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

I.N.C. (USA)

One of the less conventional American thrash metal bands, I.N.C. play an interesting brand of dry mechanical semi-technical thrash, slightly recalling Voivod and Equinox on the more experimental moments, and Intruder, or Paradox, on the faster and more straight ones. Both albums are full of interesting, stylish riffs and quirky moments, although at least to these ears the speedy, direct sections work better, creating a nice, headbanging atmosphere. Some of the songs are long, but ironically, those are the less appealing ones, as the guys simply stick to a certain number of riffs without much deviation.
The debut begins quite ambitiously with the 8-min and more composition "Indestructible Noise Command", which provides constant speedy thrashing, without losing the fast-tempo for a split second. "The Grip of Death" repeats the same formula, but "War Not Words" slows down, adding a very good bass bottom and stupendous lead guitar work, which takes a considerable part from the song. The more technical apporach remains for two more numbers, before "Fists from the Mighty" brings more intense thrash in a shorter form (only 4.5-min), which stays until the end, with the bass making his voice heard quite strongly on the final "Passageway Through Purgatory". As a whole this efort offers a cool, albeit a bit uneven blend of direct and more complex thrash, which could have been more appealing, if the songs were at least twice as short.
"The Visitor" is not miles away from the style of the debut, but the guitar tone is more abrasive, to the point of annoyance on the slower material ("Bed Time Stories"), and the faster tracks predominate, this time quite satisfying slabs of hard-hitting speed/thrash. If one manages to ignore the abrasive guitar sound, he will be able to enjoy this effort quite a bit, finished with the nice punk-ish cover version of The Cars' "Just What I Needed/Candy-O". Although the technical elements on this one are not as obvious, it can pass for the better achievement, with its more sincere straight delivery.

The "Bleed the Line" EP: both legends of thrash and underground phenomena rush to compete these days as to who will come up with a better comeback release, so lets' welcome I.N.C. who were one of the earliest disappearances from the scene after two albums released in a quick succession. The EP contains 6 songs showing a band not having forgotten how to thrash in a cool energetic way, and to these ears the main annoyance comes from the singer (if that's the same one) who has acquired an unpleasant hardcore-ish semi-shout which is way inferior to his much better clean antics of old. The music is better, though, mixing classic and modern influences as the former clearly dominate producing cool headbangers ("Full Metal Jacket", "Fueled By Regret"), but the approach is pretty conventional and kind of unexciting citing more recent Exodus quite a bit, completely lacking the stylish sterile technical sound of their full-lengths. This is a workmanlike, "testing the soil" kind of effort, which would hopefully grow into something more striking on the eventual album...

"Heaven Sent...Hellbound": the eventual album is out now with all the 6 songs from the EP included. The other 6 numbers are inferior being more modern-sounding with not much life inside, the exception being isolated sections from "Swallowed", and the intense headbanger "Audio Erotic Asphyxiation". The irritating semi-shouty singer additionally fails to convince the listener that this is hardly the best comeback album made in the new millennium seeing an old veteran struggling to bring back the magic of their old days, sinking into mediocrity even faster than some of their "apprentices".

Razorback Full-length, 1987
The Visitor Full-length, 1988
Bleed the Line EP, 2010
Heaven Sent...Hellbound Full-length, 2011

Vibrations of Doom

I.N.R.I. (HOLLAND)

A more aggressive version of the modern thrash/death metal of bands like The Crown and Terror 2000; the music is quite fast and brutal, staying closer to death metal.

Hyper Bastard Breed Full-length, 2002
Ultra Sonic Hatestorm Full-length, 2007

Official Site

I'LL EAT YOUR FACE (IRELAND)

Based on "Irritant", this band, which is only two people, plays an extravagant all-instrumental mix of death, thrash, grind and progressive balladic sections which is quite technical and jumpy without being too brutal. The approach is modern, and never loses the dynamics also giving the melodic peceful passages enough space to develop which may be considered a drawback by some since the compositions are too short, half of them closing around the 2-min line, and a bigger length would give this unusual blend a more complete form.

FatBoxLifeDestroyer EP, 2006
Now That's What I Call Manual Strangulation Vol. 1 Split album, 2008
Irritant Full-length, 2010

My Space

I4NI (USA)

This band boast a stellar line-up comprising of members from bands like Overkill, Warning Sf, Angel Witch, Exodus. Style-wise this is heavy thrash sounding like slower Exodus and Anthrax; good stuff, but somehow underwhelming, having in mind the all-star cast involved.

It's All Fun and Games Best of/Compilation, 2001
I4N EP, 2001

I ACCUSE (USA)

Fast punk-ish thrash/crossover with very short incoherent tracks, little musicianship (if any), and noisy semi-shouty punky vocals.

Split Split, 2006

I DREAM OF APOCALYPSE (USA)

Industrialized noisy modern thrash which has the requisite headbanging aesthetics and generally keeps the tempo up with overt shades of hardcore and crossover (check out the merry energizer at the end "Walk for the Bullshit") and Entombed-like post-death. "To Protect and Write Tickets" will scare the unprepared with its brutal blasting rhythms which are not encountered anywhere else and are even replaced soon after by heavy doom-laden ones on the long sinister piece "Goin' Out for Thai Food".

The Filthy End EP, 2012

I HATE SALLY (USA)

Based on "Don't Worry Lady": this band pull out a mix of thrash and hardcore, with a certain industrial edge. The vocals are awful hardcore shouts, but the guitar work is not too bad, often adhering to alternative moments. The songs are generally short, no longer than 3-min, but there are two monstrous tracks, in the 8-9min range, which sacrifice the more energetic tempos for bland dragging doomy moments, and end up nowhere. "Iseah's Cancer" is a cool ballad, and is close to being the highlight of the album. "Mary! Mary!" is the band's tribute to the sludge/doom scene.

Sickness of the Ages Full-Length, 2004
The Plague EP, 2005
Don't Worry Lady Full-Length, 2007
I Hate Sally Vs GFK Split EP, 2007

Official Site

IAMDISEASE (SLOVENIA)

This band play direct stripped-down classic thrash/crossover which varies the pace "courting" at times the more modern sounds (groove, taht is) ("Zelja Drugega") inclusing the dragging doomster "Bregovi Dero-Íe Reke". Near the end the guys ultimately disappoint elongating the songs by making them boring slow experiences with repetitive monotonous riffage without any exciting moments. The vocals are another irritation being shouty and noisy with an abrasive edge.

Iamdisease Full-Length, 2012

Official Site

IBOGAINE (FRANCE)

Based on the EP, this band plays cool modern thrash, not miles away from mid-90's Voivod, and the new Eric Forrest project E-Force; the drummer from that band: Kopf, also hits the drums here. The music is dry and mechanical, but packs a punch, and sounds fairly intriguing, even finding time to thrash with the best out there: "Icon Curse". On the other hand, we have doom-laden compositions: "Zombi", which suddenly turn into a whirlwind of technical riffage. "Tibetan Terrorist" is more on the industrial side ala Ministry, whereas "React" doesn't stray too much from the mechanical thrash path carved by Meshuggah and Voivod.

Ibogaïne EP, 2006
React Full-length, 2008

My Space

ICE (USA)

The name is cold, I know, but of you manage to overcome the "cold", you will hardly be disappointed. Based on the "Ice" demo, this band offer cool heavy thrash ala early Exodus and Testament, mostly mid-tempo with smashing riffs. "Walls of Oppression" suddenly turns to more up-tempo technical thrash, and is a pleasant surprise. The heavy riffage, however, returns for the demo closer: "Rasta Man", which is an interesting blend of thrash and reggae, so good that noone bothered to come up with a similar mixture all these years- ha ha ha!

Ice Demo, 1990
Demo Demo, 1991

ICE AGE (SWEDEN)

An all female thrash metal band; this is the band from where the legendary Debbie Gunn started her career, as a matter of fact. The style doesn't stray from the one practiced by other similar all-female bands, like Meanstreak and Original Sin, for example. The music is melodic, lacks a punch, but is enjoyable and catchy.

Demo Demo, 1986
General Alert Demo, 1987
Demo Demo, 1988
Instant Justice Demo, 1989

Official Site

ICE FIELD KINGDOM (RUSSIA)

This act deliver all-instrumental pieces which are more on the modern speed/thrashy side the hard-hitting riffs assisted by more or less obtrusive keyboards. This is imaginative stuff with twists and turns served within relatively short (3-4min) song-structures which are both fast-paced and dynamic and slower and pensive so a wide ground has been covered without sounding overdone. The only drawback is the computerized sound coming from the guitars which creates the impression that there may be just one person behind the music. Regardless, this is cool music which also provides several more quiet balladic moments for the tender hearts.

Civilization Of Decline Full-Length, 2013

ICED EARTH (USA)

These legends of American power metal had their feet firmly on thrash soil in the beginning. The self-titled debut is a brisk, inspired, albeit rough around the edges offering (but definitely not burnt!), full of highly-charged galloping speed/thrash rhythms ("Iced Earth", "Written on the Walls"), which may make the more hot-blooded jump the horse and ride to oblivion deep into the prairies. Thrash with a Bay-Area tinge takes over on the excellent "Colours", and on the brilliant semi-ballad "Curse the Sky": one of the band's finest achievements. The aggression then gets mixed with a more serious, almost progressive song-writing to quite an impressive effect, for "Life and Death", the first-rate instrumental "The Funeral", and especially the monstrous closer "When the Night Falls" which, despite its colossal for the style 9-min length, seldom has a dull moment, and never stops thrashing with force. Despite some flaws, mostly in the production and the sound-quality department, this album showed an outfit ready to keep the genre alive during its most difficult period.
Just a few months later, apparently encouraged by both the critical and commercial success, which surprisingly saw the metal masses still willing to part with a few dollars for more retro thrash stuff in the early 90's, the guys were back with another full-length. The bombastic orchestral intro of "Angel's Holocaust" and the opening balladic tunes may confuse the listener, but the speed/thrashing havoc soon springs up, nicely assisted by menacing operatic background vocals. Forceful thrash rules on the next "Stormrider", which again tries to deceit with a tender balladic start. Keyboard implements sneak into "The Path I Choose", but the thrashing madness there never stops. "Mystical End" is probably the lyrical deviation, reminding of the great 80's American power metal scene, sounding more laid-back and controlled. No more of the kind, though, as "Desert Rain" is a vintage hard-hitting speed/thrash masterpiece, with one of the greatest choruses in metal history ("The desert rain... is changing me, It's called on me... to rise"), and a fine bass interlude. "Pure Evil" is "pure evil" Bay-Area thrash ala the Forbidden debut (which is the main reference point when talking about the early Iced Earth works), references also made with the title: non-stop riff-fest (with great bass performance again, accentuated on the middle break), after which the fan would hardly have any energy left to take one more colossal 9.5-min thrash metal opus, which is the closing "Travel in Stygian". No complaints, as the guys have left their souls on this one, making it a really impressive take on more thoughtful thrash, bordering on the technical at times: a whirlwind of riffs and tempo changes, which come served with high-pitched vocals ala Rob Halford (remember "Painkiller") in the beginning, not heard anywhere else on the album, as opposed to the not very interesting, one-dimensional throaty main ones, although John Greely does a fairly good job on the balladic parts, and his cleaner tone is by far his better side. It was pretty clear that he was on the way to improvement, but this was his last performance for the band, as Matt Barlow stepped in soon after.
3 years later the guys are here again, with a new singer on board: Matt Barlow, and the question about the musical direction immediately arises. To the fanbase's utter delight the guys continue in the same merciless manner, thrashing with full force all the way through, seemingly viewed as one of the very few defenders of the classic 80's thrash metal faith during the very hard for the genre mid-90's. The band's penchant for more complex song-structures springs up on the very first song: "Burnt Offerings", which despite the slightly overlong quiet break is a truly satisfying slab of vintage 80's speed/thrash. Then comes a string of stripped down speed/thrashing hammers: "Last December", "Diary", "Brainwashed", which will make you raise your fists high, as well as your middle finger to those who had said that thrash was long gone buried deep in the underground. The heavier, doomier side of the genre is honoured with the crushing riff-fest "Creator Failure". And, of course, let's not forget the epic-long closer, which here reaches larger-than-life proportions with its 16.5-min; the name is "Dante's Inferno", and seldom will one come across a single dull moment. This is full-fledged thrash, seldom interrupted by the occasional more melodic, balladic interlude; the guys change the tempo frequently, relying mostly on galloping riffs, until the breathtaking outro, where mighty sharp riffs meet a nice piano tune, as both disappear out of hearing into the void...
This masterpiece was the band's last stop from the thrash metal train, and on their subsequent releases they chose the less edgy, more power metal-based side of the genre, and although they succeeded in becoming one of the most popular metal acts of the past 15 years, their early days are by all means those which contain the band's most inspired and creative moments.

