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 G.I.S.M. (JAPAN)
Based on "Detestation", this is a raw, simplistic, but effective mix of early thrash/crossover and Celtic Frost (considering the time of release). The album offers a fairly brutal for its time sound, and can definitely be considered one of the more extreme early recordings; the music is not very fast, but keeps a good tempo throughout, and the vocals are really aggressive, being low, semi-death (yes, indeed!) ones, sounding like a more vicious Tom G. Warrior. The punk atmosphere is still present, but delivered in a much more brutal way. There are some classic heavy metal tunes thrown in, which reportedly increased on the band's second full-length release. While Loudness were pleasing the metal crowds with their radio-friendly hard'n heavy anthems, this band were laying the foundations for far more exreme sounds to come in the future...
Detestation Full-length, 1984 Official Site G.O.D. (HONDURAS)
Honduras is not a very hot place for metal; that's why this band comes as a complete surprise. The guys have done a very good job; this is first-class technical power/thrash obviously influenced by Helstar's "Nosferatu". The guitar work is stunning: great solos, twin-guitar melodies ala Iron Maiden, and stupendous technical riffs. The music is mostly up-tempo, never very fast and aggressive, and the fine dual lead guitar lines are all over the place, as well the galloping rhythm, all nicely displayed on the instrumental opener "Facing The Omnipotent". The compositions are in the 5-7min range, and are filled with various, sometimes a bit unexpected, but utterly compelling, time changes; at times the sound moves towards more intense speed/thrash ("Scavengers", "Driven By Hate"), at times it excels in technical riffage ("Skeptic's D.N.A."). "Metal Empire" is a masterpiece of technical/progressive thrash, the closer of this album, a complex opus, which is a conglomerate of moods and memorable guitar hooks: some quite sharp and jumpy, others with a great doze of melody. The singer is yet to catch up with the music, though: his mid-ranged, semi-clean tone lacks the dramatism and emotion which are mandatory for this kind of music.
Burning the Flag Single, 1997 Official Site G.T.I. (FRANCE)
Based on "One Thousand Blasting Words", this band come up with a run-of-the-mill thrash/death concoction, which is suddenly "broken" by insertions (or samples) from other styles, much more melodic than metal, and are too many; interesting, but too contrasting to the furious riffs, which often go into blast-beats without warning. Some of the melodic breaks are not too bad, actually, and are directly taken from the Cynic, or Atheist textbooks; it's too sad that the guitar work is much inferior to the one of those two legendary acts. "Serum" is a nice atmospheric, slow instrumental track, possibly the highlight here, maybe because it's devoid of the awful hysterical shouts of the singer. Worth of note is that all the 11 songs start with an "S"; there could be some great concept behind the lyrics?!
Utopia City Full-length, 2004 Official Site GABISH (JAPAN)
This very little known, but worthy band offers quite good energetic, but not very aggressive thrash, topped by vicious, hoarse vocals with a black-ish vibe. This is old school stuff, with nice bass work and stylish leads (the riff-work is of the more standard type): check out the great "Flash Back". Shades of the German wave could be heard ("Bottom Head", featuring some nice rolling riffs ala Destruction), as well as a really fine nod to early Celtic Frost ("Complently"), but otherwise this band don't sound like anyone else, mainly because the lead guitar, with a unique sound of its own, takes a considerable space from the album, making it an engaging and original listen. The speed increases on the last 3 songs, showing the more intense side of this nice little gem.
The End Of The World Full-length, 1994 GACK (USA)
This band are virtually all Laaz Rockit members minus the drummer, who here comes from Defiance. The old school veterans have obviously gotten tired with the scene, and the style here is firmly in the modern 90's thrash vein ala Pantera; shades of "Nothing Sacred" can still be heard, but they're not too many, and despite the aggressive sound on this album, Gack couldn't be classified any higher than just another run-of-the-mill modern 90's thrash band.
Fix full-length, 1993 GALLOWS PRIDE (USA)
Two songs of fast instrumental-only thrash obviously "courting" Slayer's "Reign in Blood" with a few surprisingly lyrical melodic deviations; not bad although it's clear that it was just a rehearsal for more serious efforts which never came about.
