doomy, moments ("Urodlivi Pokoleniq", the Celtic Frost-esque "Atrofiq Na Chuvstvata") which are rich in atmosphere, and are a nice deviation from the more aggressive delivery.
"Pristup Na Bezumie", as a first full-length feature, has its flaws, mostly in the production and sound quality department, although the style is not far from the one displayed on the band's later efforts: fast aggressive thrash/death with cool slower atmospheric breaks, which take the upper hand on the colossal 12-min doom opus "Pristup Na Bezumie", vintage early Cathedral with funeral doom overtones. Such extremities are nowhere reached later on, as the music sticks to the fast dynamic patterns producing a couple of pure death metal "bombs" near the end. Interestingly, all songs from the album start with a "P", the lyrics evolving around sad depressing topics (suicide, curse, madness, etc.).
"Simbioza" is the band's most aggressive achievement, fast extreme thrash/death metal ala Merciless' debut and early Massacra. There is seldom a slow moment here except, of course, on "Traur" (aka "Mourning") which is another variation on the doom topic, well done with very cool melodic leads; and partially on "V Koshmara" where separate sections stomp with crushing riffs. Despite the lack of variety this album can pass for the band's best effort thrashing with no mercy in a direct stripped-down manner all the way.

Az Nosia Smurt Demo, 1990
Pristup Na Bezumie Full-length, 1995
Atrofiq Na Chuvstvata Full-length, 1996
Simbioza Full-length, 1997
Okovite Na Mraka Full-length, 1998

EXILE (JORDAN)

Pretty cool intense raging thrash of the old school will one find here; the guys play fast and tight with casual slower breaks, short screaming leads and harsh semi-death metal vocals. With a full-length in the makings, scheduled for release some time in 2011, the guys look well-equipped to make more waves, anf turn into one of the leading acts in the Middle East.

Dead Thrashers Rising Demo, 2010

EXILIUM (ITALY)

Based on the demo, this band offers fast-paced modern thrash with an abrasive guitar sound. The guys play with energy trying to avoid the Swedish "traps" along the way, and their melodic leanings have a characteristic sound of their own ("Madness Attack"). "Exilium" rages in a less controlled fashion at the end sounding like pure death metal on the exiting cords. The singer has a cool gruff voice akin to Bruce Corbitt (Rigor Mortis).

Headbangers' Island Split, 2008
A Black Vicious Path Demo, 2009

EXISTENCH (CANADA)

A very fast brutal mix of grindcore and thrash, sometimes to the point of becoming unlistenable; still, fans of the more extreme side of the genre will enjoy it. Melodic punk passages relieve part of the tension, but the more romantically-inclined fans can not count on them to be saved: this is pure inbridled brutality, often boldly following on the steps of grind/noise "monsters" like Napalm Death, O.L.D., Electro Hippies, etc.

Blood Money Full-length, 2000

EXIT (HUNGARY)

This is one of the more pleasant surprises from the Hungarian metal scene: classy technical thrash akin to early Megadeth and the Dutch Mandator; these guys are probably fonder of speed, and tracks like "Sapadt Arcok" will definitely remind you of the 90's speed/power metal wave which swept the scene a few years later. There are great swirling riffs, as well as stylish leads aplenty, to enjoy here. The vocals have this characteristic semi-declamatory Dave Mustaine echo, but sometimes sound quite hollow, almost completely choked by the guitars.

Egyutt A Szemettel Full-Length, 1991

EXIT TO ETERNITY (USA)

Based on the demo, this is excellent classic aggressive thrash which will remind you of Evildead's debut, Torture and Vio-lence's "Eternal Nightmare". The four songs offer great headbanging material leaving you begging for more.
The full-length delivers the goods sticking closer to the Bay-Area patterns with a pinch of Anthrax, Slayer, Paradox. The aggression is mixed with slower passages which are given enough space to develop since the tracks are much longer: "Coming Down" is a nice example of the latter: a compelling blend of speedy thrash, stomping heavy moments, and fine balladic lyrical ones. The shorter numbers are as merciless as it gets: "Mindless Pawns", which is even proto-death laced; the brilliant speed/thrasher ala Paradox "Kristallnacht". "Misery" is another sprawling song which loses the inertia with slightly monotonous mid-paced riffs, and a kind of a clumsy doomy/balladic ending. "No More" is a glorious instrumental, thrashing intensely for more than 7-min; it doesn't reach the speed of the aforementioned two fast-paced numbers, but the clever riffage and the frequently changing tempos will keep you on the alert. Apparently at the final stage of the album the guys have decided to give the singer a break, and the closer "Justice Under God" is another fine instrumental piece, this time speeding up admirably, with a nice alternation between sharp riffs and melodic hooks. This is a fairly entertainig listen, showing the band willing to embrace more influences although to these ears their more immediate aggressive side is the more preferrable one.

Demo Demo, 2002
Coming Down Full-length, 2007

EXMORTIS (USA)

Based on the "Descent into Chaos" demo, these guys could be ranked among one of the first thrash/death metal bands with an aggressive and vicious sound which puts them closer to the French wave which started at around the same time: Massacra, Loudblast, Agressor.

Descent Into Chaos Demo, 1988
Immortality's End EP, 1989
Fade from Reality EP, 1991
Butchers of the Urban Frontier Demo, 1993
Necrotic Visions Demo, 1994

EXMORTUS (USA)

Based on the full-length debut: well executed technical death/thrash with excellent guitar work which would make quite a few heads, even from Shrapnel, raise. The style has its shade of Gothenburg death metal, but the lashing guitars and the swirling leads give it a much superior edge, making it sound like more technical At The Gates. The sound gets quite aggressive and fast, and the overall style would probably appeal more to death metal maniacs, but this high level of musicianship deserves to be heard by more metal fans, especially the magnificent shredding instrumental "Axe of War": guitar performance at its most perfect.
The guys haven't lost a notch from their high level musical skills, as is evident from their new offering "Beyond the Fall of Time", although the approach is milder, and not as inspired this time: the very first notes from the intro "Bane Forthcoming", combining flamenco guitars with virtuous leads, promise a lot, but what follows is not as striking. The band shed like demented on the actual opener "Kneel Before the Steel", before "Black XIII" mixes thrash, death and speed metal to a fairly pompus, even epic, effect. More instrumental vurtuosity on the 2.5-min instrumental "Beyond the Nile...", before "Entombed with the Pharaohs" smashes you in abrutal death metal fashion, reaching Nile -proportions, an influence early betrayed by the song-title. "Destroy" is a sweeping "destructive" death/thrasher, but "Crawling Chaos" gives the listener a time to relax. "Left to Die in the Paradox of Time" hints at more technicality to be revealed, mixing breathtaking acoustic with intense shredding sections, among great virtuoso leads. "Khronos" would be an annoyance, the next in line peceful instrumental, which reduces the number of the actual songs to just 6, the closing "The Gathering" being an epic power metal proto-speedster with echoes of both Children of Bodom and the 90's speed/power metal scene, with an overuse of melodic hooks, a clearly underwhelming finish to this cool, but hardly, exceptional follow-up.