Iced Earth Full-length, 1991
Night of the Stormrider Full-length, 1992
Burnt Offerings Full-length, 1995

Official Site

ICELAND (FRANCE)

Interesting and varied 80's thrash; there are fast headbangers, epic/pagan tracks, and slower ones close to Celtic Frost; a mixture which works well most of the time. The album opens in a shattering manner with the great aggressive smasher "Brain Washing". After that it slows down, and at least half of the tracks acquire this unique pagan atmosphere so typical for the Brits Sabbat: "Merry Sinner" is probably the best example of this influence. "Traces of Dreams" is a doom-laden, slow, heavy number, graced with stylish leads and meaty riffs. Then the music speeds up again, with shorter, but effective headbangers. The vocals are very good, although a bit dirty with this rough semi-clean blend, very similar to Chris Astley (Xentrix).

Iceland Full-length, 1990

ICHABOD CRANE (USA)

Based on the demo, this act specializes in intense melodic modern thrash/death metal with progressive tendencies sitting somewhere between later-period Death and Dark Tranquillity. The tempo is pretty up for most of the time with loads of great melodic implements which shine through despite the several brutal blasting passages surrounding them. The singer is a high-strung semi-screamer with a lower tone applied at the appropriate times.
"Brimstone" contains the same modern thrash/death blend, this time a tad more melodic and more simplistic, also recalling the Finns Gandalf on the more laid-back moments. The speed has been preserved, though, even to the point of going over to the grindy side (the short exploder "Trust You"); and generaly there is plenty of energy at display. "Cloister" is a great melodic headbanger with addictive melodic licks and jupy, semi-technical, rhythms; and the closing "Hail!" is an uplifting power/speed metal anthem also featuring clean high-pitched vocals.
The "Rot Your Brain" EP comprises playful speedy tracks, but the attitude is relaxed with a crossover feeling present, and the intensity of the preceding album can very seldom be felt (the Entombed-shaped headbanger "Huddled Masses" the sole exception), including in the vocal department where some clean punkish vocals sneak in to a hilarious effect.

No Son of Glory EP, 2008
Wearing the Horns Full-length, 2009
Redox Demo, 2009
Brimstone Full-length, 2011
Rot Your Brain EP, 2012

My Space

ICON-EIGHT (NORWAY)

Good classic thrash metal which manages to "Thrash The Moment"(and after it) quite well. The band mix furious, fast thrashers ("Torn Asunder") with moody, slower tracks ("Psycho Terrorizer"). The last song "Trial By Fire" is not a Testament cover.

Thrash the Moment! EP, 2006

Official Site

ICON IN ME (RUSSIA)

Although this act is based in Russia, it's actually quite international, featuring Tony JJ, who also sang in the Atheist-Pestilence collaboration C-187, as well as the Danish drummer Morten Løwe Sørensen (Panzerchrist, The Arcane Order, among numerous other bands), leaving only the founder Artyom Sherbakov Russian-born. The music is your average modern thrash, combining both heavy groovy sections and fast Swedish ones ala early The Haunted and Terror 2000.

Human Museum Full-length, 2009

Official Site

ICONOCAUST (USA)

Based on "Judas Complex", these guys offer a semi-technical mixture of modern and classic thrash with excellent lead guitar work and a vocal duel between brutal low-tuned growls and much more melodic clean ones. The music is dynamic, never too fast, except for the intense aggressive death/thrasher "Nazi's Torch" which is a nice twisted technical number. Still, the highlight here is the galloping thrashterpiece "Road To Ruin" which also features a few complex passages, some of them quite fast. There are several quiet instrumental parts including the very cool closer "Pro A Pera Argentum" with a fine short female vocal inclusion.
"The Reckoning of Man" is less striking sticking to the modern patterns more often, but "Open Armed Conflict" is a sure-handed technical piece, very dynamic and intense. Surprises of the kind are no longer to be encountered later on (the album is only 7 tracks long, two of which are peaceful balladic variations one of which is a tribute to Dimebag Darrell (R.I.P.) closing the album), but "The Reckoning Of Man" is also worth mentioning with its nice interplay between memorable melodic hooks and sharp biting riffs on a pounding mid-tempo base.

The Natural Evolution Of Metal Full-length, 2005
The Reckoning of Man Full-length, 2007
Judas Complex Full-length, 2009

Official Site

ICONOCLAST (CHILE)

A potent mixture of thrash and death metal on a modern base "courting" later-period Death on the more inspired moments. The guys rip fast and tight ably assisted by an unobtrusive keyboard background. The occasional hyper-blast ("Serpiente Alada") has also been implemented, but most of the time the music flows in a speedy semi-technical way with vicious black-ish vocals helping on the side.

Naqoyqatsi EP 2010

Official Site

ICY VALE (GREECE)

Cool classic power/speed/thrash metal with more aggressive death metal vocals; the first two tracks are fast-paced epic-tinged anthems which later give room to two longer more doomy compositions with nice female vocals, and despite the loss of dynamics the latter are not bad at all with plenty of atmosphere and fine melodic tunes.

The Last Drop Of My Blood Demo, 2008

My Space

IDES OF MARCH (USA)

Power/thrash metal, a faitful, albeit hardly distinguished, echo of the dying at the time American scene; this is more on the mellower side with playful semi-galloping rhythms flowing effortlessly without creating any substantial headbanging oportunities. The "idyll" gets rudely "broken" on the scarily intense "Hellbound" which closes the album in a more rigorous manner. The singer is not bad fitting into the overall mild tone with his warm voice recalling Mike Munro (Meliah Rage). br>

Demo Demo, 1989

IDIOSYNCRAZIS (POLAND)

An obscure Polish act who specialize in aggressive old school thrash with acceptable semi-technical death metal elements, echoing both Death's "Spiritual Healing" and Pestilence's "Consuming Impulse". The guys play fast'n tight adhering to the up-pace mostly, with the casual disperses of technicality gracing the less speed-based numbers ("Mortal Way", "Unfulfilled Death"). The singer is a passable muffled semi-death metal semi-declamator.

Mental Wilderness Demo, 1991

IDOLS ARE DEAD (ITALY)

Based on "Mean": melodic modern thrash along the lines of Metallica's Black Album and 90's Megadeth; this is feelgood stuff without any pretensions for a more aggressive play, flowing in the same mid-tempo energetic vein with good James Hetfield-like vocals and cool choruses. The closing track takes a more playful, groovy shade, going under the title "Twiggy" (could be a tribute to the legendary 70's model?!).

Mean Full-length, 2008
Human Museum Full-length, 2009

My Space

IGNIS FATUUS (CZECH)

These Czechs pull out complex progressive power/thrash with very good bass performance concentrating on the musical delivery more leaving the otherwise good expressive clean singer aside. The compositions are quite eventful full of both melodic and hard chunky guitars seldom going for the really aggressive approach which still remains within the mid-paced confines. The extended version of one of the compositions "No Turning Back" is hardly necessary at the end occupying a lot of space (almost 10-min) without any visible merits except for a portion of merry optimistic leads at the end. Some of the band members press the pedal harder with their other formation, the death/thrashers Nahum.

Ignis Fatuus Demo, 2006

Official Site

IGNORANCE (GERMANY)

"Legion": thrash/death of the classic type, mixing more energetic numbers with steam-rolling, Bolt Thrower-like ones; the music is never all-out speed, and the guys' infatuation with the pounding rhythms takes the upper hand more often. As a result this album might turn out a fairly tiring experience for the regular headbanger, with its repetitive one-dimensional lifeless approach.
"Bloodfed": the fast-paced death/thrash opener "Bloodfed" promises a more dynamic entertainment this time, and indeed, this album is faster, but on the other hand at least half of the songs are full-fledged doom/death ala Beyond Belief and early Tiamat. Those numbers are well mixed with the more energetic material, although to these ears the opening track has no match later on, and one has no choice but to embrace the dark doomy sound offered for most of the time.

Legion Full-length, 2004
Bloodfed Full-length, 2006

Official Site

IGNORANCE (UK)

Based on the debut, these guys try to break the standard thrash formula in a way similar to another British band: Re-Animator, or the Americans Mordred: in other words, funk meets thrash metal. Ignorance are more of a crossover/thrash act, and have done a better job than the other two bands, simply because apart from all these new touches used they haven't forgotten to be a thrash metal band, and there is a considerable presence of heavy sharp riffs. Contrary to the debut, their sophomore release is a total disaster, very negatively shocking, having no ties to thrash at all, being very bland, unappealing funky alternative form of rock/wave: hello, Re-Animator!

The Confident Rat Full-length, 1991
Positively Shocking Full-length, 1992

IGZORDIUM (USA)

Based on "Eremitic Vibrations", this outfit provides a modern thrash/deathy roller-coaster which blends melody, aggression, and a tad of technicality on a slightly fuzzy base. The speed gets lost at times replaced by more atmospheric Amon Amarth-esque sections ("This Blood Runs Cold"), but the hyper-speed outrages ("Wanted Dead") are just around the corner. The brutal low-tuned vocals are at times intercepted by capable clean female ones.
The self-titled debut is in the same vein, only more melodic (check out the short technical cut "Open Your Eyes") and not as fast, the clean vocal participation now being male, of the dispassionate alternative type. The guitars come with an abrasive, industrial edge, and some gothic melancholy ala mid-period Sentenced has been thrown in ("In Times of Darkness") for good measure, too. The closing "Forever In The Grave" is a more serious offering, crossing furious, almost grinding, sections with much more romantic ones with a touch of Gandalf and Night in Gales.
"The Lost" starts engagingly with the melodic epic opener "The World Of Sin", but the "idyll" never settles in with "The Formation Of Life" blasting its way out in a merciless death metal manner. Still, the dominant approach later on is smashing, heavy thrash with a dark edge and a pinch of doominess ("The Broken Memories"). Then all of a sudden comes the merry melo-thrash/deathster "The Absence Of Life", and the picture gets quite varied, with the thoughtout 9.5-min piece "The Lost" added in the 2nd half as well. Be prepared for something more monstrous, though: the closer "The Other Side" is 13-min of gloomy doomy music with a cool keyboard background; a pretty effective moody composition, a bit off-context, but engaging and expertly executed.

Igzordium Full-length, 2009
Eremitic Vibrations Full-length, 2011
The Lost Full-length, 2012

My Space

IKINAE (FINLAND)

Based on the "Alfons & Co." EP, this act offers melodic modern post-thrash which doesn't try to hide its infatuation with Metallica's Load/Reload period. This is laid-back carefree music sharing also some of the proto-doomy vibe of Monster Magnet.

Lucky Seven EP, 2004
Second Symptom EP, 2005
Alfons & Co. Single, 2006

Official Site

IKILLYA (USA)

This US trio pulls out modern metalcore-ish thrash which is suitably melodic and fast, but music of the kind needs much more to make even a few heads turn these days, when this sub-genre is overfull with practitioners...

Recon Full-length, 2011

Official Site

IKKI CRANE (USA)

Modern power metal with a few more aggressive post-thrashy moments; this is peaceful stuff with an occasional hit potential which may bore the listener at some point providing a predictable mid-pace over and over supported by not bad clean mid-ranged vocals.

Dead Again Full-length, 2002

ILEX (GERMANY)

Heavy creepy post-thrash with heavy mid-paced riffs, and a good galloping section on the more energetic "The Deer". "Sleepwalker" goes into the other extreme being a high-octane doomster, and the guys' delivery kind of suits this side of theirs with the crushing guitars and the proto-groovy arrangements.