Demo Demo, 1989 GAMA BOMB (IRELAND)
The Irish thrash metal scene has never been the most prolific in the world, but from time to time some quality music has come from there through the years (Moral Crusade, Cursed Earth, to name a few). With bands like Gama Bomb things look quite promising right now. The music is speedy (but not very) thrash with an American power metal flavour recalling Helstar, Liege Lord, Attacker, the Canadians Anvil, the Agent Steel debut. The vocals still need some working on, because this Lemmy-like style doesn't really fit the sound. Reportedly, the band have had some hardcore influences on their demos similar to Nuclear Assault, but here they could hardly be heard. It seems as though British/Irish thrash metal is starting to pull itself together again.
Survival of the fastest full-length, 2005 Official Site GAME OVER (SOUTH KOREA)
No, this is not a Nuclear Assault-influenced thrash/crossover, like some of you may think reading the band name, but is just your average 90's post-thrash with mild riffs, bad synthesized vocals, a couple of faster hardcore moments and funky passages, and one cool heavy doom ballad at the end: "Hypocrite". GAMMACIDE (USA)
Good aggressive thrash which combines the fury of Slayer and Dark Angel with more technical riffage; pretty much one of its kind in those days. This is a monolithic wall of aggression which never breaks and even hardens the course at times: the furious blast-beats on "Shock Treatment" and "Gutter Rats". The 4-song demo could have been the rehearsal for another fine brutal slab of thrash/death, although the sound here more often smells death metal, and will probably remind you of the French Massacra as well. The technical riffs are more often present, and the overall guitar sound is heavier and faster, making this little gem a really intense listen. With the death/thrash mixtures being quite fashionable at that time, this band could have made quite an impression on the scene with their uncompromising, but also quite technical delivery.
Victims of science full-length, 1989 Official Site GANG (FRANCE)
The band's works of the 90's are weak blends of modern post-thrash and classic heavy metal; nothing in common with thrash metal. Their more recent efforts add more intense riffage, but the music remains in the post-thrash camp, coming close to more recent Annihilator on the best moments. "Dead Of Alive" is by far the band's finest hour, which in their case means your average modern-ish power/thrash mixed with some faster moments ala Motorhead and early Exciter, marred by a couple of heavy, but not that impressive ballads.
Gang Full-length, 1993 My Space GANGRENA GASOSA (BRAZIL)
Based on the debut, this band play a more aggressive form of thrash/crossover, going well beyond the more restrained attempts in this genre made by their compatriots Ratos De Porao. This music is more varied featuring some rap and even samba moments, bringing the band's sound at times closer to Rage Against The Machine and Biohazard.
Welcome to terreiro full-length, 1993 Official Site GARDARIKA (RUSSIA)
Melodic progressive power/thrash which emphasizes on melody more than on technicality, but the most inspired moments bring the sound not far from their compatriots Valkyria. The album offers faster headbanging numbers, mellow heavy/power-based ones, more complex eclectic ones, and more. The music is not flashy, but flows nicely, seldom causing the listener to scratch his head, and the singer is quite a nice addition, with his levelled mid-ranged melodic voice.
Kupava Full-Length, 2008 GARDEN WALL (ITALY)
This unique progressive metal act, who have whole 6 full-length albums in their discography, have given their tribute to the more unusual side of thrash on this one. The guys indulge in long, sprawling songs, where a lot of things happen, but there is seldom a dull moment, except for a few overlong balladic sections. Here those sections are put to the minimum, and this album is a masterpiece of intricate, twisted thrash. "Lead" is a great progressive thrasher, with brilliant surreal riffs, and some aggressive, speedy moments, and, of course, the obligatory hallucinogenic slower passage in the middle. "Hatred" is slower and more melodic, relying on heavy, less intricate riffs and longer quiet sections. "Anniversary" follows the same formula, but "Bisturi" is wondeful, abstract progressive thrash with its balladic parts, twisted, swirling riffs, entwined with lyrical, peaceful passages, mid-tempo to slow, but utterly compelling. With "Deinococcus Radiodurans" the more aggressive, faster thrashing returns, but the arrangements remain quite complex and eclectic. "Obsession" is a more immediate, again more energetic technical thrasher, with a surreal atmospheric middle break. "Christmas Eve" is the only more conventional track, with heavy, more straight riffs, but the next "Negation of Becoming" largely compensates for that, bringing the music back to the very technical level, although the approach on this one is slow, with more emphasis on abstract and more melodic melodies. The closing "Dreams Slayer" is not a very distant departure, and is an amalgam of straight thrashy riffs and some illogical musical decisions, still quite intriguing and vortex-like. On their other works the band insert the odd more aggressive passage, but this is their only effort which belongs here.