Reign of the War Gods EP, 2006
In Hatred's Flame Full-length, 2007
Beyond the Fall of Time Full-length 2011

EXOCET (GERMANY)

Fairly good thrash metal of the old school, reminiscent of late-80's Slayer and Sepultura's "Arise"; the music mixes fast aggressive thrashers: "I Kill Now", "In Hate", with heavy mid-paced ones which come with atmospheric passages and really good melodic guitar work. "Unborn" closes the album in a more lyrical balladic fashion, still stirred with nice heavy, but melodic riffs, carrying a shade of gothic. The real closer, however, is the less-than-a-minute grinding explosion "More Bass" (well, where was the bass here!?).

Confusion Full-Length, 1995

EXODUS (USA)

One of the pioneers of thrash metal who were actually the first band where Kirk Hammett played; he was recruited by Metallica at an early stage of Exodus' career, the former looking for an able replacement of the fired Dave Mustaine. Even without him the rest managed fine producing "Bonded By Blood": a landmark album, an example followed by hundreds of bands throughout the years; some of the definitive Bay Area hymns are here sung in a forceful vicious manner by Paul Baloff (R.I.P.). "Pleasures Of The Flesh" saw Baloff replaced by Steve "Zetro" Souza although in terms of music it wasn't far from the debut, albeit missing its visceral spontaneous power. But then came "Fabulous Disaster" two years later featuring excellent fresh-sounding invigorating thrash even foreshadowing the debut at times. "Impact is Imminent" failed to reach those high standards sounding a bit tired and uninspired, despite the presence of a couple of worthy more forceful thrashers. "Force Of Habit" was the band's attempt to adjust to the modern tastes with a more experimental approach sacrificing the speed and the old school sound for the sake of a not very compelling mix of groove and the post-thrash introduced on The Black Album. Consequently it was not received very well, and the guys went their separate ways. Gary Holt, the band founder and the only constant member since the inception, took part in a few other acts in the 90's including Jason Newsted's modern thrash metal project Sexoturica where he worked again with the first Exodus drummer Tom Hunting.
Fresh from their work together in Sexoturica (Hunting was also seen in the other similar style-wise Newsted band IR8) the two teamed up soon after for the recording of the 4-piece EP "War Is My Shepherd", which featured 3 brand new tracks and an AC/DC cover of "Dirty Deeds Done Dirt Cheap", showing the guys hungry for more headbanging retro thrash (the track "Impaler" was written much earlier, even before the recording of "Bonded by Blood", but was excluded from the band's repertoire since it was composed by Kirk Hammett who later based "Trapped Under Ice" on the main riff from it). The time could not have been more appropriately chosen, in the midst of the classic thrash metal fever, and expectedly the new full-length "Tempo of the Damned" was a huge success, with the three songs from the EP serving as a base, with seven more blistering classic thrashers added. There were inevitably several nods to the more recent thrash metal metamorphosis to be heard, but embedded into the enjoyable retro picture, they had an even more positive effect.
Not willing to lose the so well accumulated inertia, the band were ready less than a year later with a new material on "Shovel Headed Kill Machine" which saw the guys increasing the songs' length without bringing anything technical to the fore by adding more proto-modern elements for the sake of the speed. Still, this effort was not bad at all, showing the band in a less fast, albeit a crushing steam-roller light which also introduced their new singer Rob Dukes who had to step in for the very suddenly departed Souza.
"The Atrocity Exhibition... Exhibit A" carries on in the same vein as the previous two: good classic thrash metal with a modern production. The complaint comes from these long 8-9min and beyond tracks which just do not suit the band's style simply because they start to drag near the end, and create a kind of a monotonous atmosphere, especially when they are not "decorated" by any interesting technical hooks or tempo changes. The band's power has always been in the shorter, hard-hitting, headbanging tracks, something which this album also offers, albeit not in the sufficient amount.
"Let There Be Blood" is a re-recorded version of the band's legendary debut done in memory of Paul Baloff (R.I.P.).

The guys are back in action with the "second exhibit" (B) which shows the band in a very good "human condition", the best one since the reformation. This album is a real keeper coming close to "Fabulous Disaster" on the best moments beating everything released after the latter up to this point. The opener "The Ballad Of Leonard And Charles" indeed begins as a ballad, but throughout its more than 7-min one can hardly come across a mild moment: this is a pure classic headbanging delight, a non-stop mosh to the very end. No mercy shown on "Beyond The Pale" which thrashes with force for nearly 8-min. Paradoxically, here the longer tracks are the fuller more intense thrashers whereas the shorter ones are more laid-back: the following "Hammer And Life" after which another 7-min headbanging opus comes forward ("Class Dismissed (A Hate Primer)") to crush your skull. The demolition carries on without compromise for a couple of tracks until it reaches "Nanking", which is a prototypical for the more recent work of the band heavy stomper, still pretty classic-sounding. "Burn, Hollywood, Burn" is a shorter speedy burst, but "Democide" is another "sleeper" recalling Testament's "Souls of Black", only longer. Prepare to hear whole 10-min of fast intense thrashing on "The Sun Is My Destroyer", a glorious opus which literally sums up the whole genre even adding the odd technical hook here and there. This climactic composition is followed by a short pounding bass-dominated instrumental, but the final "Good Riddance" is another merciless thrasher which will sprain your neck as a finishing touch to this highly satisfying entry into the catalogue of one of the "fathers" of the genre which alone shows that those "fathers" are more than alive and well, and it will take quite an effort from the "sons" to reach them.