Liebe ist... EP, 1996

ILEX (SPAIN)

Harsh groovy post-thrash with a slight industrial edge. The riffage is ultra-heavy to a squashing effect at times, and here and there one can sense a more dynamic delivery although the band are intent on seldom leaving the steam-roller aesthetics behind. "Sleepwalker" is a pure doom metal pleasure, but generally the guys try to avoid the stoner/doom "traps" by often adhering to faster passages. The singer is a more attached semi-shouter who disappears on the final progressive opus "Nineveh" which is a really interesting composition with a wide gamut of moods and riff-patterns.

Quercus Full-Length, 2012

ILLEGAL BODIES (CANADA)

This act offers atmospheric speed metal, modelled after early Children of Bodom, with shades of thrash and black (think the progressive elaborations of later-period Emperor). The music delivers also being quite atmospheric with proficient leads and riffs, completely overshadowing the dispassionate clean, mid-ranged singer who is barely audible at times. When the guys get tired of the highly energetic delivery, they have a rest by dooming: the officiant sleeper "Eradication of Deviants". Well rested, they also try something hyper-blasting ("Re-emerge to Breathe") later on, as well as orchestral, Bal-Sagothesque arrangements ("Carrying the Fire"). The final "Necropolis" is a suprising power metal hymn, the singer trying something more expressive, and consequently laughable which clearly shows his limited vocal abilities.

Mindflayers Full-Length, 2011

ILLEGIANCE (UK)

A blistering debut EP of heads-down old school thrash which will make you headbang the way past masterpieces have: Vio-Lence's "Eternal Nightmare", Necrodeath's "Fragments of Insanity", Sacrifice's "Forward to Termination", etc. "My Temple, Your Tomb" is an explosive aggressive opener, followed by the more controlled and heavier "Betrayed". "Visions Of Torment" is a marvellous steam-rolling thrasher; the speed returns with the closing "Sombre Promise", which finds time to slow down in a nice atmospheric way before the final intense, furious thrashy section shoots the listener at close range. The singer has a very effective sinister singing style, coming as a vicious fusion of Rob Urinari (Sacrifice) and Marcelo "Flegias" Santos (Necrodeath). This is an impressive beginning, which finely paves the way for the coming of the eventual full-length.

Disease and Disorder EP, 2005

Official Site

ILLWILL (SWEDEN)

Members of Mercyful Fate and King Diamond have gotten together with the intention to pay tribute to the modern thrash metal scene. And they have done a good job; this is nice modern technical thrash with magnificent guitar work, courtesy of the mighty Andy LaRocque who, again, is in top form here. The music is like a more technical version of Fight's "War Of Words", the resemblance coming also from the vocal department where the guy really sounds like Rob Halford most of the time, but you have to think of the vocals Rob used on the Fight works, and more particular, "Small Deadly Space". There is industrial thrown in as well, and another band the music might remind you of, would be Skrew, but here the riffs are more interesting, and the tempos more varied. Don't take it as a downpoint that the best track here is a ballad- "Eternal Sleep", which boasts very cool heavy guitar work and a strong vocal performance. Maybe, to compensate things a bit, the guys put the most aggressive song right after it: the excellent riff-monster "K.A.O.S.". Apparently a one-album project, Illwill are really worth checking out.

Evilution Full-length, 1998

Official Site

IMAGIKA (USA)

The band's self-titled debut is power/thrash, with more emphasis on power metal- a good job, but not hard enough to be classified as all-out thrash. "Worship" is a good move in the right direction, with thrash metal taking the upper hand. This eventually led to the band's finest hour, their third effort "And So It Burns": first-class Bay Area thrash. The band have the detrimental habit to leave big gaps between their albums, making a large part of the metal audience forget about them by the time of the next release. Fortunately, this tradition has been broken in 2006 when the band came up with an immediate follow-up to the excellent "Devils On Both Sides". Their last two albums saw the band going back to the mixture of forceful thrashers and more restrained power metal tracks.
"Feast For The Hated" follows on the steps on the last two albums; in other words we have a good blend of thrash and power metal, which reminds me of a more thrashy, more recent Iced Earth this time, including the very good, Matt Barlow-like vocals, which in the clean sector surpass even him (check out the nice ballad "The Sick Sense"). The new implements are blast-beats on "Bleed As One Appease The Gods", which is a cool progressively-tinged song; the aggressive proto-death riffage on "Behind Immoral", accompanied by more brutal death-ish growls, but otherwise this is not very intense stuff, and as such falls behind the great "And So It Burns". Pure more immediate thrashers are nowhere to be heard, and all compositions mix the two aforementioned styles in almost equal dozes. "Thinning Out The Herd" thrashes quite intensely, but it still has its more quiet breaks. The other thrash peak is the speedy "New Power Succubus", which is all-out thrash almost until the end. The closing "Succubus" is traditionally longer and more complex, and here the singer is "helped" by a fine female vocalist who gives the song an additional gothic shade, an impression further "cemented" by the inclusion of some atmospheric sections; from a thrash metal point of view this song may not be of big value, but is truly a good piece of serious, thought-out metal.

The guys became a more regular presence on the scene now with 3 albums for the past 4 years, closing the big gaps which were so typical for their past. Still, to these ears the more thrash-fixated "And So It Burns" remains their finest hour, with the excellent reminder of the best from the 80's American metal scene "Devils On Both Sides" a close second, although the band's hyper-active retro power/thrash metal style epitomized well on the last two albums is on full-throttle on "Portrait of a Hanged Man" as well, again decorated with several more extreme elements (death metal blasts, etc.), and its encompassing sound will definitely leave a lot of fans pleased. More speed could have been better; now the majority of the songs are pounding mid-tempo power/thrashers with sharp heavy, but repetitive, riffs. Watch out for the beautiful short instrumental near the end "A God No More" where some of you may recognize the guitar of Mr. Andy LaRocque, and will be right: he is the one responsible for the gorgeous leads there.

Imagika Full-length, 1995
Worship Full-length, 1998
And So It Burns Full-length, 2001
Devils On Both Sides Full-length, 2005
My Bloodied Wings Full-length, 2006
Feast For The Hated Full-length, 2008
Portrait of a Hanged Man Full-length, 2010

Official Site

IMBALANCE (NORWAY)

This band were operating under the name Frost before, releasing a solitary demo with a style closer to black metal. Here the music is quite diverse: there is heavy, groovy thrash, but quite often it speeds up acquiring classic qualities with good, hard-hitting riffs. The EP opens with the aggressive thrasher "Burial Of Consciousness", in the best tradition of Slayer and Vio-Lence, which is partly ruined by the sloppy, groovy ending; apparently the guys were warming the settings up for the groovy "Deprivation". "Ride the Blades" is not faster, but boasts cool sharp guitars, and a very cool lyrical deviation in the middle. "Torn From My Time" is another ordinary groovy track, if we exclude the nice balladic mid-section with a gothic shade.

"Period Three Implies Chaos" is an intense modern thrash "monster" the guys moshing with full force all the way through making even the more laid-back slower moments ("Hellfire") sound intense. Slayer-sque aggression is easily reached on the short bomb "On Your Kness", and later one will encounter the excellent more complex piece "A Furore Normannorum Libera Nos Domine(Part 1)" (part 2 is apparently intended for a later release), a seamless blend of furious crushing and heavy pounding rhythms. "Burial of Consciousness" is a cool deviation into abstract dry technical thrash, followed by the "bestial" fast-pacer "Bestial by Nature" and the atmospheric stomping closer "Ease Your Pain" which is mostly heavy hammering riffs with sparce vocal participation.

Burial of Consciousness Demo, 2004
Bestial by Nature EP, 2006
Period Three Implies Chaos Full-length, 2010

Official Site

IMMACULATE (SWEDEN)

A decent attempt at classic thrash metal with nods to numerous practitioners of the genre, mostly "courting" the German school; the problem is that these guys want to be something more than just old school thrash-resurrectors, and they try something more elaborate and technical, but either the lack of clear ideas or musical skills lead these experiments nowhere, making some of the songs sound kind of clumsy and unfocused, something like a lesser and more aggressive Realm (USA). Sticking to the laws of more conventional thrash metal would serve these guys a lot better, as it clearly shows on quite a few of the tracks with the song (and the album)-titles constantly referring to the genre at display ("Into The Pits of Thrash", "Satanic Thrash Uppsala", "ThrashZilla's Revenge", etc.).
"Atheist Crusade" continues the more technical tendencies heard on the debut, but now the final result is way better coming close to their compatriots Hypnosia, and even Kreator's "Coma of Souls". "Thrashark" is an awesome shredder with proto-death shades compensating for the slightly unfocused feel on the opening "Cross of Nero" which tries hard to reach Atheist (the album-title could an allusion to the Americans?) heights to mixed impressions. "The Immaculate Dead" starts in a sleepy slower manner, but soon the mayhem begins, and this number is another techically-polished exercise in fast intense speed/thrash metal. "Sanity's Eclipse/Steel of the Missionary" is two songs mixed together, both fine attempts at fast technical thrash with numerous hooks and tempos, including a brutal death metal exit. "Atheist Crusade" is a really ambitious composition closing on nearly 9-min ending up being a very good progressive thrasher with a lot of fields covered, the dominant one being fast and fairly complex broken by a cool lead-driven balladic interlude. "Thrash Metal Avenger" is a more immediate up-tempo piece, followed by the fine surprise: the cover version of Fates Warning's "The Apparition" from "The Spectre Within", done faithfully with the thrash left behind for the sake of forceful heavy power metal riffs. The end comes in the form of the most brutal number "Gutterthrash" which is shattering blitzkrieg thrash which will tear you apart; not much room for more clever deviations, this is direct merciless attack which strays into a really good guitar "duel" ala Iron Maiden in the middle for a while. This is a really fine achievement which sees the guys finding the right way to blend the more straight side of their music with the more complex one to a pretty positive effect. Maybe one should give the debut another listen to try to discover some hidden "sparkles" of genius there as well...

Thrash, Kill 'n' Deströy Full-length, 2007
Atheist Crusade Full-length, 2010

Official Site

IMMENSE DECAY (POLAND)

Based on "From Ashes Till Remains", this US outfit plays updated slassic thrash with a boosted production which makes both the drums and the guitars a bit fuzzy. The pace changes from mid to up and vice versa, but it's the short bursting numbers which would make the fan's day: "Undertake the Warfare", "Killing Spree". "In the Hall of King" is a more moderate power metal piece, but it's more than welcome since this is where one can hear some really good melodic leads. The end is clearly underwhelming with the dragging heavy metal anthem "Army at Demand" which pulls the 2nd half down.
The debut is in the same vein already introducing the buzzy guitars and the boosted modern production. The approach is a bit more laid-back with a more frequent presence of mid-paced riffs consequently making this first effort inferior to the follow-up, pulled further down by the unimpressive groovy closer Field of Fire".

KillZone Full-length, 2009
From Ashes Till Remains Full-length, 2011

Official Site

IMMINENT ATTACK (BRAZIL)

An "imminent attack" from Brazil this way comes and will rock your world big time with its no-bars-held retro thrash/crossover attitude and quite polished productiion values. Fans of Municipal Waste and F.K.U. will salivate over this spontaneous slab of energy and vigour ably supported by good clean semi-shouty vocals. Purer hardcore outbreaks are inevitable ("Secret Of Skin", "Mechanical Mind"), but more serious thrashers are immediately offered as a compensation ("Sweet & Pink" (ignore the silly title, this is some really hard-hitting stuff); the closing "Splact").

Deliver Us From Ourselves Full-Length, 2012

Official Site

IMMORAL HAZARD (GREECE)

Tight retro/modern thrash metal alternating fast with slower tempos mixed on a fairly melodic base to which the gruff semi-clean vocals do not quite suit. The pace is mid for most of the time the finish a really nice touch being a marvellous acoustic balladic piece.