Forget the Colours Full-length, 2002 Official Site GARDY-LOO (USA)
This act was founded by the former Nasty Savage members after that band's split-up; the same ones who later formed Lowbrow and Lordes Werre, here also helped by the Hellwitch guitarist Andy "Turd Man" Adcock. On "Stool Sample", which opens with a lead-riven variation of "Yankee Doodle Dandy", they entertain themselves with playful unpretentious thrash/crossover sharing quite a bit from the humorous aesthetics of S.O.D.'s "Speak English or Die" and Lawnmower Deth. The numbers are mixtures of fast sharp riffs and melodic punkish passages. Some are outrageously fast ("Virgin"), others are pure punk joys ("Serial Killer"), but the majority are varied crossover affairs with numerous touches included.
Stool Sample Full-length, 1993 Official Site GARGOYLE (JAPAN)
This is an interesting band who play straight-forward speed/thrash for most of the time, but on every album there are a couple of very offbeat, eclectic tracks which one either learns to like, or learns to hate for their non-thrash, and sometimes even non-metal, nature. Let's take the debut "Misogi", for example: it begins with the smashing thrashing delight "Destroy", and if the guys had carried on in the same spirit, there would have been hardly a single band to dispute their leadership on the Japanese thrash scene; it lasts for nearly 7-min, and will leave you tired with headbanging. "Bala Åkån Vara" is close to hardcore/punk, alternating melodic with very fast sections. Then things get back to normal, with a couple of intense thrashing numbers, until the completely non-metal, pointless "Certain Feel". After it whatever comes will not be as satisfying, although some tracks are crushing thrashers, not far behind the opener, but one should always watch out for the next melodic deviation (two more come later). Almost every subsequent album follows the same pattern, mixing contrasting styles, and perhaps this is the reason why this band are not mentioned right beside truer to thrash metal acts like Outrage, Jurassic Jade, Ground Zero, Doom, etc.
Misogi full-length, 1989 Official Site GARGOYLE (USA)
This is a unique band simply because at that time very few bands managed to achieve the same level of intensity. It's beyond me how these guys never became big as they deserved to be, much more than 90% of those who did after them. Slayer's "Show No Mercy" played faster with a more aggressive attitude is what the band offer us, and it gets better and more brutal with each song. From the two demos "Violence Is Golden" arguably contains the better and faster material, boasting also a clearer production.
Unleashed demo, 1985 GARLIC BOYS (JAPAN)
This not very known outside their homeland band have been one of the stalwarts on the punk/hardcore scene in Japan, but one day have decided to challenge their thrash metal colleagues, and have done a nice job on these two albums. Elements from their punk/hardcore career are present, of course, but only sparingly, and both efforts are commendable thrash works, energetic and up-tempo most of the time, with some stylish guitar work, reminiscent of Voivod (both their early and mid-period), mostly on "Psycho Thrash", but often does the music take a more playful attitude recalling Motorhead and Exciter. On the shortest songs (1-2min) the guys go straight into grindcore, but fortunately these moments are not that many. "Smegmania" contains the faster and more aggressive material, and hardcore is more frequently present, bringing the sound close to early Prong and Suicidal Tendencies at times.
Psycho Thrash Full-Length GARLIKDE'TH (NORWAY)
Based on the Compilation, which actually contains the two demos released before that, this very obscure act play dark atmospheric thrash/death with very bad amateurish hoarse vocals. The music otherwise is not completely without merits, coming as a more accessible version of early Messiah, and the leads are particularly good. The pace is moderate, with some cool exceptions: "Fuck The Hand", the jolly crossover "Salvation". "Kiss The Goat" is a nice, almost surreal take on chaotic technical thrash.