Bonded by Blood Full-length, 1985
Pleasures Of The Flesh Full-length, 1987
Fabulous Disaster Full-length, 1989
Objection Overruled EP, 1990
Impact Is Imminent Full-length, 1990
Force Of Habit Full-length, 1992
War Is My Shepherd EP, 2003
Tempo of the Damned Full-length, 2004
Shovel Headed Kill Machine Full-length, 2005
The Atrocity Exhibition... Exhibit A Full-Length, 2007
Let There Be Blood Full-length, 2008
Exhibit B: The Human Condition Full-length, 2010

EXORBITANCE (USA)

This is modern thrash/death metal akin to Dismemmber and Maze of Torment alternating fast and slow moments in a proficiant, but pretty prediactable, manner. The musicianship is proficient, especially the very good leads, but the band prefer to play it less adventurously leaving a lot to the mellower passages which overtake the space near the end giving it an atmospheric, almost doom/gothic, colouring. The singer is a prototypical mid-ranged growler reminiscent of Johan Hegg (Amon Amarth).

In This Nightmare Full-length 2011

EXORCIST (POLAND)

Based on the "Voices From The Graves" demo: this band play cool speedy thrash with occasional proto-death elements ("Siedem Bram Piekiel"). The music is fast-paced and intense with gruff semi-black metal vocals (they are hardly audible, so to some they might sound otherwise...).

Rehearsal '86 Demo, 1986
Voices From The Graves Demo, 1987
Live At Thrash Camp Demo, 1988
After The North Winds Demo, 1988
Exorcist-The History 1 Best of/Compilation, 2004
Exorcist-The History 2 Best of/Compilation, 2004

EXORCIST (USA)

There is quite a story behind the band's formation, but I will stick to the music at play: cool power/speed/thrash metal along the lines of Venom and Whiplash, among other bands- not very intense with nice, at times original, melodic guitar work, and a considerable number of outros or intros, which add up to the ominous atmosphere of the album. One can find galloping power/thrashers here ("Black Mass"), fast energetic headbangers ("Burnt Offerings"), which are the predominant ones, even pure speed/power metal delights ala Attacker and early Laaz Rockit ("Call For The Exorcist"). The final result is truly on the positive side, and the diverse nature of this album served the band really well, to find a wider exposure, also outside the thrash metal genre.

Nightmare Theatre Full-length, 1985

EXORCIZPHOBIA (CZECH)

Very good semi-technical Bay-Area influenced thrash also adding a few touches ala Anthrax (the sharp riffage, the shouted male choruses); the sound quality is very clear giving a nice boost to the crisp guitar sound. The songs are energetic affairs mixing fast with slower sections with only "Disease Inside" coming out with all the guns blazing thrashing with full force. Another fine moment is "In Memory", which begins as a ballad before moving onto excellent hard-hitting thrash without vocals which are not bad at all, by the way, sounding like a good cross between the two Anthrax singers Joey Belladonna and John Bush. This nice little EP could serve as a good base for a sure-handed full-length debut; the Czech scene needs fresh new powers like these guys...

Disease Inside EP, 2009

EXORDIUM MORS (NEW ZEALAND)

The "Verus Hostis-A Hymn to Fire" EP is just 2 tracks of fast, uncompromising black/thrash/death which is also Oriental melody-decorated in a way not too far from Melechesh, which are probably the closest soundalike, with Absu a close second. The guys lash with passion, and seldom slow down, consequently giving a bigger share to black metal, with thrash the second more regular presence (the songs are 6-7min long, so there is room for all). The singer is a vicious blacky rasper, but suits the music on all counts. This is good memorable stuff, which could develop into something more sustainable and longer.

Serva Ad Mors EP, 2007
Verus Hostis-A Hymn to Fire EP, 2010

EXOTO (BELGIUM)

Based on the "The Fifth Season" demo, this band play very good aggressive fast-paced thrash/death metal with several genuine technical leanings mixed with great acoustic breaks (the excellent "Necromantic Love-Affair"). "Ashes From The Past" is another great track, but the guys slow down, coming with mighty crushing stylish riffs. "The Fifth Season", however, compensates largely for the lost speed on the preceding one coming with all the guns blazing: an explosive thrash/death piece in the Assorted Heap, Pestilence vein.
"And Then You Die" is another fine slab of intense thrash/death metal with the technical implements all over, maybe not as obvious this time. "Waiting for the Maggots" might remind you of the Germans Darkness' hit "Faded Pictures", with the intense thrashing and the declamatory rough vocals. There is no mercy on this one: smashing thrashing assault until the end; "After Death" might mislead you that this would be a pause for a rest because of its doomy beginning, but very soon the order of the day becomes heads-down fast-paced thrash. "Cannibalistic Killer" is a nice technical death/thrasher which could have been the highlight even on "Testimony of the Ancients". "The Things that Were (And Shall be Again)" is not too far behind being faster and more aggressive, but the amazing technical licks are present all over. The closer "Chorus of the Doomed" is a brutal attack, pure death metal madness, still finding time for a more stylish technical play.
"Carnival Of Souls" is a logical continuation of the band's evolution now sounding much closer to death metal by retaining the technical approach, even moving up this scale. The guys lash fast and tight with plenty of technicality which reaches the top early on the excellent manic shredder "Escape The Eternal Sleep". The rest of the material follows this high model pretty closely abandoning the intense delivery on the fine atmospheric "Necromantic Love-Affair" which slows down, only to break out in an awesome technical death metal fashion near the end. Inevitable the slower moments arrive on the dark doomy pounder "Ashes From The Past", but rest assured that you won't fall asleep with the brutal blasting "Final Discorporation" following suit right after. Puzzling mid-tempo technicality is served on the creepy "The Visiting Room", but expect another furious exit later on. The final "Art Of Butchery" is all-out speed, a pretty shattering number with swirling guitars and a very cool twisted doomy ending.
"A Thousand Dreams Ago" doesn't quite follow the band's sure-handed style although it starts moshing out on full-throttle on the opening "The World Before You" which offers fast and slow sections suddenly intercepting each other the whole time accompanied by good technical leads. "Behind Your Mind" is a heavy proto-galloper ala "Spiritual Healing", but when a string of songs after it follow exactly the same pattern, one may start mourning the obvious loss of speed which is suddenly brought back on the frantic semi-blaster "Anxious For The Light". The up-tempo is preserved for the next "Deny The Pain", the short headbanging delight "Thoughts", and the re-mastered version of "The Fifth Reason" from their 1992 demo of the same title. More creepy mid-paced technicality comes on "Second Murder", before the closing "No Regret" shoots you at close range with merciless speedy riffs. A fresh breath of air in the midst of the stagnant 90's, this album remained the band's last legacy although it was clear that they did not quite discover their highest potential with it.