A Minor Innovation EP, 2010

IMMORALIST (RUSSIA)

Excellent technical/progressive thrash with echoes of Death, above all, Living Death, Target, etc.; there is a Gothenburg influence in the guitar work as well, but it's aptly mixed with the precise, technical riffage. The band play energetically, and the up-tempo is constantly present, although the slower technical breaks are also quite a few. Seldom does the music take blasting extremes ("Euphoric") for a while, but the listener's attention will be completely grabbed by intense technical experiences, like the brilliant "Progressive Demise", which is an impeccable downpour of steel technical riffs, supported by an outstanding bass bottom, and a nice quiet balladic exit. "Potential Threat" is a masterful blend of melodic and technical guitars, an obvious nod to later period Death, graced by great speed/thrash deviations. "Totalitarian Slavery" takes your breath away with a fascinating balladic intro, before unleashing a more moderate, less speed-based approach to technical thrash. "Imminent Destiny" is the most melodic number on the album, which also relieves the technical play, followed by the more edgy short instrumental "Paved Roads To Abstraction". Having lost its initial bite at this point, the album makes up with another Death-influenced song: "Without Judgement", a speedy thrasher, which serves well to pave the way for the glorious closer "Mental Liberation": technical speed/thrash metal at its best, a perfect "marriage" between fast and technical riffs until the end, again, in the best tradition of late-period Death. This is a more than welcome addition to the contemporary prolific metal scene, although a bit more of an individual approach would not be detrimental if the guys want to move away from the hordes of the Death imitators of present times.

Progressive Demise Full-length, 2008

Official Site

IMMORTAL (DENMARK)

This unknown 4-songer presents well played evil intense thrash/death with wicked vicious death metal vocals with a witch-like blacky blend. The pace is fast without being too extreme if we exclude the sparce moments when the approach becomes pure death metal ("World Crack") for a short bit. The sound quality is quite muddy creating the impression that at times the bass and the drums are taking a break and don't participate in the barrage.

Presto Fortissimo Demo, 1991

IMMORTAL (USA)

This obscure trio boast very good production qualitites which are particularly obvious on the long Anthrax-worship "Outer Darkness" which is total shredding mosh at its most inspired best. The other compositions are very short cuts which are clearly rehearsals for longer achievements which the guys didn't have time to realise. The bass is very expressive and the singer is not bad at all with his attached semi-clean "recitals" clearly showing infatuation with Joey Belladonna.

Dead & Buried Demo, 1990

IMMORTAL CHOIR (BRAZIL)

Vintage speed/power/thrash metal with progressive tendencies, worthy followers of the Danes Manticora, early Blind Guardian and the Polish Hellfire; "The Battle of Moonstone" opens the album in a magnificent fashion, revealing all the beauty of the band's sound: fast-tempos, soaring melodic vocals, addictive melodic hooks, sing-along choruses (the cheesy side, and the only unmitigated failure), etc. "The Great Vast Forest" steps the pedal harder, acquiring death metal tendencies even, but the great vocals and the keyboard background soften the approach a bit. "Beyond the Mist" follows the same pattern, but "Eyes in Flames" is slower epic power metal. "Dance of Sacrifice" is progressive metal at its best, still quite intense and fast. "The Curse of Celith" is a heavy semi-ballad, but the closing "Fall of the Empire" comes with all the guns blazing: another progressive opus, quite heavy and aggressive, blasting out on quite a few moments, boasting a superb quiet acoustic interlude. So apart from a mysterious land, sheltering cannibal tribes and numerous exotic animal and plant species, the Amazon jungle has also something to offer to the metal fans, and if there's more of the same high quality out there, then it's high time one started exploring/digging there more seriously...

Beyond The Great Vast Forest Full-length, 2002

IMMORTAL SENSE (JAPAN)

These guys, who are known in their homeland under the name Enema, play modern melodic thrash/death metal which is predominantly up-tempo with several metalcore leanings and a couple of catchy power/speed metal hooks which are really good, by the way. The melody carries the album all over, but the same can not be said about the awful vocal "duel" between the lower and higher death metal vocals, which is traditional for this kind of bands.

Call It Anything Full-Length, 2010

IMMORTAL SIN (USA)

Classy music sounding like a more aggressive Intruder ("Born to Lose"), power/thrash ala Griffin, or Omen ("Dark Castle"), or stylish technical thrash in the Have Mercy and the Ulysses Siren vein ("Sonic Scream").

Demo Demo, 1988

IMMORTAL SOUL (USA)

Classic thrash of the heavy brooding variety not miles away from Infernal Majesty; the tempo is expectedly not very fast, except for the brutal Slayer-sque outbreak "Black Plague", but the guys are good at evoking atmosphere with heavy doomy riffs and gruff semi-death metal vocals.

Immortal Soul Demo, 1992

IMMORTAL SUICIDE (RUSSIA)

This act provide modern/classic thrash with low-tuned death metal vocals which are quite bad and barely heard. The music is just a bit better probably with a computerized feel to it and adherences to the Swedish trends in the style. The tempos vary from one song to another, but there is not much energy at display. The guys had another project running at the same time: the black metal outfit Winter Beauty with which they had one demo released in 2001.

First Step to Immortality Full-Length, 2002

IMMORTALITY COMPLEX (JAPAN)

This is an edgier thrashier version of Motorhead. The guys play it simple and direct with merry melodic guitars and hoarse drunken vocals modelled after... well. The tempos are in the mid-range which may be a complaint since a more energetic delivery could have made this effort more listenable which still benefits from several more intriguing sections with a progressive flavour ala Hawkwind which, needless to say, have no ties to thrash metal whatsoever.

Monochromatic Madness Full-Length, 2010

IMPACT (USA)

Excellent old school thrash calling to mind the Sacred Reich debut and Evildead's "Annihilation Of Civilization"; this is fast, intense music, accompanied by very good powerful semi-clean vocals ala Michael Coons (Laaz Rockit). In the middle the guys have placed a more temperate longer track, more technical, with a slight power metal spirit: "It's the End of the World", which also works great.

Take The Pain Full-length, 1991

IMPACT WRENCH (USA)

Based on the "Attention Defecit Disorder" demo, these guys pull out cool thrash, which manages to sound quite interesting most of the time. This is technical stuff, quite choppy and tempo changing, although the music never gets too intense (except on the closing riffs on "Believe in Extremes"). The sound is heavy with a strong presence of the bass, and might remind you of Forced Entry, or even Forbidden's "Twisted Into Form" on the best moments ("It's a Personal Problem").

Violence Sweet Violence Demo, 1989
Attention Defecit Disorder Demo, 1991
Impact Wrench Demo, 1992

My Space

IMPACTOR (GERMANY)

Based on split with their compatriots Godslave, these youngsters play decent classic thrash metal in a galloping up-tempo with epic/pagan tendencies distantly recalling the Dutch Bifrost, and mean husky Schmier-like vocals. The guitar work is melodic with good leads and simplistic, but catchy, riffs, and suits the battle-like atmosphere well.
The "Prepare For Impact" EP offers typical Germanic speed/thrash metal without too many digressions this time sounding very close to early Destruction and Necronomicon nicely breaking the generally fast-paced mood with pounding heavy breaks ("Downstairs", the macabre semi-galloper "Frightnight"). "Twisted Insanity" is a glorious speedster with naive, but inspired, melodic leads which will also remind you of the early days of Deathrow, and "Thrash, Thrash, Thrash" at the end will keep no secrets, revealing everything by its very title, moshing left and right with crisp headbanging riffs.
The full-length is finally out and it will hit you with steam-roller riffs which can become quite catchy on the memorable anthem "Through the Wall". Just when one become sworried a bit due to the relatively peaceful beginning comes the raging "Outatime" to throw you into a spontaneous mosh around the house ably supported by a string of faster-paced cuts which recall more mid-period Sacrifice ("Soldiers of Misfortune") rather than the German heroes from the past. No complaints, as the delivery is quite dynamic with plenty of melodic hooks scattered among the fiery riffage which has quite a bit of work to do on the closing "giant", the 11-min title-track which is a nod to modern day Kreator featuring quite a lot of music without losing the thrash metal idea.

Impactor Demo, 2009
Prepare For Impact EP, 2009
Thrashed Split, 2009
Arise in Decay Full-Length, 2012

My Space

IMPALER (JAPAN)

The blitzkrieg very concrete style of early Hirax is brought to the fore once again by these Japanese "tsunamis". Short speed outbursts will nail you down from the get-go, and you will stay there until the end, maybe getting up for a while on the longer and more diverse "I'm Alive" although within its more than 5-min one will hardly come across anything more than furious fast thrashing except for the heavier slower Slayer-esque break in the middle. The brutality goes a level up on the blast-beating "Dozaemon" and "Slave Of Master" for a while, but this can hardly be a complaint. The appropriately-titled "Thrash Genocide" near the end is a nuclear bomb of speed/thrash which will make even their compatriots Fastkill proud, although in terms of speed the other songs are not very far behind. The only complaint comes from the vocal department where the singer semi-screams in a throaty hysterical voice, although his sparce Tom Araya-sque piercing shouts are well worth mentioning.

Nightmare Attack Full-length, 2009

Official Site

IMPALERS (DENMARK)

This act, who were initially known as Rigor Mortis, indulge in cool intense retro thrash which is big on speed all over with relevant galloping "reliefs" offered ("Aggressor") along the way. "Nuclear Nights" crosses the border towards death metal and the overall approach recalls Sodom's "Tapping the Vein" quite a bit including in the vocal department where teh singer impersonates Tom Angelripper fairly well maybe coming a bit more brutal. In the 2nd half the songs become longer and a tad more complex and less energetic "When the World Hungers" slowing down considerably incorporating doomy and balladic elements leaving the final damage for the furious closer "Death in Fire". This is a true sincere dedication to the old canons not offering anything new, but winning the fanbase with its direct no-bars-held attitude. Some of the musicians provide more brutal sounds with the death metal purveyors Disintegrated.

Power Behind the Throne Full-Length, 2013

Official Site

IMPENDING DOOM (GERMANY)

Like some other bands from Germany at around the same time- Delirious, Blood Red Angel, Desaster, Cockroach, Fatal Embrace, etc. these guys have tried to make us all feel like the 80's had never been gone. And they have managed to do that with their classic take on thrash which will remind you of early Kreator and Destruction, Razor's early undeveloped period, and thay haven't forgotten to slow down here and there, where the order of the day becomes Celtic Frost/Hellhammer. The musicianship is not on a very high level, but it wasn't very high in the early stages of the genre, either, so for nostalgic reasons this band score high. "Apocalypse III The Manifested Purgatorium" moves the band's sound into more modern territories, introducing black and death metal in the proceedings also improving the production qualities a bit.

Caedes Sacrilegae Full-length, 1997
Signum Of Hate Full-length, 1998
Blasphemy Incarnate EP, 2000
The great pale Hunter EP, 2001
Apocalypse III The Manifested Purgatorium Full-length, 2001

Official Site

IMPERIAL (FRANCE)

Based on "Aux Crépuscules", this band offer cool aggressive classic thrash with a black-ish edge. The opener "Le Narcissique" will startle you with its furious, ultra-fast approach, but later things get under control, although those blast-beating moments don't disappear completely, and grace at least half of the songs. "Vermin" is an excellent cover of one of the best songs of the Dutch Asphyx. "La Lune Rouge" is an awesome speed/thrasher, with great guitar work, followed by two similar, but shorter, ones: "Imperial", and the closing "Thrasheurs 13", which slightly betrays the thrash idea at the end, slowing down, adding a more melodic touch to the proceedings.

Aux Crépuscules Full-length, 1998
Thrasheurs 13 EP, 1998
Malmort Full-length, 1999
Moonblood EP, 2002

My Space

IMPERIUM (CANADA)

Based on "MMX", this guy (there is only one musician involved in this project) plays cool modern-ish power/thrash metal with progressive elements. The music is predominantly mid with frequent Oriental "ornaments" with the lead guitar playing the main role. There are quite a few quiet balladic moments stretching into two whole compositions, both not bad at all with good guitar performance. The riff-work falls behind a bit being of the less imaginative heavy type with a certain shade of doom.