First Demon Demo, 1990 Official Site GASCHAMBER (USA)
It shouldn't take so long for these guys to produce a follow-up, because from one of the promising American thrash metal bands of the new millennium, they might remain just a one-album wonder, and it would be a pity. Their debut is smashing thrash along the lines of Violence's "Eternal Nightmare" and Slayer's "Reign In Blood". Hopefully the band will wake up for another hit soon.
Gaschamber full-length, 2002 Official Site GASPANIC (JAPAN)
This act is the brainchild of just two people, who offer a modern thrash/death hybrid of the mid-paced type. The music traditionally for the japanese scene has its quite a few quirky moments, like the peaceful passages accompanied by acoustic guitars and keyboards, the sudden fast outbursts, the heavy doom-laden riffs, and more. The deep emotional clean vocals which assist the main semi-hardcore ones, are quite weird as well, but in a captivating listenable way, recalling the ones of David Dando from the British doom masters Eterne. There are industrial shades, too, and as a whole the regular thrash fan may not find his favourites here, since the concentration is on atmosphere and mood, rather than speed and sharpness.
Step on The Gas Demo, 2004 Official Site GATE (POLAND)
Based on "Machinacje", these guys (and a girl, who is listed as the singer although to these ears the vocals are handled by a male throat, or...) offer friendly melodic thrash with a shade of crossover, which starts in a very tender manner with "Lepiej jak Ptak", but quickly gains inertia with the more intense headbanger "Mechaniczne Pszczoly". At this point the album sounded quite classic, but later begin the slower semi-groovy, even stoner-sounding tracks, and it's near the end when the guys remember to thrash with more edge, on "Uciekaj", which is still more of a thrash/crossover piece. Nothing to lose your sleep over as a whole, quite an uneven effort, completely lacking edge on at least half of the tracks.
W Duchu Niewinna Full-length, 1995 My Space GATES OF HELL (PORTUGAL)
Based on the first demo: crushing steam-rolling Bolt Thrower-like stuff, mixing mid-paced with faster passages, plus a few groovy moments. The music is dynamic, providing several parts for the headbangers, too.
Demo Demo, 2009 My Space GEHENNAH (SWEDEN)
A black/thrash metal band heavily influenced by Venom; the music is heavier than the one of the Brits, but it has a very uplifting, cheerful quality typical for the works of another British band- yes, you guessed right: Motorhead. The band's music could very well serve for the background of some metal party.
Hardrocker full-length, 1995 My Space GEISHA GONER (POLAND)
A good technical thrash metal band; their style is choppy with numerous tempo changes and at times the longer tracks start to lose coherence, but the stylish guitar work saves the day. “Hunting For The Human” increases the complexity considerably, introducing numerous elements outside the thrash metal field, but at the same time contains some really aggressive tracks: “Dreams” (the only one of its kind here), also with a cool technical edge. The music becomes too avantgarde at times, bringing to mind Voivod even, but never degenerates into the insipid post-thrash the Canadians started playing at some stage. Another reference point would be the mid-works of their compatriots Wolf Spider, but here the music is slower, and more choppy. The headbanging moments are few, but the elaborate song-structures will keep you on the alert all the time. The only downpoint is the hard’n heavy number “Good Bye, Goner, Good Bye” near the end (yeah, it would be indeed good-bye, and even farewell, if you keep on playing crap like that). There is nice funky bass work; the vocals on both albums are of the aggressive semi-death metal type, seldom interrupted by more melodic, clean ones (on the second one).
Catching Broadness Full-Length, 1992 Fan Site GENERATION (USA)
Industrial thrash which has its intense ala Ministry and Skrew moments, but relies too much on electronic samples and noises to pull it through; the thrashy riffs settle well on the short intense "Believe in Miracles" and the speed/thrash/industrial wonder "Chemikill", but the other material is too overpacked with non-thrash, and even non-metal elements to be a satisfying listen.