Waiting For The Maggots Demo, 1990
And Then You Die Demo, 1991
Ashes... Single, 1992
The Fifth Season Demo, 1992
Carnival Of Souls Full-length, 1994
A Thousand Dreams Ago Full-length, 1995

EXOTOXIN (GERMANY)

A one-man band: Reinhold Schmidt in this case, who does a very good job to show us how classic technical thrash should sound. This album will remind you of many great albums of the old days: Heathen's "Victim of Deception", Apocalypse's "Faithless", Kreator's "Coma of Souls", even Nasty Savage's "Penetration Point" in the more complex sections. The vocals are a bit on the dull side having this annoying hardcore-shade mixed with the vicious Mille Petrozza style (think "Terrible Certainty"), but for a riff-fest of such a high calibre this is hardly a complaint. The music picks up a death metal-like intensity not far from mid-period Death, but only occasionally. Every track is a masterpiece of perfectly executed technical thrash; if you've thought that all the great thrash metal had been done in the distant past, after listening to this, you'll definitely give it a second thought.

Dance of the Elements Full-length, 2004

EXPANTOR (BRAZIL)

Heavy thrash, more classically inclined, influenced by late 80's Metallica, but not as technical, mixed with gothic passages ala Paradise Lost. The singer gives his voice a deep tone, partially resembling James Hetfield and Chris Holmes. The longer songs ("Expantor") are kind of underwhelming, losing the thrashy edge a bit, whereas the shorter ones ("Another Fear", "Betrayal or Reaction") deliver the goods in a better way coming with good tempos and riffs. There is not much energy and speed involved, and the sound starts to drag gradually, especially on the more modern sounding gothic-tinged "Awakening For...(Be Awake Part ||) which offers anything else but "awakening". "Be Awake" is a heavy ballad which could have been a nice touch, if it wasn't for the not very fast style of the preceding songs; now it only adds up to the monotonous one-dimensional nature of the other material.

The brood - Screaming High Demo, 2001
Beating On Concrete Demo, 2002

EXPATRIATE (USA)

Based on the debut EP, this act provides simplistic thrash/crossover with tongue-in-cheek lyrics ("Megadeth Sells...But Who Cares?", etc.) of the more moderate softer type except for sparce hardcore-ish outbreaks. The guitar sound is very fuzzy to the point of annoyance, and at times what one will hear is just plain noise topped by barely audible shouty vocals.

No Sleep \'Til Chugwater EP, 1987
Expatriate EP, 1990

EXPERIMENTS IN FEAR (USA)

Based on the "Experiments in Fear" demo, this is speed/thrash metal akin to early Whiplash, maybe with better and heavier guitar work.

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

EXPIATORIA (ITALY)

The long balladic gothic intro would hardly prepare the fan for something too hard, but at least the guys later manage to pull out more aggressive music, still gothic-tinged, a mixture of heavy, power, and thrash metal on the very melodic side with frequent stretches towards the ballad, with soft mid-paced guitars and unemotional low semi-clean vocals. This band can actually be viewed as the continuation of the underground act Henker who released a solitary demo in the distant 1987.

Return to Golgotha EP, 2010

EXPERIMENT (USA)

Associates of Paul Speckman's in Master, Abomination, Funeral Bitch, and his own project under his name, have gotten together here to produce interesting minimalistic thrash metal of the retro type with heavy steam-rolling riffs, very cool stylish leads, and a couple of more thought-out technical moments. "Inferiority Complex" is moody and doomy with a few faster surprises, an intriguing varied number with very sharp riffs. "Nocturnity" begins with an imposing Oriental-decorated doomy intro, but later on the guys thrash in a vigorous up-tempo manner with nice technical hooks without losing the great Oriental motifs. "Nebulon Horror" loses the speed quite a bit, but the intrigue remains being of the heavy stomping kind. "Adrenalin Dream" is not the fastest number in the world, either, but delivers with its slight adherence to the spawning modern scene, and the excellent jumpy technical exit. "Ripping the Earth" is the highliht, a fine progressive composition with cool bass insertions, a jumpy rhythm section, and more intense headbanging moments. The singer stays on par with the music pulling out a rough, but intelligible, death-metal tember. This could have grown into something really good, but the guys later came back safely under the Speckman banner continuing to contribute to the aforementioned acts be it on a full-time or part-time basis.

The Edge of Within Demo, 1991

EXPLICIT FATE (USA)

An obscure offering mixing the blitzkrieg, hardcore-ish thrash of Sacred Reich's "Ignorance" with the upcoming modern aggro-trends resulting in an intense diverse, mixing both approaches, listen which towards the end abandons the fast play for the sake of hammering, pounding riffs not far from the ones heard on Exhorder's same year's "The Law". The singer had already acquired the angry tones, although at this stage his antics still come with a more soulful blend (think Phil Anselmo at his more romantic).

Explicit Fate Full-length 1992

EXPLICIT HATE (BRAZIL)

Very good thrash metal of the German school reminiscent of Kreator and Destruction; intense aggressive music with nice, quite technical at times, guitars, which precedes the style Kreator adopted for their late 80's period. There is some death metal intensity involved, bringing to mind early Death, even their "Spiritual Healing", which was released two years later. The tempo is fast and relentless throughout, with only the album closer, which is a nice instrumental, with a great acoustic intro, called "The Trip", deviating into an atmospheric mid-paced direction.

A View of the Other Side Full-length, 1988

EXPLODE (IRAN)

Based on the EP, these guys specialize in heavy abrasive modern proto-thrash which is only sustained in mid-paced without any more dynamic attempts; uneventful stuff as a whole accompanied by predictably hoarse semi-angry vocals.