Imperium Full-length, 2009
MMX Full-length, 2010

My Space

IMPERIUM (HOLLAND)

Another buried treasure dug out of the Dutch underground; the high level of musicianship, though, shouldn't come as a surprise considering that two ex-members of Sacrosanct take part here; the same ones who left the latter act after their magnum opus "Recesses For The Depraved". The music here is more progressive-based with both power and thrash metal assisting in almost equal dozes. "Too Short a Season" is a dramatic piece in a relatively slow tempo with an echo of Lethal and mid-period Fates Warning, but the following "Play of Compassion" is a creepy puzzler ala Psychotic Waltz's debut, again not the fastest song in the world, but quite compelling with its razor-sharp riffs and sudden tempo-changes. "Chemical Dreams" follows a similar pattern in the 1st half, before turning into a faster thrasher in the 2nd one by preserving the twisted riffage. "Silenced" is a heavy steam-rolling piece thrashing hard with smashing guitars and sparce balladic adherences. "Left Meaningless" develops those baladic tendencies fully to a positive effect being a cool heavy ballad with great leads and a pounding rhythm section. "...To the Things that were..." offers a full compensatin for the several more quiet moments encountered previously with forceful cutting riffs which speed up nicely towards the end in a sure-handed Hexenhaus-esque fashion. "Messiah Mask" is both fast and technical with echoes of the German underground "warriors" Flaming Anger, with the short balladic passage in the middle increasing the drama assisted by the next portion of sophisticated virtuoso leads. "Slip of Tongue" is the guys' tribute to the doom metal scene, a heavy crunchy piece in the vein of Pathos and Morgana Lefay. "Awakening" is 8-min of pensive proto-doomy progressiveness, the only underwhelming composition on this very good album, a slow thoughtful number with shades of Queensryche and Fates Warning again. The singer is the perfect match to the music with his dramatic emotional tember which never leaves the mid-parametres, but ably assists the complex musical delivery the whole time also given quite a space to perform on the more laid-back moments. Some of the band members are stll active now under the name Sphere of Souls, but the style has shifted towards more temperate progressive metal with more frequent balladic stretches.

Too Short a Season Full-length, 1993

IMPIETY (RUSSIA)

An obscure act offering intense fast-paced retro thrash with a couple of nice insertions, like the flamenco guitars on "In Search of Yourself". "Forces are Together!" is a heavy pounder breaking the formula for a while, but the rest doesn't lose speed and sharpness unnecessarily despite the slightly abrasive guitar sound.

The Step in Flame Demo, 1995

IMPIETY (SINGAPORE)

Throughout their career the band stick to a very furious, aggressive mix of black, death and thrash metal which serves them well, although very often the intensity is too big for the average thrash fan to handle. Their style resembles Impaled Nazarene, early Destroyer 666, and another act from the Far East: the Chinese Resurrection. The last two full-lengths come with a more controlled, almost technical guitar work, although the aggression still reigns supreme.
"Terroreign (Apocalyptic Armageddon Command" is another very fast and intense black/death/thrash blend, with the tempo seldom going down to mid. The hyper-blasts are everywhere, and it's only on the final "My Dark Subconscious" when the guys take a break with heavy mid-paced riffs, but this is "nicely" compensated by the ultra-hyper-blast ending, the most furious part of the album. Impaled Nazarene are left way behind on this effort, both in terms of speed and brutality.
"Worshippers of the Seventh Tyranny" is an ultra-brutal hyper-fast amalgam of black, death and just a bit of thrash metal. This is easily the band's most aggressive release, with the breaks coming in the form of doomy stomping sections ala early Celtic Frost the latter not many at all, so don't rely on them too much to save you from this intense head-splitting downpour.

The guys are eager to play, and here comes an EP less than a month after the full-length, to provide a more restrained slab of thrash and black metal with the former given more chances this time to stand for itself with sharp riffs resulting in the nice epic 8-min thrashy opus "Blood Ritual Defamation", and the much more aggressive super-fast "Advent of the Nuclear Baphomet". "Ave Satanas", the other song, is pure hyper-blasting black metal with a few more laid-back reliefs.
Productivity is the name of the game when mentioning these guys, and "Ravage & Conquer" arrives to please the band fans with its relentless brutal delivery whcih this time goes over the borders of the good taste with super-aggressive chaotic blasts which turn this album into a really tiring listening experience. Needless to say, thrash is a distant memory here. Since the compositions are long (6-8min) one can only beg for mercy provided that the band seldom stop bashing violently until the "gory end". If the band want to compete with the speed of light, then they have all the rights to do so, but the listener may lose the plot here more than now and then all this coming as one often impenetrable wall of sound created for brutality's sake which only shows a little bit of subtlety at the end on the good cover of Bathory's "Sacrifice".

Salve The Goat...Iblis Exelsi EP, 1993
Asateerul Awaleen Full-length, 1996
Funeralight EP, 1997
Skullfucking Armageddon Full-length, 1999
Kaos Kommand 696 Full-length, 2002
Paramount Evil Full-length, 2004
Formidonis Nex Cultus Full-length, 2007
Terroreign (Apocalyptic Armageddon Command Full-Length, 2009
Goatfather EP, 2010
Worshippers of the Seventh Tyranny Full-length, 2011
Advent of... EP, 2011
Ravage & Conquer Full-length, 2012

Official Site

IMPIOUS (SWEDEN)

One of the better practitioners of the modern death/thrash metal mix; the music is along the lines of The Crown, The Haunted and the likes. Impious are perhaps more aggressive, with their sound staying closer to death metal.

Evilized Full-length, 1998
Terror Succeeds Full-length, 2000
The Killer Full-length, 2002
The Deathsquad EP, 2002
Hellucinate Full-length, 2004
Holy Murder Masquerade Full-length, 2007

Official Site

IMPLEMENT (BRAZIL)

This Brazilian trio pulls out vigorous headbanging thrash of the old school, inevitably having its shifts, both into very fast and slow waters all this creating a somewhat disjointed feeling, a situation hardly improved by the very brutal low death metal grunts.

Decaptated EP, 2006

My Space

IMPOSTOR (NORWAY)

This is another band where Messiah: the former member of Mayhem, used to play in the past, along with the legendary Faust: the man behind the black metal icons Emperor, and a current member of the thrashers Blood Tsunami. Based on the "Little Hitler Illusion" demo, this is played just for the fun of it Hellhammer-like black/thrash, so don't expect any high achievements music-wise. There are moments where the guys (apparently drunk) make fun of some children's lullabies, or military marches, or everything in between. This is hard to be taken even as a rehearsal for the much bigger things awaiting the band's members in the near future.
The "SNS - Still Not Satisfied?" demo contains more serious and more aggressive music evolved around varied (both fast and slower) thrash/crossover, but the sound quality is so bad that it leaves quite a bit to the listener's imagination at times to figure out the details on the not very clearly heard sections. Still, it remains a fairly raw listening experience despite the fact that the guys are apparently more sober here (or are they?)...

Rehearsal of chaos Demo, 1987
Little Hitler Illusion Demo, 1987
SNS - Still Not Satisfied? Demo, 1990

IMPRINT (NORWAY)

Modern groovy post-thrash with very hysterical, shouty vocals; the music is reasonably heavy, but offers the same jumpy hectic pace and mechanical industrialized guitars, with very few more dynamic passages ("Evil" is a surprising raging death metal-laced number).

A.R.T Full-length, 2007

My Space

IMPULSE MANSLAUGHTER (USA)

On both albums the style is thrash/crossover mixing very fast aggressive sections with laid-back punk-ish ones. "Logical End" features a not very faithful, but effective hardcore cover version of The Sisters of Mercy's "Gimme Shelter".

He Who Laughs Last...Laughs Alone Full-length, 1987
Logical End Full-length, 1988

Vibrations of Doom

IMPULSIVE AGGRESSION (USA)

Will this be a "a lesson in brutality" indeed? Well, the guys have tried to justify the album-title, but should have tried harder... This is modernized abrasive thrash which doesn't hide its fascination with the old school, and generally there is a good balance between all-out moshers and mellower mid-pacers so there is very seldom any real "brutality" encountered. This is passable stuff without any really engaging moments with shouty deathy vocals which sometimes overtake the whole space.

A Lesson in Brutality Full-Length, 2011

Official Site

IMPUNITY (COLOMBIA)

3 songs of raw primal old school thrash the guys (and one cute girl on the bass as well) bashing relentlessly adding some more melodic variations (the playful crossover tunes on "Sinceramente") whenever appropriate without overdoing it. The sound quality is pretty muddy and the vocals are too screamy to the point of hysteria so there is a room for improvement.

Demo Demo, 2011

Official Site

IMPURE ESSENCE (BRAZIL)

One man, the pseudonim Luvarth, is responsible for this black/thrash metal project who, based on the "Dark Union for Baphomet" split, acquits himself with a raw misanthropic mid-paced sound close to early Bathory which he honours with an evil cover of "13 Candles". The extremely buzzy guitar sound kind of contributes to the menacing atmosphere, but it has to disappear if the guy wants to leave a more lasting trace on the scene.

Dark Union for Baphomet Split, 2008
Impure Essence / Disturbia Split album, 2009
Sex Death and Misanthropy Demo, 2010
Occult Alliance of Destruction Split, 2010

My Space

IMUNITY (PORTUGAL)

Based on the 1993 Promo, this band plays thrash/death metal of the dark brooding variety clinging somewhere between Benediction and early Nightfall. The sound quality is pretty awful, and if it wasn't for the melodic hooks used on almost every track it would have been really hard for the listener to make much sense out of this. The guys alternate slow with fast passages the whole time assisted by very brutal low-tuned death metal vocals.

Promo Demo, 1993
Promo Track Demo, 1994
Easter Rumour Demo, 1997
Liberty Demo, 1998

My Space

IN.SI.DIA (ITALY)

This band evolved from Inviolacy: a promising act playing aggressive Slayer-esque thrash (see the review a few lines below). The name change brought changes in the style as well, as the music this time is of the heavy, more technical type, with longer song-structures, quite similar to late-80's Metallica, "updated" with more modern elements ala the Black Album (mostly on the sophomore effort). The debut follows the style of the big Americans closely, with the opening "Fuggire", which sounds like a leftover from "...And Justice for All". It sets the tone for the rest, and the pace is quite energetic, until it reaches "Il Tempo", which is a nice ballad in the 1st half, finished in a faster crossover fashion: a melodic, slightly off-context song. After it the thrashing carries on, pausing for a break again for the cool short "acoustics-versus-leads" instrumental "Satanka". The final "Tutti Pazzi" is softer, with elements of crossover again sneaking, but it shouldn't be a surprise, since it's a cover of the Italian hardcore/punk legends Negazione.
"Guarda Dentro Te" shows no signs of compromise with the opener "Nulla Cambia", which is a fine dark hypnotic thrasher in the best Metallica tradition. "Si... Realtà" keeps the intensity, and is even faster, and "Terzo Millennio" is a sure-handed cross between heavy pounding rhythms and fast-paced ones. The pounding riffs remain, but the speed gets lost for a couple of tracks, until the coming of the more aggressive "Fino A Che Punto". More hammering heavy, more modern-sounding guitars follow suit, plus another cool peaceful instrumental ("Nel Silenzio"), before "Mai Capirò" adds furious, hardcore moments and modern shades. "Oltre Quel Muro" finishes the album in a manner quite similar to the first song, mixing speedy and mid-tempo sections of the classic type. As a whole this work sounds almost as appealing as the debut, with the modern throwings nicely adding up to its heavy hypnotic nature. Whether this was a transitional album, with the band gradually preparing to finally surrender to the modern trends, remained unclear: the guys never recorded again.

Istinto E Rabbia Full-length, 1993
Guarda Dentro Te Full-length, 1995

Fan Site

IN AGGRESSION (CHILE)

Good aggressive thrash metal in the Slayer-vein with some proto-death parts and touches of early Celtic Frost in the slower sections.

Advance Tape Demo, 1988
An Extensive Aberration Demo, 1989

IN ARKADIA (FRANCE)

Based on "Wasteland Chronicles": this formation started as a classic heavy metal outfit before moving onto more aggressive thrash/death metal as evident here. The guys do a decent job thrashing with force blasting out on occasion, the latter giving the album a blackk-ish flavour, without forgetting about the numerous melodic decorations. The 2nd half is calmer and more peaceful the speed reduced to the point of disappearing from most of the songs creating quite a contrast with the 1st half. The singer shouts in a grunting deathy fashion "duelling" wirh the melodic hooks which take almost the whole space towards the end.

