Copyright (c) 2007-2024 THE THRASH METAL GUIDE
0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z HEMATIC (AUSTRALIA)
These Aussies specialize in dark morose modern thrash which relies on long hypnotic compositions that will manage to hold the listener's attention due to the changing paces and the several more offbeat gimmicks used (atmospheric acoustic passages, slight industrial/ambient moments, etc.). This is minimalistic music which may attract fans from the Godflesh and Soulstorm side even, along with those who enjoy bleaker landscapes ala Mindrot and Minushuman.
Ace of Cups Full-Length, 2013 Official Site HEMATOMA (PORTUGAL)
A good piece of classic 80's thrash metal; the songs are mostly in the mid-tempo with a slight hint of groove, but also featuring cool semi-technical riffs and nice headbangers: "Sleep", despite the sleepy title, is a very good example of the latter. Hopefully the full-length will hit us soon...
For Yours We Wait EP, 2005 Official Site HEMISPHAERIUM (SPAIN)
Based on "Thagirion", this outfit specialize in atmospheric retro thrash/death, the harsh death metal vocals occupying the forefront, sometimes
spearheading mellower epic excursions ("La Maldicion"), sometimes impetuous speedy sagas ("Gloria y Muerte"), the melodic elements profusely
featured everywhere, including on the encompassing encyclopaedic title-track.
Inferno Full-length, 2022 Official Site HEMLOCK (USA, CA)
Heavy death/thrash metal of the modern, 90's type with horrible hardcore vocals; the music isn't as groovy as you might think, but is quite energetic; the sound is somewhat mechanical and dry recalling Meshuggah, but the guitar work is much more ordinary, more along the lines of Puncture or No Return's "Seasons of Soul".
Moonmaniac Demo, 1996 HEMLOCK (USA, NA)
Based on "No Time For Sorrow", this band play typical modern post-thrash sometimes descending to hardcore-ish heavy/thrash ("Backstabber"), sometimes jumping on the melodic death metal wagon ("Beautality"). There's a big doze of groove involved which suits well the gruff, death metal vocals which are accompanied by a few other styles as well. The straight intense thrashers ("The Reason") aren't too many, and the dominant tempo is mid-paced with numerous melodic leanings.
Shut Down Full-length, 1999 Official Site HEMOPTYSIS (USA)
Based on the full-length, these guys offer modern thrash metal with classic leanings and cool nods to the 90's power/speed metal scene ("M.O.D."). The music is energetic without being very fast boasting dynamic headbangers, like the death-laced "The Cycle" to which the gruff death metal vocals suit the best. Still, most of the tracks don't develop beyond the mid-pace graced by softer riffs and numerous melodic touches typical for the Swedish school.
Who Needs a Shepherd? EP, 2008 Official Site HEMORAGY (FRANCE)
Based on "Jesus King Of Wine", these guys offer melodic power/thrash metal with a classic vibe. The music is enjoyable with cool lead guitar work, but not very hard-hitting in the 1st half; it will probably remind you of Meliah Rage's early period, or Laaz Rockit's "Know Your Enemy". With "Ghost Riders" things become really interesting: a mighty thrasher which raises the level admirably, and what follows is by no means worse: the stomping crusher "Jump into the Bestial Pit" which even has a Celtic Frost shade, followed by another fast-paced track: "The Final Horseriding". "Guitar Killer" is a pure riff-fest, richly deserving its pompous title which would make you listen to the first half of this album again, just to check if you haven't slept through it the first time. Although a bit uneven, this effort is a promising start, and with a bit more focus next time these guys could be one of the new stars on the French metal scene.
Demo Demo, 2003 Official Site HEMOTOXIN (USA)
The demo: death/thrash quite close to later-period Messiah ("Choir of Horros", "Rotten Perish") with a bigger emphasis on death metal perhaps. The sound quality here is worse, but the band are inspired and their intense shreds deliver most of the time assisted by lightning fast, but intelligible, lead sections (check out "Abstract Atrocities"). "Maze of Torment" is... yes, right, a Morbid Angel cover from the immortal "Altars of Madness", done well with the noisy drums impeding the proceedings a bit. After it death metal takes over for the final "At the End of Eternity" which is indeed ""the end" of this effort pulling out traditionally strong lead performance plus a very cool epic outro. This is a style yet unpolished with stretches into several directions, but there's by all means a potential, and its realisation shouldn't be a problem.
Demo Demo, 2012 Official Site HENKER (ITALY)
This not very known Italian outfit acquit themselves with good dark thrash covered by macabre doom overtones which aren't an impediment for the guys to come up with some really intense speedy passages. The prevalent tone is gloomy and sinister also helped by the scary Tom G. Warrior-like vocals which both sing and recite at various stages of the demo.