Temptation EP, 2005
Labyrinth of Solitude Full-length, 2010

EXPLODE (ITALY)

Complex progressive thrash of the modern school which sounds quite intriguing, and begins in an openly ambitious manner with the monstrous 12-min opus "The Frozen Tree"; this song's beginning will not promise much fun for the thrash metal fan with its overlong balladic stretch ala Opeth, but those who have the patience to stand through it will come across moody choppy mid-paced stuff with clever technical riffs and puzzling meandering song-structures which never lose the plot even managing to pull out a great lead-driven doomy exit. The monstrosity carries on with full force on the next, also 12-min long, instrumental "Inner Cell" which is a fine creepy minimalistic progressive masterpiece with nice technical guitars, reaching Coroner-heights with ease in the middle, and even a couple of faster passages among which the ones at the end are a wonder to listen to with their twisted, again Coroner-like, take on headbanging thrash. The song-length goes down dramatically on the following "Fallen Angel" which is "only" 8-min thrashing in a heavy doomy pace again providing quite a few technical twists along the way along with the fine melodic leads; the faster exit this time is more ordinary without any elaborate highlights. So far, so great, but "Eternal Dream" will be a major pullback, one of the most "dreamy" compositions out there, a very quiet acoustic ballad lasting for whole 9-min (!?!). The closing instrumental offers 3-min of abstract atmospheric industrialized music with impressive surreal leads, and would have been a good touch if it wasn't for this enormous peaceful interlude before it. The latter is hard to be excused on an album of just 5 songs, but this effort is really worth tracking down: it's not very common nowadays to hear modern thrash metal with such a cool technical/progressive twist.

Labyrinth of Solitude 2010, EP

EXPLOSICUM (CHINA)

The Chinese metal scene is growing fast these days, mostly with black, death metal and grindcore bands, and few are those who dare venture into thrash metal waters. Explosicum are such a band, and that's why they should be paid special attention, especially after their music really hits the mark. This is all-out classic thrash which combines elements from all more celebrated acts from the 80's, with a bigger concentration on the Bay Area scene and late 80's Slayer; the music is fast and straight-forward, without any technical ptetentions, but the guitar work is really good. The singer has a shouty, but higher-pitched, thin voice, and at times he sounds close to an unrehearsed Torsten Bergmann (Living Death), and it might be hard to define whether he sings in Chinese or English.

Conflict Full-length, 2008

EXPOSURE (CHILE)

3 songs of cool classic speed/thrash metal modelled after the early German patterns: Destruction, Deathrow, etc. ("Alien Autopsy") shifting later from the moulds with stomping slower rhythms ("Atomic War"), but many will grab your seats on the explosive smasher "Corrupted Minds" at the end. The singer is an acceptable semi-clean semi-shouter, and the guitars have a somewhat noisy, abrasive tone which doesn't favour the otherwise good melodic leads.

Demo Demo 2009

EXPULSION (HOLLAND)

The EP: 3 tracks of good intense speed/thrash metal with an early Angel Dust vibe; this is a mighty riff-fest with a genuine technical edge, going over the extremes of speed ("The End Of Days") at times, but this is hardly a complaint. Impeccable musicianship, brutal death growls added to the main more conventional death metal shouts, massive fast guitars aplenty, and a very precise tight delivery are all here to glue the listener to this small masterpiece for days.
"Wasteland" is a blaster: from the get-go it starts thrashing its soul out with "Land of Empty Graves", an ultra-speedster with a great quiet middle. The madness only takes bigger proportions with the following "Neoconomicon" which is another insane speed/thrashing piece. Heads will roll on "End of Days", another very fast slab of thrash, already familiar from the EP. "Martyr" is a brilliant combination of super-fast and technical riffs with a great peaceful ending. The relentless delivery gets under control on the just a bit slower "Messianic Shadows", which gives room for nice technical riffs to come up. "Promise Never Made" is a top-notch technical shredder with a heavy smashing steam-rolling mid-section, a few orchestral implements, and frantic swirling riffs. Then the speed returns for "Police State Tranquillity" which literally reaches the speed of light pouring lightning riffs the whole time. The short 2-min instrumental "Wasteworld" is not too far with the lead guitarist being the star of the show. "Spirit Emission" is a seamless blend of the staple very fast guitars and great technical hooks with an abstract shade, before the closing "Re-Examination" "re-examines" the listener asking him one vital question at the end: "is there a faster playing act on the planet right now than us?". If the answer is: "No", then you have passed the exam, because in fact these guys are the fastest playing ones on the thrash metal scene right now, but could hardly be beaten in the technical department as well, producing a truly compelling mix of speed and technicality seldom achieved nowadays although they have a strong competition in the face of another newcomer: the Americans Vektor. If you, guys, have already completed your polls for 2009, you may have to reshape them a bit: this album would definitely find a place on quite a few top tens for the year.

The Mass Insanity EP, 2005
Wasteworld Full-length, 2009

EXPULSION (USA)

Based on the self-titled demo, these guys offer fairly good up-tempo thrash recalling the Brits Deathwish, also in the vocal department. The guitar work is melodic, especially the leads, and kind of soften the sharp riffage here and there. Like the Brits, this band "flirt" with slower doomy elements ("Forbidden Past"), but when they get pissed, their anger takes a nice aggressive shape which is not too far from Slayer: "Mutinous Revenge".

Expulsion Demo, 1991
Honor Among Thieves Demo, 1992

EXQUISITE CORPSE (FRANCE)

Both music and vocal-wise, this band is close to Morgana Lefay, based on "Why Lie?". In other words, we have a mix of power and thrash metal, but the music of the Frenchmen is more thrashy and more diverse. The annoying thing is that there are only 4 real songs here: one is an intro, which is nothing but barely audible noise, and there is another similar track later on; a total waste of space. On the rest the guys have tried to make up for the shortage of songs, keeping an energetic thrashy tempo on 3 of the numbers, and have slowed down for the pounding power/thrasher "Parts Wanted". Reportedly their debut is more aggressive and faster, whereas on "Circus" the band have switched onto modern industrial metal, less thrashy, but more complex, bordering on progressive.

Talisman Full-Length, 1992
Why Lie? Full-length, 1993
Circus Full-Length, 1999

EXSANGUINATION (JAPAN)

A modern blend of thrash (not much) and death metal mixing slower and faster sections, sometimes into one song ("Sea of Greed"), producing a thunderous brutal sound, an effect greatly helped by the very good sound quality. Something nicely technical and more thrashy can be heard on "Demigod", which is a potent mid to up-tempo death/thrasher reminiscent of Carcass' "Heartwork".