Release the Shadow Full-length, 2006
Blind Oppression Full-length, 2008
Wasteland Chronicles Full-length, 2010
Regurgitate EP, 2012
Eyes of the Archetype Full-length, 2013

Official Site

IN CHAINS (BELGIUM)

Pretty cool classic thrash, which offers both speedy intense thrashers ("The Snakepit") and stomping steam-rollers ("Convulsions of the Truth") in the best tradition of the Brits Cerebral Fix. The guitar work is quite cool, nicely alternatiing between sharp riffs and more catchy hooks. The fast-paced numbers are more, and quite of you will jump around on tracks like "Shot at Dawn" and "Instinct (of Selfpreservation)". "Gas Attack" brings forward more intriguing riffs, and makes the thrashing even more appealing. The closer "Thrashed Down" is not the fastest, or the most aggressive song, but relies on heavy, stomping riffs, which work very well. The vocals are meanish, black-tinged, but fit the music just fine.

Demolition Business Full-Length, 2008

IN DEATH... (AUSTRALIA)

Based on the full-length: a modern groovy affair with technical pretensions mostly in the hectic jumpy department although the music seldom leaves the mid-tempo to higher/faster dimensions settling for mid-paced guitars with occasional jumps to Swedish death metal hooks. The singer tears his throat producing rending shouts reminiscent of Kirk Windstein (Crowbar). The bass work is good courtesy of a beautiful girl called Danika.
The "Thanatos" EP is another testimony to the band's heavy seismic nature which occasionally strays into more aggressive blasting waters ("Beneath The Deceased") for a good measure. Otherwise other surprises are almost nowhere to be encountered if we exclude the intense speedy cut "Do Not Resuscitate" near the end. The vocalist continues to do additional damage to his lungs with inhuman deathy shouts which are put too much up front.

In Death Full-length, 2009
Carnival of Horrors EP, 2009
Thanatos EP, 2013

My Space

IN DEFENCE (USA)

Based on "Into the Sewer": melodic energetic thrash/crossover, not very thrashy, sincerely punky at times; "Head of the Thrash" is the most aggressive song, although it would hardly "head" the contemporary thrash metal movement. "Don't Call Me a Moshist" is not too far behind, although it concentrates more on hardcore-like speed.
"Party Lines and Politics" is way more aggressive, but is more hardcore-oriented with the songs barely going over the 2-min line most of them speedy bullets with simplistic riffs assisted by intelligible, shouty clean vocals.
The debut is a sure-handed sincere tribute to the Suicidal Tendencies debut and The Accused; the guys serve jolly unpretentious thrash/crossover shifting from the moderl with the casual slower and more pensive cut ("Boombox Crew"), but overall bashing with vigour and a big sense of humour reflected in the lyrics and the general jocund attitude.

Don't Know How to Break Dance Full-length 2007
Into the Sewer Full-Length, 2009
Party Lines and Politics Full-length, 2011

My Space

IN HELL (BRAZIL)

This is another band where Mauricio Nogueira (Torture Squad, Krisiun), one of the best modern Brazilian guitarists, shows his talents. Based on "Suffering in Hell": these guys play a cool mixture of thrash and death, with a classic edge. The music only seldom reaches for more aggressive fields, and the riffs flow nicely, being of the heavy, dark variety, staying closer to thrash. The pace is mostly in the mid-parametres, and could have benefitted from more faster sections, like the ones on the excellent "Profane Creation", which offers technical licks ala Death, or the opening "We'll Honour The Insignificance". "The End" "ends" the album in a more brutal manner combining the furious death metal guitars with nice, more technical and more thrashy, ones.

Suffering in Hell Full-length, 2002
The Final Torment Full-length, 2004

IN MALICE'S WAKE (AUSTRALIA)

The full-length debut: if we exclude the irritating angry harsh vocals, the rest is pretty decent classic power/speed/thrash, not very fast and aggressive, recalling the Germans Red to Grey, from the newer acts, and Liege Lord, Laaz Rockit ("Know Your Enemy"), and early Iced Earth, from the other side of the Atlantic Ocean, and from the older practitioners. The guitar work is sharp, but also melodic, often unleashing the famous galloping rhythms: "Man-Made Death" which is the definitive speed metal hymn. The approach is seldom all-out speed, and the guys like breaking the dynamics in a good way with more laid-back, power metal passages ("The Path Less Travelled"). Be ready to be surprised, though, on "As Dusk Covers Day..." near the end, which will stun you with a sudden blasting death metal break, and the modern leanings towards the Swedish scene. "Weakness In Numbers" preserves the Swedish influences adding a big doze of melody, a situation worsened, or improved- depending on the taste, on the closing instrumental "Where Silence Hides" which has nothing to do with thrash, and is a romantic pleasant heavy metal instrumental with good lead guitar work. The guys have spread their wings wide trying to reach the souls of most of the metal fans: good try, but one can not help, but wonder whether their next offering would contain any pleasant surprises for the thrash metal brotherhood...
"The Thrashening" already shows quite an ambition with the title, and later on the guys don't disappoint the thrash metal crowds concentrating on invigorating Bay-Areasque music except for the gruff semi-shouty death-ish vocals. "Endless Possession" is a sure-handed opener in the best tradition of the Metallica debut before the sound moves towards speed metal on "Evil By Design". Nice technical hooks sneak on the galloping winner "Onslaught" which lashes fast fiery riffs to no end. "Fuel For The Fire" is a more immediate crossover/thrasher, but the more technical approach comes back, in a more "crawling" fashion, on "The Crawling Chaos". Still, the guys' heart lies in the stripped-down moshing sector, and the remaining 3 numbers are in-your-face headbanging thrashers which will leave no stone unturned in your backyard. This effort is a lot more homogenous with a bigger concentration on pure thrash and as such could be viewed as the superior achievement with its less compromising, seldom-bars-held, attitude.
The debut EP is 4 tracks of energetic classic speed/thrash again the least positive impression created by the unsuitable death metal shouter for whom is provided the more death metal-laced number "As Dusk Covers Day" to match him better. The musicianship is already pretty decent with the leads having reached the top; the riff-base sounds a bit thin, though, and the focus is strictly on melody at this stage with death metal showing its "ugly head" from time to time to provide the most aggressive moments on the EP.

Blackened Skies EP, 2005
Eternal Nightfall Full-length, 2008
The Thrashening Full-length, 2011

Official Site

IN MEMORY OF... (IRELAND)

This band provides rough (think production-wise) classic thrash with echoes of Bifrost topped by even rougher death metal vocals. The music has a nice epic/pagan quality thanks to the heavy galloping riffage which gives way to more aggressive headbanging thrash later on, with "Regression Therapy". Dramatic doom/thrash takes over on "Nil", and never leaves producing another portion of battle-like epic tunes on the closing "Equal Daemons". This is diverse music as a whole, and with a little bit of refinement it may turn into something interesting.

In Memory Of... Demo, 2006

My Space

IN THE NAME OF (USA)

Retro thrash with a very modern production; the guys play fast and tight suddenly branching out into wild brutal death metal ("Blessed Curse"), but the dominating thrashers are not bad some of them carrying a good sense of melody ("War On Freedom"), both in the lead and riff department. The inevitable softer side comes in the form of the pleasant mid-tempo instrumental "Ignorance Is Bliss", and several sections from the songs which are slower, so don't expect too many detractions from this competent headbanging slab.

Methods Of Control Full-Length, 2010

IN THE PRESENCE OF ENEMIES (USA)

Based on the full-length, this young act specializes in virtuoso classical-influenced, all-instrumental, progressive metal with shades of thrash the latter very well embedded into the interesting varied picture. "Anima" is a brutal proto-death shred mixed with atmospheric electronics and excellent leads to create a small 2-min opera of dynamic ever-changing music. "FFVIII: Force Your Way" is melodic lead-driven power/thrash with an abundance of keyboards; "The Powers That Were" is a jumpy technical power/thrasher with jazzy breaks and sudden time-changes coming as a cross between Spastic Ink and Watchtower. The rest is more laid-back sticking to more moderate progressive patterns with not much adherence to a faster play.

Impulse EP, 2007
Learning Curve Full-length, 2010

Official Site

IN TYRANNOS (GERMANY)

It is not a very common practice among the German thrash metal bands to sing in their native tongue, if we exclude a few solitary attempts made by Sodom in the not so distant past, but with bands like In Tyrannos things may change. Apart from singing in German, these guys offer a really fine slab of classic thrash which doesn't sound like the thrash we used to associate with this country, but is more along the lines of their American colleagues: Slayer, Vio-lence, Devastation, among others. The tempo is predominantly fast and quite intense, but without any proto-death elements; the only time when the guys take a break from the aggression, is on "Logenrituale": a dark slow doomy thrasher. This is pure unadulterated thrash the way it used to be played during the genre's heydays. The guitars are very sharp, with a slight technical edge here and there. Although the German metal scene has been filled constantly with retro thrash metal acts in recent years, this band has all the chances to become one of the more prominent acts from there.

Die Maske Fallt Full-length, 2007

IN-QUEST (BELGIUM)

A long-running stalwart on the modern thrash/death metal scene in Belgium, this act combines the more dynamic approach of Darkane with the more abstract mechanical style of mid-period Meshuggah by also adding a couple of more extreme early Fear Factory-like moments. So you can imagine that this is not the easiest to swallow music out there, but the constantly changing tempos will keep you on the alert along with the several spacey lead-driven passages ("Compelled Misogyny", "Evasive Crosscurrents" and elsewhere) which are a nice touch and should be used more in the future. There are a few clumsy moments where the sound gets groovy and stuck, but one may find them only adding nicely to the albums' already wide appeal.

Extrusion : Battlehymns Full-length, 1997
Operation : Citadel Full-length, 1999
Destination : Pyroclasm EP, 2003
Epileptic Full-length, 2004
The Comatose Quandaries Full-length, 2005
Made Out Of Negative Matter Full-length, 2009

Official Site

INALLSENSES (ITALY)

Although listed as a technical death metal band here and there, this band are mostly modern thrash metal with slight technical tendencies (the vocals belong to the death metal camp). The title track in the beginning thrashes with force, but later on the band adopt a more restrained approach with the slower laid-back "Thrash No More" (indeed, they thrash no more on this one), and the groovy "Lady Nature". "Inviolated" is a nice melodic, but also edgy piece, with great leads, recalling the power/speed metal scene. The energy remains for the songs which follow, as well as the fine lead guitar work, which easily overshadows the rest (check out "Heaven of Praises" and "I Will Kill You"). "Bad Society" is a raging thrasher with a classic edge, and the closing "Light In The Dark" is a magnificent 2-min acoustic instrumental, one of the best of its kind.
"Hysterical Psychosis" is not a distant departure from the debut, but is kind of more ordinary and uninspired. The music has become a tad more melodic, and the all-out speed attacks are very few the rest being one not very impressive mid-paced whole with the shouty death metal vocals sticking out, sometimes not very pleasantly. With the technical tendencies (and the brilliant outro, of course) left aside now the band can not hide their fascination with the Swedish school, but here this is not a very big compliment.

The Experience Full-length, 2008
Hysterical Psychosis Full-length, 2010

Official Site

INANE EMINENCE (AUSTRALIA)

Modern melodic thrash metal with a slight death metal edge, quite close to the French Lyzanxia and Swedish acts like Corporation 187, Carnal Forge, etc; fast-paced music with melodic guitar lines and shouty, throaty vocals.

The Fading Light In Your Eyes EP, 2004

Official Site

INCAPACITATE (USA)

This is fast moshing thrash/crossover which suffers badly from the awful shouty death metal vocals. Another negative are the frequent misplaced blast-beats and the awkward groovy breaks which break the consistent speedy barrage the latter taking the buzzy guitar background as an advantage due to its simplistic nature.