Blasphema Demo, 1987 HENRIETTA (HOLLAND)
These Dutch "Henriettas" specialize in modern power/thrash/crossover, the mellow music hampered by the brutal death metal vocals. "Hooks and the Art of Pleasure" is an intense headbanger, but the rest is too busy with the numerous melodic hooks to try to match it: check out the rousing heavy metal hymn "Apparitions in the Falk". The band eventually manage to thrash their hearts out at the very end with the exiting duo of lashers among which "Book Of The Dead" is a short bursting thrash/crossover delight, and the closing "They Live" is a smashing shredding instrumental.
Dead by Dawn Full-Length, 2015 Facebook HENYCH 666 (CZECH)
Henych 666 is the alias of one of the leaders of the Czech underground metal movement, having taken part in the legends Torr, among other acts. His new formation provides not very impressive groovy post-thrash which still holds surprises for the more aggressive fans (the raging bombastic shredder "Psychonaut"), including a cover version of the Prague rock band Plastic People's "Magicke Noci".
Psychonaut Single, 2011 Official Site HER WORST NIGHTMARE (USA)
Based on "The Dark Shapes": modern thrash/death that combines pounding quasi-groovy walkabouts (“Her Name I Can't Quite Remember”) with both playful catchy tunes (“Betray the Victor”) and moshing ragers (“Disdain”), the screechy vs. growling vocal duel missing black and death metal in the background. Watch out for “Eat Her”, a short ripping semi-technical proposition with echoes of Darkane.
Her Worst Nightmare Full-length, 2019 Official Site HERBICIDE (CANADA)
A solitary demo offering fast uncompromising thrash/crossover topped by interesting, high-strung semi-declamatory vocals. The delivery recalls Wehrmacht boldly crossing towards the more brutal histrionics of early Cryptic Slaughter on "Fatal Pricking". This is brutal messy music which is still worth hearing out of curiosity despite the bad sound quality and the musicians' not very ample musical skills.
Demo Demo, 1987 HERD (BRAZIL)
A hellish Brazilian trio who indulge in choppy classic thrash that is both semi-technical and melodic (the title-track), the pounding urgency of "Crushing Demons" modernizing the environment a bit, its seismic sentiment picked by the shorter non-fussy "Herd" before "Walking in Light" and "Fiorgiveness" give this recording a more intense aura. "Thrash-Christ-Speed" is, ironically, not as fast the band having chosen the heavy stomping delivery for that one, the mean spiteful semi-shouty vocals doing a decent job in supporting the cool albeit not very flashy fiesta.
Murdering My Flesh Full-length, 2020 Official Site HEREAFTER (CANADA)
Rough squashing power/thrash mostly in mid-pace with gruff vocals which mostly semi-shout aggressively. "Burned" is a more dynamic cut, a wholesome headbanging thrasher, but the rest is closer to the heroic antics of acts like Omen, Jag Panzer, and Liege Lord.
The Last Winter EP, 1992 HEREAFTER (MALAYSIA)
Based on "Government Conspiracy", this band offers good old school thrash metal spiced with a few modern throw-ins reminiscent
of the last couple of Kreator albums; the singer is a close resemblance to Mille also adding some of the German's more vicious
early shouts. The boys open with the energetic "This War Is Our War", followed by the stomping "Secrecy of the Government", and
both approaches take turns in equal dozes the show stolen by the 7-min of intense speedy shreds on "Nuclear Battlefield", a
compelling song worthy of Darkness and early Deathrow. At the end the band pays tribute to one of their idols Sodom with a cool faithful cover of "City of God" taken from the Germans' self-titled effort.
Terrorstrial Full-length, 2008 My Space HERELITH (SWEDEN)
An imposing operatic all-instrumental intro ("Dance of the Pale") welcomes the listener who later will enter a black/thrash realm, with
blasting brutality ("Descendent of the Night") meeting dark heavy rhythms ("Voices of the Dead"), the shouty death metal singer binding the
two approaches with vociferous panache. Some of the musicians also play with the thrash/deathsters Obscyria.
Voices Demo, 2020 Official Site HERESY (COSTA RICA)
The debut: a trio from Costa Rica who specialize in chuggy heavy, mostly modern, thrash/post-thrash which adheres to energetic galloping riffs ("Awakening") and some really wild speed/thrashing ("The Human God") later on. The second half offers more thought-out compositions ("Involution") with shades of power metal which stays around till the end, softening the approach also elongating the songs in the second half, but to no big avail. The vocalist is a suitable gruff semi-cleaner who emits passion at will and could be considered the highlight.
Worldwide Inquisition Full-Length, 2012 Official Site HERESY (ITALY)
Modern thrash of the heavy mid-tempo variety; the riffs steam-roll forward, seldom assisted by a more melodic hook. Hats down to the guys for the excellent ballad "Like the Wind in the Trees" and the great intense semi-technical headbanger "Last Breath" right after it. But that's pretty much it since later the guys try to capture the magic of the aforementioned ballad, resulting in all the other songs being not very convincing semi-ballads which lose the sharpness almost completely, and the closing ballad "Alone in the Dark", albeit not bad at all, fails to impress in the same way.