Visions of a Dying World Demo, 2009

EXSCIDIUM (ARGENTINA)

This is a melodic blend of classic and modern power/thrash metal (based on "Fenix") in mid-pace most of the time with very few attempts at changing the tempo. Still, some numbers crush with force ("Despertar", this one also serving a short fast moment; "Hoy"), but as a whole the influence of the old Argentinian metal school (Horcas, Hermetica) is more than obvious.

"Tierra de Demonios" is a more dynamic affair bringing the necessary amount of speed metal to the fore which graces more than half of the compositions although the balladic tendencies are certainly here ("El Ojo de Dios"), by no means able to overshadow merciless speedsters like "Testimonio", or heavy semi-technical thrashers like "Morir en el Paraiso", those same technical tendencies ably translated on the crunchy elaborate closer "Fragmentos de Vida". The singer is a nice addition with his deep emotional clean voice who doesn't change the pitch much recalling Lars F. Larsen (Manticora).

Fenix Full-length, 2008
Tierra de Demonios Full-length, 2010

EXTAASI (FINLAND)

These guiys started as a pure classic punk act, but gradually moved towards a more metal-based sound, a tendency reflected on the full-length debut. The music presented is slightly clumsy groovy post-thrash with gruff semi-angry vocals, mid-paced without any faster "temptations" although a few "remnants" from their punky past may be considered as such.

Skitsofreniaa EP, 2001
Rujo Full-length, 2006

EXTER-MY-NATION (CHILE)

Based on the long 8-song "Drunk Zombies Eat Worms" EP, these guys play fast-paced thrash of the old school, similar to Rigor Mortis and early Whiplash. There is a certain hardcore attitude reflected in the short song length (barely over 2-min) and the semi-melodic vocals ala Kurt Brecht (D.R.I.).

Rehearsal EP, 2007
Drunk Zombies Eat Worms EP, 2008

EXTERIOR (GERMANY)

Speed/thrash metal with a cool classic edge, a bit jumpy, carrying a lot of melody as well; the music is energetic mixing early Metallica with heavy slower balladic parts topped by very good melodic high vocals. The songs mix both approaches quite well, with only "Fucked UP" coming with all the guns blazing, thrashing hard for about 3-min. "Interior Silence" is a very cool semi-ballad, blending sharpness and melody, with the vocals hitting the top. This guy can really sing, and it's a pity that he couldn't perform anywhere else later on.

Interior Silence EP, 1992

EXTERMINATION (USA)

A capable mixture of power, speed and thrash metal with the outstanding bass performance overshadowing the rest. Otherwise the guys do a cool job mixing the pace the whole time from all-out thrashers ("No 13 Creepy Bog Lane"), to galloping poweer/thrash metal blends ("Beneath The Blood"), to crossover delights ("Clearing The Cobwebs"). The sound quality is very dirty, though, and the guitars come with an unpleasant fuzzy sound.

The D-Range Demo, 1989

EXTERMINATOR (BELGIUM)

Based on "Slay Your Kind", this is an excellent classic blend of thrash and death metal, both aggressive and technical, recalling Massacra and No Return's "Contamination Rises". There is a lot to enjoy here: cool headbanging sections, technical parts which go even towards Death and Pestilence at their best, and some original touches (the nice Oriental riff in "Inside the Pyramid"), as well as slower stomping moments ("Cannibalistic Parangia"), which nicely alternate with the only blast-beats used on the album.
"Mirror Images" is another cool mix of thrash and death metal, at least in the beginning, faster than the follow-up, and a tad less technical. The music favours thrash more, and reminds of some of the more prominent 80's practitioners of the genre: Slayer, Kreator, Necrodeath, Massacra again. "Mirror Images" is a surprise, being a very cool up-tempo speed/thrasher, a lot more melodic than the rest, but totally appropriate. "Church of Chaos" is not a surprise anymore, but carries on in the same vein: a great speed/thrasher with an Agent Steel, Toxik-vibe. This is not the end of the surprises, though, and the following "Bitter End" is a slow doom/gothic piece with very nice female vocals. At this point the listener will start getting confused since the aggressive death/thrashy beginning was apparently just a delusion, especially after "Night Music" offers more gothic-infused music reminiscent of the Germans Crematory, albeit faster, with a cool thrashy edge. The thrashiness returns for the energetic heavy "The Kill" and for the great closer "Tragedy, Rejoice", which is a nice turn towards more technically-inclined death/speed/thrash, maybe a bit overdone (the very brutal grinding mid-section, immediately followed by a very peaceful balladic passage). At this stage the guys were obviously experimenting with a wider range of influences, and fortunately they have concentrated on the more aggressive, and better, side of their style, as evident from the follow-up.

Mirror Images Full-length, 2000
Slay Your Kind Full-length, 2006

EXTERMINATOR (BRAZIL)

The horrible sound leaves little to be heard from this album; that's why to review it is not a very easy task. The guys definitely have the aggressive, evil attitude, but the vocals are put so much up front that they stifle the instruments almost completely. Overall the music is not impressive at all, and sounds as though every band member was doing his own thing with little regards to the others; team cooperation: a little above zero.

Total Extermination Full-length, 1987

Vibrations of Doom

EXTERMINIO (BRAZIL)

Exterminio don't stray too much from the typical elements of the Brazilian thrash metal scene at the time: fast energetic thrash reminding of MX or Holocausto. There are three longer tracks here, however, and they show that the guys are not strangers to a more elaborate song-writing; the style on those three tracks some kind of reminds me of early Onslaught with their dark haunting tunes.

Extermнnio Full-length, 1988

EXTHREMONY (ARGENTINA)

3 songs of "exthreme" retro thrash; fast blitzkrieg stuff with sharp cutting guitars and unpleasant shouty semi-death metal vocals. "Prematura Perversion" suggests at more technical times to come, but that same track has a clumsy shade of groove as well; so which tendency will prevail...

Indicio Suicida Demo, 2005

EXTINCTION (USA)

Anthrax-influenced, mostly mid-paced, thrash metal with good Joe Belladonna like vocals.

Demo Demo, 1989

EXTINCTION AGENDA (USA)

It's not very common to hear an American band worshipping the 80's Germanic thrash metal heritage, but this is exactly the case here. If Destruction after the reformation don't sound exactly like the old days, these guys have done it for them; vintage Destruction- this is what you'll get here. Hopefully there'll be a full-length album soon just to confirm that the mighty Germans have another worthy substitute.