Brutal Reality Full-Length, 1993 GENESIS OF AGGRESSION (POLAND)
One would hardly trace the "genesis of aggression" with this one; this is laid-back, melodic thrash, which could be considered quite a phenomenon, having a distinctive groovy sound, which just a few years later would revolutionize the music scene big time. This is not the angry thrash of Exhorder and Pantera; this stuff was later further developed on the Metallica Black Album, the works of Flotsam & Jetsam and Anthrax in the 90's, 90's Chastain as well, and many others. "Empty Gestures" speeds up, bringing forward more classic-sounding riffs, with a certain Metallica-vibe, resemblances with the Americans also strengthened further by the good James Hetfield-like vocals. The focus is clearly not on intensity: there are 3 ballads, one of which ("Weakness") has nice heavy riffs, and even the most aggressive tracks ("Under Age") come with a playful, optimistic attitude. This is the first real precursor to the 90's modern wave in thrash, and as such this band deserve to be much better known.
Disappointment Full-length, 1989 GENETIC WISDOM (HOLLAND)
This band are the continuation of the techno-thrashers Sacrosanct, but the music here is slightly modernized and probably less adventurous. The debut is the more ambitious one, with clear pretensions for the tag "progressive thrash", with long, complex songs where a lot of things happen, but the band never forget to insert the necessary amount of fast riffage; the music is closer to the works of late 80's Metallica than to the last Sacrosanct offering, but is effective and almost as good, even including one monstrous semi-ballad: the 9-min "Psycho Love", both a dreamy and a heavy number. The other material is by no means worse: the more immediate energetic, with a very good bass support thrasher "Perseverance Kills The Game", which still holds some surprises along the way for the technical metal fans; the progressive smasher "Why Don’t You" which develops as a ballad in the beginning, and remains quite doomy and slow, relying on heavy meaty riffs; the cool mid-paced headbanger "Unfortunate Childhood", which offers fine complex passages and straight headbanging ones. The best, however, comes with "Afraid Of Life": an exemplary technical/progressive composition, which lashes in a mid-paced fashion with great technical riffs for about 8-min, before "Inside The Triangle Of Death" speeds up, but not much, retaining the technical edge, also exceeding in the lead department. "Visual Fastfood" is pretty close in spirit to the preceding one, being another fairly good technical mid-tempo thrasher. "Radical Hatred" is vintage late 80's Metallica, and is the fastest track here- a headbanging fest at its finest, graced by a catchy memorable chorus. With this album the band almost filled in the gap left after the Sacrosanct split-up, although it remained to be seen how long the guys would be able to resist the 90's trends.
The Fear Dimension Full-Length, 1993 GENETICA (ARGENTINA)
The band's style is a direct take on Machine Head's softer period (1999-2004); this is melodic, groovy thrash which occasionally moves towards stoner/doom: "Odio", or a more aggressive sound ala "Vulgar Display of Power": "LLegar". Oh, and there is one romantic ballad at the end for the lovers: "Hermano Mio".
Golpe Maldito Full-Length, 2006 GENETICIDE (USA)
This band's line-up includes Doug- the drummer who later joined Fear of God. Although the songs on this demo are short, within the 2-2.5min range, the guys manage to come up with a mix of four styles: thrash, hardcore, death metal and even grindcore. This is quite a wild mixture, and might not be to everyone's taste.
Circle of Insult Demo, 1988 GENGHIS KHAN (USA)
Fairly good power/thrash, coming as a more thrashy Sanctuary, or Attacker, with a dark, haunting sound, created by the heavy stylish guitar work. The tempo is mostly mid-paced, but "The Pillars of R'Leyh" is a nice galloping thrasher (remember Attacker's "Second Coming"). Like this wasn't enough, but then comes "Perish & Die" which will catch you absolutely unprepared with its uncompromising, aggressive sound: thrashing madness at its best The guys are masters of the more lyrical side of metal as well, shown with the brilliant acoustic ballad "The Passage". The vocals are just great, being slightly hoarse, semi-clean, high-pitched, sometimes to the point of screech-iness, but very well suited to the music at play.
The Passage Demo, 1989 GENITAL DEFORMITIES (UK)
On their only album these guys mix the stomping rhythms of early Celtic Frost with thrash/crossover. The sinister death metal vocals do not suit the music very well; otherwise this is not too bad, with the Celtic Frost influenced sections working better.
Shag Nasty ! Full-length, 1989 GENOA (JAPAN)
This EP, which actually contains 11 whole songs (but more than half of them barely go over the 1-min range), is pure thrash/crossover happiness, quite intense and aggressive at times ("What a Wonderful Life! Ha!!", "Devil Thrasher"), even smelling grind-core ("Monthly's Guest") with harsh, vicious vocals which fit the sound quite well.