Heresy Full-length, 2004 Official Site HERESY (USA)
Based on the debut demo, this band play not bad retro thrash, an apt mixture of urgent speedy cuts ("Silent War") and macabre mid-tempo violators ("The Abyss"), the more varied "False Prophet" suggesting at loftier ways of execution, the latter also reflected in dynamic fast-paced riffs on the pulverizing "Beyond The Walls of Black". The singer is a decent mid-ranged semi-reciter, not hiding his predilection towards the punk realms.
Rise of the Heretic Demo, 1990 Youtube HERESY OF THIEVES (UK)
The EP: modern thrash/death metal which clings between Dark Tranquility and Terror 2000; the guitar work is quite good, and the pace is mostly fast with a certain use of blast-beats. The singer's shouts are too high sometimes and could be annoying to some; there are also low death metal growls involved.
Thagirion Full-length, 2023
"The Only Enemy" is sustained in the same post-thrash/groovy vein as its predecessors so there's nothing new to be heard except for several more intriguing faster-paced passages ("Where Angels Fear To Tread") which are rather isolated on the playful not very engaging groovy background. The clean vocal insertions are more regularly present now, and they are the better-sounding compared to the dispassionate death metal growls which rule the show for most of the time.
"Mouth Of The Swine" is the next in line groovy post-thrash saga which this time is served with more playful, more dynamic rhythms which reach the climax on the merry hymn "The Wrong Song". The rest is just jolly optimistic groovisms with a nice technical surprise near the end: "All the Heroes Have Gone and Died", a jumpy shredder in the best tradition of mid-period Prong, its ingenious style partly captured by the more melodic doom closer "Life, Liberty and the Pursuit of Greediness".
Pigeon Holed Full-length, 2001
Bleed The Dream Full-length, 2004
No Time For Sorrow Full-length, 2008
The Only Enemy Full-Length, 2012
Mouth Of The Swine Full-Length, 2015
Misanthropic Slaughter Full-length, 2011
"HeadBang Till Death" hardly deserves its title (the guys like it pompous) being much inferior to the debut from a thrash metal point of view, especially when one hears the opening title-track which is mild power/thrash metal of the heavy stomping variety. Things get a bit more intense on the galloping "Sold-Out", but that's all. Yes, seriously; the rest is nothing more than merry-go-round mid-tempo power/proto-thrash metal developing in a samey repetitive manner recalling the approach Exciter acquired for "Unveiling the Wicked" and "O.T.T."; in other words, the "thrash" tag is very loosely attached to the music the guys not really bothering to change things with something faster inserted. Consequently it's the power and heavy metal fans who will be happier with this calm peaceful release which also introduces a cute female bassist, also handling the back vocals.
"The Thirst World War" is a tad harder than its predecessor speeding up more, but the majority of the material is again in the heavy/power metal camp with more intense pieces like "1518" and the engaging, even technical, closer "The Thirst World War" (which provides a nice merry theme in the middle that could have been taken from some film) a rare phenomenon. This effort is another indication that the band aren't very interested in thrash metal anymore, at least not at the present moment.
First Blood Demo, 2004
Jesus King Of Wine Full-Length, 2007
HeadBang Till Death Full-length, 2010
The Thirst World War Full-Length, 2013
The EP is a sure-handed elaboration on the demo the band now sounding like a well polished machine going up the technicality scale quite a bit reminiscent of later-period Death more than occasionally although the faster moments are more, albeit short and not that aptly done. In the middle comes a capable cover version of their main influence's "Lack Of Comprehension" followed by the already heard on the demo "At The End Of Eternity". The best is, however, left for last and the closer "A Journey Through Dreams" is a standout speedy instrumental which should lead the "pack" on the full-length again leaving a lot of promise hanging in the air unrealised fully.
The full-length is here seeing the band offering a brand new material without changing their staple style which remains in the technical thrash/death metal confines. The album opens with the melodic speedster "Beyond Creation". Melody and speed remain blended aptly later on with sparce outbursts of brutality (the blasts on "Terraforming" and elsewhere) plus a few more elaborate landscapes ("Divinity In Torture"; "Andrea" the latter coming with nice flamenco guitar insertions) served with another appropriately chosen cover: Death's "Suicide Machine" in case of the listener wonders to whom the music on offer here reminds him/her so much the whole time. The Death-worship ground is covered more than well, but the expert execution and especially the masterful lead guitar work (despite its rare screamy overtones) make this effort a recommended listen.