March to the Death Full-length, 2012

Official Site

INCAPACITY (SWEDEN)

A supergroup with members, who have done service in renowned acts around the globe (Spawn of Possession, Am I Blood, Scar Symmetry, Crimson Moonlight, Torchbearer, etc.), have joined forces for the release of this (based on the debut) not very inspired spin on the good old Swedish thrash/death style. The band are experts at mixing groove, speedy passages, and the casual technical flair ("Paradise Crushed") the resultant songs having it all; it's just that it all sounds too familiar to many other works out there. The band could have experimented a bit more with the trite formula having in mind their pedigree: now this short collaboration will remain just another project destined to acquire a deep underground status.

Chaos Complete Full-length, 2003
9th Order Extinct Full-length, 2004

My Space

INCARNATE (HOLLAND)

The demo: this is a 5-track demo of aggressive fast-paced thrashy hardcore along the lines of Sick of It All and Beyond Possession. "Hands of Guilt/Eyes of Greed" is full-fledged thrash most of the time, of the modern The Haunted-type, before "The Damage Done" breaks the "idyll" with furious death metal riffs. The end is kind of underwhelming, though, the energy from the beginning gone replaced by samey mid-pacers with clumsy proto-groovy riffage. The singer is a typical deathy semi-shouter unleashing scarier low growls from time to time.

A Dark Age Of Lies Demo, 2004
Embrace the Horror Full-length, 2008
Hands of Guilt/Eyes of Greed Full-length, 2011

Official Site

INCARNATE DEITY (USA)

This band play a diverse mix of thrash, death and black metal which is both technical and brutal at various stages of its evolvement which is built on a somewhat noisy background with brutal guttural death metal vocals and not very successful attempts at a more majestic/operatic atmosphere ala Bal-Sagoth and mid-period Dimmu Borgir. Thrash is just a humble "assistant" playing a second "fiddle" to the frequent intense black/death impleemnts. The guys give more freedom to their darker, blacker side with the black metal outfit Finger of Scorn.

Pure Weaponized Misanthropy Demo, 2012

Official Site

INCENDIARY (SWEDEN)

These guys play modern post-thrash with hardcore and alternative overtones sounding like a mix of Biohazard and Madball; shouty vocals, simplistic riffs, a few dragging groovy breaks, and a couple of energetic headbanging moments; that's it. Some of the band members do a better job in the death metal/fusion band Zinc Organ, and the retro thrash metallers Chainsaw.

Incineration Demo, 2002

INCENDIARY (USA)

Modern thrashcore of the heavy groovy variety, think Biohazard spiced with a more aggressive jumpier attitude topped by shouty semi-clean vocals.

Crusade Full-Length, 2009

INCINERATOR (ITALY)

Based on the "Live Into the Crematorium" demo, this is probably the first band in Italy who picked on the proto-death sound of bands like Possessed, Sarcofago, Messiah, and the likes. Their music is fast and aggressive, with the only disappointment being the awkward power/heavy metal number "Crematorium", occupying the middle. And of course, the bad throaty vocals, which sound like a poor version of Anihilated's Simon Cobb.
"Uh!?!" carries on in the same vein, but the music is even faster and more intense, consisting of short, brutal outbursts, plus another cheesy number, this time placed at the end: "Uh!?!" ("Uh!", indeed).

Live Into the Crematorium Demo, 1986
Mass Genocide Demo, 1987
Uh!?! Full-length, 1989

Fan Site

INCINERATOR (SWEDEN)

A good job: classic German thrash in the Destruction, Kreator and the first Exumer album spirit; this is really a "thrash attack"; short, but memorable: 5 tracks of fast aggressive thrash with good, sharp riffs and nice vocals in the Mem Von Stein (Exumer) vein.

Thrash Attack EP, 2000

Fan Site

INCITE (USA)

A 3-track EP of intense groovy thrash, which offers more dynamic moments ("Army Of Darkness"), as well as melodic guitar hooks ala the Gothenborg school ("Die With What You've Done"). The singer Richie Cavalera is... yes, you guessed right: the son of Max Cavalera.
The full-length is faster and more interesting now focusing on the Gothenbug influences with heavy crushing guitars. Even the groove-laden sections deliver with their energetic angry tone. The heaviness and anger are nicely "relieved" on a couple of tracks with melodic guitar lines, but the more aggressive moments ("Down and Out", the explosive opener "The Slaughter") would be paradise for the headbangers.
"All Out War" is another fitting entry into the modern thrash repertoire, Richie Cavalera and Co. seemingly getting better at the craft, mixing fast-paced with aggro-groovy passages to a generally positive effect. One will inevitably "feel the flames" on smashers like "Feel The Flames" which will roll over the listener with their seismic steam-roller riffage. More serious, almost progressive-sounding, notes may surprise (check out "Nothing Remains"), but they are handled with dexterity and are never annoying. Richie may want to tone down those infernal shouts for the future: his forceful rendings overshadow at times the instruments.

Divided We Fail EP, 2009
The Slaughter Full-length, 2009
All Out War Full-Length, 2012

My Space

INCITER (CROATIA)

Good old school thrash which brings to mind quite a few heroes from the 80's on the best moments: Metallica, Testament, Xentrix, etc. The singer tries to emulate James Hetfield, and succeeds at times, but the decision to spice those main vocals with clean alternative and gruff death metal ones, is awkward and could be avoided for the future. The pace is mid to up-tempo, but with the appearance of those clean alternative vocals, the music seems to lose its edge. There are touches of modern thrash, as well as more technical sections on the longer songs ("Defray", "Lifeless (Agony)"). "Organic" is very good heavy, mid-paced instrumental thrash.
"Salvation" would be a disappointment, offering a less interesting modern sound with shades of post-thrash. "Unite" and "Inside This Life" are excellent faster shredders, and the sole reminders of the much better debut; but the rest is not nearly half as impressive the band sacrificing the energy from the debut for the sale of retouched riffs and playful rhythms with a semi-balladic flavour.

Burned Out Cells Full-length, 2006
Salvation Full-length, 2010

My Space

INCOGNITA (PORTUGAL)

Based on the "Life's A Bitch" demo, which is only 3 songs, this band plays laid-back proto-modern thrash/crossover of the inexpressive mid-tempo type with cool balladic passages ("Myself"); mild stuff with cool semi-clean vocals recalling the more melodic ones of Phil Anselmo (his vocals on the Down albums; also remember "Planet Caravan").

Demo 93 Demo, 1993
Life's A Bitch Demo, 1994
Live in Johnny Guitar Demo, 1994
Madeirus Sarcasticus Full-length, 1995

Fan Site

INCREDIBLE PAIN (GERMANY)

Heavy, mid-paced death/thrash is what these guys offer on their only full-length so far; good stuff with sharp smashing riffs. The overall style might remind of the first two Six Feet Under albums; the singer also tries to death-scream the way Chris Barnes does.

Screaming In Agony Full-length, 2004

Official Site

INCRIMINATED (FINLAND)

Good black/thrash metal of the old school, bass-dominated and mostly mid-paced although sometimes the music slows down considerably, moving into the fields of doom; for fans of Celtic Frost, Barathrum and Warhammer. The 4-song "Death Nöize" EP is in the same vein, maybe a bit more lively, until it reaches the final opus: "Victory Through Brutality", which is vintage slow doom ala Sleep and early Saint Vitus.

Illusion of Love EP, 2001
Miracle Of Purity Full-length, 2002
Ride of the Tyrants Full-length, 2003
Hypocricide EP, 2004
Kings Of Misery Full-length, 2004
The Promise of Worse to Come Full-length, 2005
Death Nöize EP, 2009

Fan Site

INCRYPT (AUSTRALIA)

An uplifting mix of heavy, power and thrash metal of the modern type, laid-back with a few adherences to crossover/hardcore, as well as several more classic-sounding sections; the approach lacks energy, though, sticking to heavy mid-paced riffs with quite a few melodic hooks scattered around, the hoarseness coming mostly from the throaty, albeit good intelligible, vocals ala Kerrmit (Tyrant (Germany)).

Masterpiece Full-length, 2010

My Space

INCUBATOR (GERMANY)

Based on "LieBisslieder", these guys pull out a cool blend of thrash and death metal of the classic type. The music is fast-paced, and the album is full of short energetic thrashers ("Frei", "-S-"), but the softer, more laid-back side of the mixture is not forgotten, either: the romantic, gothic-tinged "Stapellauf", where one can hear fine female angelic vocals as well. "F**k Mich" is a more aggressive nod to the Rammstein sound, and is the drawback here. "Der Weg" returns to the more intense thrashing, and "Danke" continues even into a more aggressive, death metal territory. "Instrumentalstück" (the title says it all) is a fine instrumental, which combines aggressive death metal with cool melodic leads. "Schön" closes the album in a headbanging thrashy fashion, stirring a fair amount of interest in tracking the rest of the band's catalogue.

The band's previous output is quite a treat with a wide gamut of styles presented. The debut is a full-fledged classic death metal affair close to the Floridian school, mostly in up-tempo akin to the early Death efforts. "McGillroy The Housefly" could still be labelled as death metal, although there are doom and gothic additions to be heard, as well as other eclectic moments recalling even early Misanthrope; the pace goes down seldom jumping over the mid. "Hirnnektar" finally offers something for the thrash lovers, but the approach is strictly modern compared to the previous two albums, and the guys pile a modern jumpy riff over a modern jumpy riff, the resulting pile not very ably assisted by a load of funky/industrial "decorations" which at least manage to preserve the eclectism of the predecessor, with a pinch of mid-period Meshuggah on the most inspired sections. "MCMETALXCVIII" is a somewhat unexpected turn to doom/death, quite well done by the way, with a nice inclusion of deep clean vocals, with all previous influences almost completely gone. "Divine Comedy" even leaves the "death metal" tag, seeing the band concentrating on doom almost exclusively, with the aforementioned clean vocals now playing a major role, to produce another cool slab of slow atmospheric music. All works are worth hearing actually, although the 1992 and 1993 ones may be a bit hard to swallow with their quirky decisions and unusual arrangements, but still for the thrash metal fan "LieBisslieder" will be the album to please him/her most.

Symphonies Of Spiritual Cannibalism Full-length, 1991
McGillroy The Housefly Full-length, 1992
Hirnnektar Full-length, 1993
MCMETALXCVIII Full-length, 1998
Divine Comedy Full-length, 2001
LieBisslieder Full-length, 2008

Official Site

INCUBUS (AUSTRALIA)

A 4-song demo of cool energetic Germanic thrash along the lines of early Destruction; the vocals are sinister black metal rasps, but fit the music quite well.

Sinful Dreams Demo, 1987

INCUBUS (USA)

The first band to ever mix thrash and death metal on an official release; "Serpent Temptation" is furious, very fast thrash/death which took the genre into its next stage. The music is still more thrash than death metal, but some sections are so intense that many future death metal bands would find hard to match: the brutal explosive "Blasphemous Prophets", the lightning speed killer "Incubus", etc. Perhaps the more conventional, but still aggressive thrashers seem to work better: the Slayer-esque "Sadistic Sinner", the stomping, semi-technical "Ungerground Killers", simply because the intensity of the rest might come as too much for the thrash fan at this early stage of the most extreme genres' development.
"Beyond The Unknown" is almost a full-blooded death metal recording with a nice technical edge, but still furious and brutal, bringing the delivery close to their compatriots Nocturnus and the early efforts of the Swedes Therion.

Serpent Temptation Full-length, 1988
Beyond the Unknown Full-length, 1990

Vibrations of Doom

INCURSION DEMENTA (HOLLAND)

This band, who are named after a Nasty Savage song from "Indulgence", play good aggressive old school thrash, coming as a big slap to the modern tendencies in the middle of the 90's. The sound is quite close to the Sepultura heydays ("Arise", in particular), and some modern elements are inevitably present, but never to an annnoying extent. "Self Conceit" is a brutal, Slayer-esque ball of fury, and the following "Some Overdo It" is not too far behind, with more choppy breaks. "The...End" is a surprising, but very cool heavy ballad, with the singer being the highlight, adjusting his hoarse delivery to better suit the mellower nature of the music. The attack continues after this one, producing another couple of headbanging delights, finished with the lengthy, but fairly satisfying "Cut This Live Off From Me", which begins as a ballad, and is not anything technical, although it mixes fast and slower parts quite well, including a couple of interesting funky passages.