The Grace Defile EP, 2006

EXTINCTION OF MANKIND

The information here is not complete, but I am working on it. This band mix thrash and hardcore, and the mix works well, being quite heavy and mid-paced, sounding like a more thrashy Pro-Pain.

The Nightmare Seconds Full-Length
Baptized in Shit Full-Length

EXTINCTOR (SLOVAKIA)

This act offers a good modern/retro thrash blend of the fast, energetic variety ala Dew-Scented and Reckless Tide. The guitars are very noisy, though, and the lead guitarist has to really put an effort to make himself heard. Still, the guys thrash on non-perturbed reaching Angel Dust and Paradox heights on "Thrash till Death", and on the short "The End" at "the end". The singer is an able support singing in an semi-detached declamatory manner with sparce shouty overtones.

Killed By Yourself Demo, 2011

EXTOL (NORWAY)

Extol have all the rights to be one of the leading extreme metal acts from Norway. Their debut has little to do with thrash, being atmospheric black metal with technical tendencies, quite well done. "Mesmerized" came as a very pleasant surprise, providing 3 tracks of first-rate technical death/thrash, with almost no traces of black metal, and the technical brilliance of songs like the superb "The Prodigal Son", easily beat more of the songs on the following "Undeceived", which introduced more thrashy riffs, but brought back the black metal "remnants" from the debut, as well as a considerable doze of technical death metal; the final result is again on the positive side, featuring well executed technical music, despite the presence of a few overlong dragging pieces in the second half of the album. "Synergy" is truly a revelation: exquisite technical thrash effort, combining the best from masters like Coroner, Mekong Delta, Believer, Agretator. The guys could have stayed within the confines of the genre for at least one more album, but their will to develop further led them away from the thrash metal field, and "The Blueprint Dives" was a mild progressive rock/metal offering, a big letdown for their fans.

Burial Full-length, 1998
Mesmerized EP, 1999
Undeceived Full-length, 2000
Paralysis EP, 2001
Synergy Full-length, 2003
Pearl Single, 2005
The Blueprint Dives Full-length, 2005

EXTRACTOR (USA)

This band plays crunchy mid-paced thrash, more in the classic camp, with heavy guitars, and harsh vocals. The overall approach may remind you of Sacred Reich's "The American Way", and has the same steam roller-like quality. These guys have the tendency to nicely speed up at times, like on the very cool galloping "Warbeast", and the guitar work is probably more proficient than the one of Sacred Reich, inserting more stylish technical moments from time to time.

Warplay Full-length, 2008

EXTREM (AUSTRIA)

This very deeply hidden underground effort shows a band trying to push the boundaries of thrash/crossover in a way not too dissimilar to early Cryptic Slaughter; in other words, expect "extrem"... sorry, extreme aggressive thrash/crossover with frequent blasting passages which are excluded from the longer tracks which in their turn are more thought-out heavier thrashers. Still, the approach is pretty intense reaching for grindcore as well even going beyond the madness of the aforementioned Americans. The closing "Subconscious Condemnation" is a sure feat being 8-min (!) of a violent grind/thrash/crossover brutality; hats down to both the listener and the musicians for surviving this....

Voluntary Enslavement Full-length, 1990

EXTREMA (ITALY)

A below average Italian thrash metal band; on the debut the style is a mix of Bay Area thrash and Pantera-like riffs which doesn't work well most of the time. Later things get even worse with a totally nu-metal sound on their subsequent albums.
"Pound For Pound" is a welcome return for the band on thrash metal territory, but the metalcore breaks are still around, and overall this work tries to imitate early Pantera on the more aggressive moments, and succeeds at times: the faster opener "Anymore", the heavy hammer "Selfishness".
The "Proud, Powerful 'n' Alive" EP is a waste, an awful mix of groovy post-thrash, funk, heavy metal with only "Modern Times" raising some eyebrows with its energetic crossover delivery; and possibly the faithful rendition of Dead Kennedys' "Too Drunk To Fuck" at the end.

We Fuckin' Care EP, 1987
Tension At The Seams Full-length, 1993
Proud, Powerful 'n' Alive EP, 1993
The Positive Pressure (Of Injustice) Full-length, 1995
Pound For Pound Full-length, 2009

EXTREMITY (BELGIUM)

Amateurish thrash/crossover coming as a poor version of D.R.I.

Blind by... Demo, 1989

EXTREMITY OBSESSION (GREECE)

This band remind of the death/gothic metallers Nightfall; actually, the band line-up includes the former drummer of that same band. The early, more aggressive Nightfall sound meets thrash: this is probably the best description. The first demo crosses thrash and death metal by giving more preferences to the latter style, and is filled with nice melodic hooks which were later turned into a Nightfall staple mark. The typical Nightfall dramatic longer compositions with a progressive edge are already here ("Desert"), but are not as many as the direct death/thrashers ("Receive The Soul Of Mine", "Mud's Dimension") which also contain some intriguing riffs. The sound quality is very bad making the drums sound too noisy.
"Everlasting" offers only 4 tracks, compared to the twice as big number on the debut demo, and boasts better production qualities, but the music is less eventful, being mid-paced melodic thrash/death metal with a gothic shade (with only "Relief From Pain" offering a "relief" for the headbangers being a raging amalgam of thrash, death and black metal), obviously "courting" the Swedish movement. The music of Nightfall is more of a continuation of the first demo, rather than this one.

Demo-Tape Demo, 1996
Everlasting Demo, 1997

EXTRESSIV (GERMANY)

Hardcore-ish thrash similar to Bound for Glory, with which this band also share their open nazi stand. The music is not very fast, but is edgy and vigorous, aggravated by the cool sing-along choruses. The guys sing together the whole time so there is no separate singer, but this approach creates a jolly, party atmosphere, and fits well the light-hearted tracks.

Weisse Brьder Fьr Europa Full-Length, 2008

EXUMER (GERMANY)

The band's debut remains one of the finest speed/thrash metal albums ever; some of the perennial speed/thrash classics are here, folks: "Possessed By Fire", "Fallen Saint", "Sorrows Of The Judgement", "Silent Death". Von Stein finally finds his most fitting pitch, after his messy performance on a couple of demos previously (Mayhem, Tartaros, which is actually the early incarnation of Exumer); his hellish high-pitched delivery remains one-of-a-kind all these years. He leaves for the follow-up, which might be a big surprise to some: speed/thrash is no longer available, and what we have here is one of the best "Reign in Blood" imitations ever done, with outstanding performance by the guitarist Paul Arakari behind the mike, delivering one of the most brutal merciless vocals at this stage on the scene. Once "Wind of Death" starts, and Arakari unleashes this ungodly piercing shout, in the best tradition of Araya from "Angel of Death", one knows this will be a different animal. The initial surprise will eventually be overcome, and one can not help, but enjoy this compulsive piece of brutality, graced by one of the first extreme super-blasts in music history, on the short explosive "Are You Deaf?" and the closing "Ascention Day". Instead of capitalizing on the release of two strong albums of various styles, the guys went their separate ways, leaving behind one of the definitive speed/thrash metal classics, and probably the finest "Reign in Blood" worship ever.