What A Wonderful Life!Ha!! EP, 1988 GENOCIDE (USA, Chicago)
A fine demo of American power/thrash along the lines of Helstar and Griffin. Nice clean, soaring vocals and cool melodic guitar lines are the highlight here. "Imminent Impact" shows the band well able to handle some more aggressive thrash ala Exodus (and has apparently influenced that band title-wise: their 1989 album) and Dark Angel. The follower "Mercenary of Evil" is vintage Helstar which beats most of the tracks from that band's same year's "Remnants of War". "Bloody Mess" is a fine heavy, mid-paced smasher with a fine atmospheric, doomy ending.
Demo Demo, 1986 GENOCIDE (USA, Flint MI)
Raw, messy, noisy and quite brutal thrash from a band who would later write some important pages from metal history under the name of Repulsion. At least on these three demos these guys show no promise at all for better things to come with their very amateurish musicianship.
Toxic metal demo, 1984 GENOCÍDIO (BRAZIL)
A very good and long-running band on the Brazilian metal scene, Genocidio started like many other bands from the same country imitating early Sepultura. Then their raw approach developed into death metal with gothic influences in the mid 90's. Then the guys really messed it up with the very weak "One Of Them..."- uninspired and highly derivative modernized, industrial death metal with influences from where the hell. However, it was all forgiven after the godly "Rebellion", one of the finest thrash/death metal albums of the past ten years: a stellar album with tight, fast, technical play not heard in a long time. No more experiments from now on (hopefully!).
Genocídio ep, 1987 Official Site GENÖCIDE (USA)
Thrash/crossover, quite decent, but not of the sharp, hard-hitting type, somewhat reminiscent of D.R.I., but the music here is more melodic, with a more open punk-ish attitude, and a certain Motorhead and Exciter shade in the guitar sound ("Sociopath"). The good thing is that there is a variety in the approach: it's not only speedy numbers which one can find here, but there are some slower ones, only that the little sharpness which the guitars have on these songs it almost disappears.
M.A.N. Full-length, 1987
Sonicrime Therapy Full-length, 2001
The "Raising Decay" demo already shows a band fully equipped to do some damage on a larger than Latin America scale. An even better piece of news is that the demo and the full-length share only one track ("Catastrophic Fate", which in the album is actually added as a bonus track), so fans of the band can enjoy 7 whole songs not heard before. "The New Age" nicely introduces the technical guitars and the virtuous twin melodies, although it never speeds up, being heavy and mid-tempo. "Remaining in Darkness" is a compelling listen with its numerous melodic twists and guitar virtuoso sections, which completely overshadow the very flat vocal performance; not much fast thrashing here, either. "Catastrophic Fate", already heard on the full-length, is a great speedy thrasher in the spirit of Paradox's "Heresy". The speed remains for "Inorganic Environment", which combined with the immaculate technical delivery and the constantly changing melodic hooks, stands for the highlight. "Decibel" is an instrumental-only piece, another fine display of high level musicianship concentrating more on the leads. "Burning the Flag" is full-on speed/thrash with again the leads taking a central part. "Victim of Denial" is sinister galloping power/thrash ala Helstar, which despite its undeniable qualities pales before the excellent progressive closer "G.O.D.", which well deservedly carries the band name, thrashig in an awesome technical mid to up-tempo fashion for about 8-min, leaving the lead performance a bit behind, which was good since up to this point the lead guitarists have been given more than enough space to perform, "stealing the show" from the others. If we exclude the very weak vocals, which are simply laughable and impotent for most of the time, and the very thin guitar sound which creates at times quite a screamy atmosphere during some lead sections, everything else is close to perfect, and this demo sounds almost as convincing as the full-length, stepping back probably only in the vocal department.
Raising Decay Demo, 1998
Incandescent Full-length, 2002
One Thousand Blasting Words Full-length, 2006
"Citizen Brain" is a smashing follow-up, showing the band in fine form to produce some great headbanging thrash again. These are 15 tracks of heads-down retro thrash; no shades of American power metal this time, just in-your-face thrash aggression, which could only be compared to Razor's "Shotgun Justice", or Vio-Lence's "Eternal Nightmare", or the Swedes F.K.U., of the more recent acts; a thrash masterpiece which will surely be in many top tens for 2008, and may even top up quite a few of them.