The "Alchemist" EP: the band should keep all their fans happy with this short effort as well as all those who still remember the glorious later-period Death heydays. Death metal seems to take over in the band's repertoire "Incessant Existence" being a full-fledged technical deathster with a captivating quiet exit. The deathly surprises continue with the longer and more exuberant "Postwar Civilization"; before the final "After Forever", which is... but of course a Black Sabbath cover, make you look for handkerchiefs to wipe the tears of nostalgia, delivered fairly faithfully except, of course, in the vocal department.
"Biological Enslavement": the band continue their conquest on the metal scene with this top-notch effort which shreds with might from the very opening intro "Decadence" the latter also foreboding a lot of technical death metal to come. Well, the actual opener "Regression" brings back the thrash to blend with the more aggressive death metal rhythms and the band as well as the Death fans will be happy all over. However, the Death influence has been shaken off quite a bit later on as the guys have entered a more individual zone with spastic twisting numbers like "Minus Human" and the short lashing hecticer "Not of This World". Hyper-active technical death metal reigns supreme on "Forgotten Faces" which also notches it up in the melodic department; and "The Alchemist" is the already familiar cut from the previous EP which also brings back the Death shadow. "Bleak Prognosis" rages hard with super-speedy crescendos before "A Journey Through Dreams" serves a hefty progressive boost on an intense death metal background the cannonade spiced by breath-taking melodies for the umpteenth time. "Transparent Eyes" is a more traditional speedster with echoes of Death again, but the melodic duels on it are nothing short of outstanding even with this Swedish flair covertly making itself heard. The band are still on the crest of the wave, but a further strife for a bigger individuality should be pursued in the future if the top is the target.
"Restructure the Molded Mind" again tries to run a bit further from the Death shadow, the band opening the saga with a string of short ripping semi-technicallers; nothing new under the sun, with "Execution" providing something more exciting in the middle by throwing both more entangled and more quiet motifs. From this moment on the situation improves dramatically with the schizoid shape-shifting marvel "Corrupted Flesh", the choppy unpredictable "Automation", and the hyper-active headbangers "The Alchemist" and the title-track. The fuller-fledged deathly material ("Incessant Existence", "Postwar Civilization") sounds like leftovers from the Death repertoire, but overall this isn't as derivative, the not bad cover of Black Sabbath's "After Forever" a surprisingly moody closure to an otherwise fairly hyper-active effort.
Divinity in Torture EP, 2012
Between Forever... and the End Full-Length, 2013
Alchemist EP, 2014
Biological Enslavement Full-Length, 2016
Restructure the Molded Mind Full-length, 2020
Ominous EP, 2020
The Dark Shapes Full-length, 2023
"Endcient" is another cool explosive fare, the sizzling roller-coaster "Evil Machines" leading the hyper-active pack which also has its more lyrical side (the quiet lyrical intro to the power/thrash mid-pacer "Celestial Disk"). Necks will be severely sprained on the ultra-thrash/deathster "The Final World War", the short speed metal joy "Hereafter" leaving the unconvincing heavy metal/crossover filler "Tiga Celaka" smitten in the dust. Some of the band members used to play in the classic thrashers Devastator.
"Insignia": the album begins with the excellent frivolous speedy instrumental "Time Continuum", but later on the band mostly rely on heavy mid-paced riffs which still deliver especially when in league with more dynamic shreds like on the cool diverse "Trilateral Insignia". "No Return From a Life" is a sudden outburst of aggression, a short to-the-point explosion which revives the approach in the second half the guys thrashing with more passion resulting in a couple of impetuous headbangers ("The Signs of the End"), but please ignore the awful rocky anthem "Shit to the Max" this "shit" majorly wiped out by the fairly cool cover of Helloween's "Future World".
Government Conspiracy Full-length, 2010
Endcient Full-length, 2012
Insignia Full-length, 2017
"Blasphemia" is a more aggressive offering the band moshing with more verve the dissipators coming in the form of cool atmospheric progressivers ("Last Night God Talked to Me") this time, the mid-tempo jumper "The Hive" inaugurating a string of not very eventful stompers, the closing title-track a superb poignant balladic instrumental stealing the show in a very nice, minimalistic unobtrusive fashion.
Blasphemia Full-Length, 2018
Knights Of God Full-length, 2009
Master of Solitude Demo, 1992
The full-length is a better more complex affair with loads of technical jumpy riffs packed in songs no longer than 3-min at the most. This is an intense listen, but the guys stay within the confines of the hectic mid-tempo patterns so don't look for any faster sections, the exception being the wild chaotic death/thrasher "As the Dust Settles", the best track here. This is the reason why at some stage the more level-headed fans might want to take a break from it, and that's why they will miss the excellent technical closer "Riddled with Inconsistency" which boasts brilliant melodic guitar performance, which in its turn will raise the question: where the hell were those guitars before?!