Possessed by Fire Full-length, 1986
Rising from the Sea Full-length, 1987

EXXOR (SWITZERLAND)

This is the band from where Roger "Nasty" Gautschi, the musician who later founded Lunacy, started his career. The style here is a more conventional type of the thrash/crossover of that other band, if we exclude the beginning: the opener "Just a Dream" which starts in a fairly aggressive manner with smashing intense proto-death riffage. Later things get a more peaceful character: energetic thrash/crossover with more melodic punk-ish overtones.

Asphalt Paradise Full-length, 1988

EYE BEYOND SIGHT (HUNGARY)

Core-ish modern thrash, frankly metalcore-oriented, inevitable offering something for the melo-death fans, but generally this is not very aggressive stuff, but is more in mid-pace with adherences to slower sections with jumpy repetitive rhythms and annoying guttural, quarrelsome vocals.

The Sun and the Flood Full-Length, 2011

EYE OF I (USA)

One man, the name is Erik Peabody, is responsible for this modern groovy post-thrash which gets more interesting at times ("God Of Despair") acquiring more complex semi-progressive dimensions. On the other hand one will come across brutal death metal bursts ("Cheilorrhaphy") which to these ears serve the guy's purpose better. Later on there is doom (the excellent creepy "Ash To Ash"), semi-ballads, pure industrial, and more. The guy's singing varies quite a bit, the main vocals being gruff death metal-ish, and it's clear that the bass is his main instrument: great bass implements everywhere ala Leif Edling accompanied by very heavy abrasive riffs.

Marrow Full-length, 2009

EYE OF THE ENEMY (AUSTRALIA)

Based on the full-length, these guys play cool intense modern thrash metal with good guitar work, which holds well both in the sharp and melodic sector. The album loses steam for a bit in the middle with the romantic laid-back gothic-laced "Facade" which comes with good tender clean vocals. Later on the band have no problems capturing the aggression with a string of vigorous energetic headbangers, although another "pause" lies in wait near the middle: the later-period In Flames worship "Burn the World", the latter completely cancelled by the short piece of Slayer-sque aggression "Violent Rapture". The more immediate delivery up to this point is abandoned on the closing "The Paradigm of Penance", which is a great complex progressive composition crushing in a heavy mid-pace with the odd faster passage, spiced all of a sudden with a brilliant twisted technical break in the 2nd half the latter immediately followed by haunting Oriental tunes in a doomy tempo, and for this ending alone this song is a must-listen.

Eye of the Enemy EP, 2008
Weight Of Redemption Full-length, 2010

EYE SEE BLACK (AUSTRALIA)

Based on "Seven", which is exactly 7 songs, this act pulls out choppy modern post-thrash with grunge, blues/ballad and proto-hardcore thrown in for not very good measure, and the few headbanging attempts are drown in the sea of rehashed clumsy groovy riffs.
"Beckoning Chaos" is a more dynamic offering, and is by far the better achievement, the guys even trying to thrash more clearly, as evident from the vivid crossover-tinged "Deathtrip". "Spirits Decay" is a more serious take on the genre with dark heavy guitars ala the Black Album which are well translated on the following "Beckoning Chaos" which also features excellent melodic leads ala Kirk Hammett. "One Man Army" is a cool crunchy thrasher which even goes down to the classic patterns with edgy Bay-Area riffs. "Reincarnation" brings forward 10-ton hammer riffs, and its seismic influence remains fior the remaining tracks, except for the surprising acoustic ballad "Another Day" near the end, although an immediate compensation is offered with the brutal violent 1.5-min closer "Hunting Season".

Beckoning Chaos Full-length, 1997
Seven Full-length, 2003

EYES OF THE DEAD (USA)

Based on "The Weak and the Wounded", this band plays cool thrash of the old school with dark gothic elements and vicious death metal vocals. The music, except on those gothic elements, is energetic and up-tempo, and songs like "Brought Back to Hell" and "Exacting My Revenge" are major headbanging thrashers. The rest mixes slower and faster rhythms, with the closing "Final Strike" betraying the classic sound with melo-death Swedish-styled riffs. All the band members take part in another act: Aggressia, where the sound clings more towards the modern Gothenburg patterns.

What Nightmares Are Made Of Full-length, 2006
The Weak and the Wounded Full-length, 2009

EYECONOCLAST (ITALY)

Based on the full-length: a modern mixture of thrash and death metal, quite close to Dark Tranquillity and other similar Swedish bands; these guys play more brutally and faster, but the catchy melodic guitar hooks are all here. The very aggressive low-tuned death metal growls are occasionally intercepted by clean ones. The speed at times, though, comes too much.
The "Sharpening Our Blades on the Mainstream" EP is 3 songs of pretty aggressive thrash/death metal, frequently blasting into oblivion, but alos full of melodic tricks. In other words, this is pretty faithful to the band's previous catalogue, who also stretch into quite a few other directions: the thrash/death metallers Rust of Reason; the death metal outfit Hideous Divinity; and, above all, the technical death metal wizards Hour of Penance.

Cursors EP, 2003
Unassigned Death Chapter Full-length, 2008
Sharpening Our Blades on the Mainstream EP 2011

EYELESS (FRANCE)

Based on "The Diary": modern thrash mixing the heavy groove with energetic headbanging sections coming up with run-of-the-mill stuff which has energy and all, and at times even tries to reach the mechanical complexity of their compatriots Gojira, but those attempts are left somewhere in the middle with the guys quickly settling for the more ordinary delivery which still produces one blitzkrieg headbanger ("Razor's Edge").

When Shadows Seduce EP, 2002
Path to the Unknown Full-length, 2004
The Game of Fear Full-length, 2007
The Diary Full-length, 2009

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