"Tales From the Grave in Space" returns to the more speed metal-based patterns from the debut, but is a full-fledged metal entertainment from beginning to end. The guys play fast and tight, without forgetting about the more melodic side of things which mostly springs up on the lead sections. The singer traditionally does a good job with his levelled mid-ranged semi-clean tone, this time unleashing his high screams more often, but always at the appropriate time. Seldom can one hear an effort so fully dedicated to speed in the new millennium, either in a more thrashy ("Apocalypse 1997", "Return to Blood Castle"), more 80's speed metal-like ("Skeletron", "Slam Anthem"), or even a sincere crossover ("Mussolini Mosh") manner. By the way, the whole album can be downloaded for free from the Earache website.
Wow, the guys know no rest, and just a few months after the release of their 3rd full-length here comes a brand new 5-song EP to please the fans of classic speed/thrash. High-speed antics await you here delivered with an early Hirax-like intensity also reflected in the relatively short length of the songs (the 44-sec thrash/crossover explosion "Deep Red").
Citizen Brain Full-length, 2008
Tales From the Grave in Space Full-length, 2009
Half Cut EP, 2010
Game Over Full-Length, 1996
Demo Demo, 1991
Unknown But Surely Evil Full-length, 1995
Piece Of War Full-length, 2002
Dead Of Alive Full-length, 2007
Smells like a tenda spiríta full-length, 2000
6/6/6 EP, 2006
Perverts on Parade Full-length, 1997
Socially Unacceptable Full-length, 2001
"Kuromitten" is the staple for the band amalgam of styles, quite dynamic and diverse, with at least half the tracks intense speed/thrashers clinging more towards speed metal. The mellower songs now have more edge and never slip into melodic wankery; even the ballad "Kaze no Shiro" is quite good and heavy. The lead guitar work is traditionally on a high level, and Kiba sings in a lower-pitched less melodic manner without adhering to the higher registers too much.
Furebumi full-length, 1990
Kaikoroku ep, 1992
Aratama full-length, 1992
Tenron full-length, 1993
Tsuki no toge full-length, 1994
Natural full-length, 1995
Gaia full-length, 1998
Junrein EP, 1998
Fuuin (~who in~) full-length, 2000
Future drug full-length, 2001
Wa full-length, 2002
Bushin battle gargoyle ep, 2002
Kemonoichi full-length, 2003
Ronpu full-length, 2005
Kuromitten Full-length, 2009
Violence is golden demo, 1985
Smegmania Full-Length
Load Error Demo, 1991
While God Sleeps Best of/Compilation, 2007
Dziki Full-length, 2001
Machinacje Full-length, 2008
Rehersal Demo, 2009
King of the sidewalk full-length, 1996
Decibel rebel full-length, 1997
10 years of fucked up behaviour EP, 2003
Hunting For The Human Full-Length, 1994
The follow-up is more immediate with shorter songs, less technical approach, and the modern tendencies have already sneaked into the band's potent sound, now producing less striking results. The songs are much shorter, with less technicality involved, still preserving some intriguing shade, as well as the staple heavy riffage, felt on hard-hitting modern thrashers, like "Too Good to Be True", or the steam-roller "Intentions Rule the World", which also scores high in the technical department, not without the strong bass performance. "Dedicated" even speeds up for a while, but it's "Mirror Images" which is the real revelation, with the fast-paced rhythm, sounding like pure 80's thrash. Later on another delightful piece comes: "Dragons to Slay", which thrashes in a more classic, energetic manner, before the final "Face the Facts" exits the album with some more light-hearted crossover riffs. Far from a disappointment, this effort saw the band slowly adjusting to the new fashion, but this process was left unfinished, since they split up soon after that.
Humanity On Parole Full-Length, 1994
Violent death demo, 1985
The stench of burning death demo, 1986
Depression full-length, 1990
Hoctaedrom full-length, 1993
Posthumous full-length, 1996
One of them... Full-length, 1999
Rebellion full-length, 2002
Hiatus EP, 2007