All This Is... Full-length, 1993

Official Site

INDESPAIR (POLAND)

"Time to wake up", but with this not very eventful groovy post-thrash one would have problems waking up. The guys seldom leave the somewhat tiring mid-pace except on the more vigorous "A Ripper, A Butcher, A Demon" and partially on the lashing "To the Weak Ones". The end is far from promising with longer songs which are built around even more dragging semi-balladic patterns which may satisfy the more romantically-inclined fans. The singer is not bad with his emotional clean tember which stays within the mid-parametres, kind of adjusting to the not very adventurous musical approach.

No Escape EP, 2007
Time to Wake Up Full-length, 2012

Official Site

INDESTROY (USA)

Another notable speed/thrash metal band, largely forgotten by many; on the debut the band plays fast and energetic speed/thrash, but the bad production ruins a lot. With that obstacle put aside on "Senseless Theories", the band unleash full out speed/thrash attack which only flaw is that it's very short (six tracks only). "Instant Insanity" opens with furious speedy riffs, reaching almost a death metal intensity on the fastest sections. "Living In Filth" is more controlled, but is served with nice clever, almost technical guitar work. "Sam The Butcher" is a heavy, sinister short instrumental, followed by the slower, pounding "Senseless Theories" which, just before it gets too boring, introduces a smashing ultra-fast thrashy ending. "Terminal Choice" is another aggressive speed/thrasher with jumpy frantic sections thrown in. "Tortured By Fire" ends this EP with heavy, technical riffs, reducing the all-out speed delivery a bit. With this strong effort, having come at the very right time, the band could have joined the front row of thrash if they had lasted longer.

Indestroy Full-length, 1987
Senseless Theories EP, 1989

Vibrations of Doom

INDICA (USA)

A smart band who quickly felt where the wind was blowing; their music is a good blend of modern and classic thrash. The EP: the music stays more on the classic side, boasting good meaty riffs with slight progressive overtones. "Pavement" is a classic headbanger, with nice tight sharp guitar work. "Repressed" is slower, but the rhythm section is heavy and pounding, and some cool technical riffs come up. "Green" carries on in the same vein, sounding like a more aggressive version of some tracks from the Metallica's Black Album. "Ego" is a first-class technical thrasher, bringing to mind Metallica again, but their best, late 80's period, goind even beyond that with the inclusion of wonderfully abstract, but quite intense, moments. "Burning Sphere" stays closer to the 90's trends, but is a great atmospheric, slightly industrialized thrasher ala Coroner's "Grin". This was a promising beginning, but the band called it quits soon after, apparently not willing to join the modern thrash metal wagon on a full-time basis.

Indica Demo, 1992
Pavement EP, 1993

Fan Site

INDISPERSE (AUSTRALIA)

With Ryan Huthnance of Mortal Sin fame among the band members the expectations are more than the average ones, and this young act doesn't disappoint offering vigorous classic thrash metal with Bay-Area overtones lashing in an energetic mid-tempo, with "Catalyst" a particular highlight being an exhilirating galloping speedster in the best tradition of Attacker's "Second Coming". After it the mid-paced crushiness carries on until the coming (not second this time!) of "The Reckoning" which speeds up again nicely recalling the Forbidden debut. "Sabbath" is another more intense thrasher which influences the last two songs: "Sanctify", all-out speed/thrash metal with nice crisp riffs, and "Execration", which is a bit more complex, but the hard thrashing is not neglected, and the exiting section is a full-on violent attack with proto-death shades. The singer does a good job adding a nice emotional colouring to the music with his attached mid-ranged clean tember which carries the necessary doze of dramatism without hitting the higher registers too often.

The Reckoning Full-length, 2009

My Space

INDOCTRINE (FINLAND)

This band play aggressive modern thrash/death which slows down just on time before things get out of control (the calm doomy piece "Iniquity In Justice"). This is professionally done, albeit too ordinary following the path of the Gothenburg style quite faithfully if we exclude the more dramatic, even to the point of hysteria at times, higher-pitched vocals.

Indoctrine EP, 2012

INDUNGEON (SWEDEN)

The band's debut is cool thrash blending the classic and the modern style with a few touches of melodic death metal. The guys never speed up too much, and their music has this smashing, steam roller-like quality, very typical for the Brits Cerebral Fix; here one can hear melodic, Gothenburg-influenced guitars, and these Swedes have a bigger sense of melody: check out the brilliant "522 666", or the very catchy "Cybergenetic Supermind": there's no way you won't recognize these songs once you've heard them. Seldom does the sound reach doom/stoner dimensions: "Desolation Creation", which nicely speeds up near the end with great headbanging riffs. In the second half the melody comes maybe too much, on tracks like "In The Ashes Of Civilixations"; even the most aggressive number ("Charging Against You") is graced by nice melodic, and even technical hooks, which is hardly a complaint, since the band are really expert at infusing the compositions with a lot of melody, giving them a cool distinctive edge.
Unfortunately, melodic death metal has taken a much larger space on the sophomore release, making it sound like many other contemporary thrash/death metal acts around; too bad because these guys were definitely going somewhere with their first effort.

Machinegunnery Of Doom Full-length, 1997
The Misanthropocalypse Full-length, 1998

Official Site

INDUXION MENTAL (ARGENTINA)

This is competent retro thrash which desirably doesn't follow the mellower power/thrash metal trends so typical for this country, but go heads-down into more aggressive thrash moshing out with gusto producing quite a few forceful thrashers (the semi-technical shredder "Matando Esperanzas"; the vigorous headbanger "Arruinados En Veneno"). "Oscuros Deseos" is a stretch towards softer thrash/crossover, and "Criaturas Magicas" is the only more power/thrash-based number. "Gente Toxica" inserts ultra-brutal drind/deathy breaks so expect quite a diversity in the 2nd half which is less consistent except for the vocals which remain in the hoarse semi-clean camp the whole time.
The EP is another cool offering thrashing with force also coming with a crisp sound quality. The "assault" seldom stops the band obviously having fun playing this energetic brand of the good old school thrash with no bars held and very few "winks" at the more modern trends, like the more expressive hardcore-ish shouts of the singer this time, etc.

Arruinados En Veneno Full-Length, 2011
Vientos de Sangre EP, 2012

INDYUS (AUSTRIA)

This is old school thrash/death metal with the early Swedish school an obvious influence. This is good professional music, but stays much closer to death metal also featuring a couple of nice melodic rhythms ala Bolt Thrower ("Future Is Over"). "The Necrosis (of Human Kind)" is a nice attempt at atmospheric doom/death, and the closer "Zeitgeist" finishes the album with a magnificent melodic doom-based passage ala My Dying Bride and Anathema which one may end up listening over and over; addictive. The singer is a very low growler not miles away from Karl Willets (Bolt Thrower).

Ashes of Dystopia Full-length, 2009

Official Site

INERTIA (ITALY)

There is a rekindled interest in Slayer in Italy; Inertia are one of the proofs for that. The sound is clearly Slayer-influenced with very annoying synthesized vocals which ruin much of the good impression made by the music. The last song from the demo is a cover version of Slayer's "Angel Of Death", and I will give anyone 1000 bucks if he would be able to recognize it...

The EP would be a big diappointment to those who liked the demo: it features bland boring post-thrash, with a very slight "excuse" brought on the last "Virtually Enslaved", which is furious thrash/crossover. The guys also operate under the name MG66 where they entertain themselves playing unpretentious jolly thrash'n roll similar to the style of the Tom Angelripper side-projects and Motorhead.

Fly Into Darkness Demo, 2000
Dead End Railway EP, 2006

Official Site

INERZIA (SPAIN)

These Spaniards play thrash/crossover spiced with more modern-sounding elements. The music recalls early Pro-Pain, but "Asesinos" is a major retro headbanger, although right after it the guys lose it with bland playful hard'n heavy rhythms on the remaining material. Some of the musicians involved here play harder stuff with the death/thrash metal formation Total Death.

Cuervos Full-length, 2003

Official Site

INEVITABLE END (SWEDEN)

This band prefer to tread the well-trodden path of Swedish thrash/death metal along the lines of Carnal Forge and The Crown. Sometimes these guys add atmospheric black metal touches, probably with the intention to sound less generic.

Inevitable End Demo, 2004
Reversal Demo, 2005

Official Site

INEXACTA (CHILE)

Groovy modern post-thrash with robotic cold riffs and forceful semi-death metal vocals; this is jumpy mid-paced at best stuff with a few stretches towards alternative. More direct thrashy guitars can be heard on "Breathing Deception", which is a cool mid-tempo sleeper with nice leads and a cool balladic section (later on there is one cool melodic balladic instrumental: "Assuming the End"). "Lie to my Face" even speeds up right after, albeit in an abrasive hardcore fashion.

Previous Trick Us Full-length, 2006

My Space

INFAME (ARGENTINA)

This is slightly rough modern power/thrash metal with the guitars having a noisy abrasive edge, which takes away some of the melody of the riffage, despite the compensation offered by the proficient leads. The songs develop in a not very exciting mid-tempo, which gets suddenly broken (the aggressive proto-deathy sections on "La Cruz En La Montana") here and there, and the vocalist is a low-tuner with a mean deathish tember.

Eterna Pudrición Full-length, 2006

Official Site

INFAMIA (ITALY)

Modern power/speed metal meets melodic thrash; some of you out there might argue about the inclusion of this band here, but at least half of the tracks carry the thrashy edge quite a bit. There is some cheesiness typical for the scene, but this is not as bad as it may sound.

Infamia Full-length, 1994

INFAMOUS SINPHONY (USA)

Based on the debut album, this is aggressive thrash mixed with hardcore, sounding like a mix of Dark Angel's "Darkness Descends" and Wehrmacht's "Shark Attack". The vocals do a good job to ruin a lot, being awful hysterical hardcore shouts.

Manipulation Full-length, 1989
Wild Rags Limited Edition Split, 1990
Beef Kurtin Full-length, 1994

My Space

INFANTERIA (SOUTH AFRICA)

These folks serve fairly decent melodic thrash which is both classic and modern-sounding excelling in the melody department the lead guitarist leaidng the show there with his inspired cuts: check the breath-taking leads on "Cataclysmic Oppression" and elsewhere. Hard riffing is also present: "Deceived by the Blind" is an intense smasher closely followed by the death/thrashing madness "Steel Our Extinction". "Beyond All Strength" provides some lyrical sections, but generally it's another merciless shredder with more technical Bay-Area overtones. The attack becomes only a tad more relaxed near the end with the more melodic leanings on "Remnants of Life" and the closing speed/thrash technicaller "Making a Killing" which wraps up the proceedings with style seeing a new rising force from the South African metal scene fully equipped to make their voices heard outside their homeland not without the help of the very good singer whose attached clean mid-ranged antics provide capable assistance to the inspired music.

Isolated Existence Full-Length, 2013

Official Site

INFANTRY (USA)

Based on the "Desecrate the Church" demo, these guys have a bright future before them: 4 tracks of unadulterated classic black/thrash, staying close to the German school. "Imprisoned By Fire" is a cool speedy opener, but later on the band varies things by offering something in the Slayer-vein as well ("The Betrayal"). "Malicious Thrill To Kill" is vintage early Destruction, whereas "Desecrate The Church" goes up the aggressive ladder once again, slightly "winking" at the Bay-Area. The "black" tag to this promising demo is mostly due to the unholy sinister vocals; the music is pure retro speed/thrash.
The "Resurrect" demo is close to the subsequent one, being cool speed/thrash of the classic type. The German school seems to have the bigger influence here, proven in the form of speedy explosions like "Brutal Torment" and "Unholy Blasphemy".

Ressurect Demo, 2007
Desecrate the Church Demo, 2008
Thrash Clash Volume 4 Split, 2008

My Space

INFANTRY OF DOOM (GERMANY)

Aggressive thrash/death metal with an old school sound; this is a standard, but brutal approach to the genre, and could be better if the guys leave the thrashy riffs to develop fully for the future without unnecessarily interrupting them with fierce blast-beats.

The Saw Is Family Demo, 2001

Official Site

INFEARIOR (GERMANY)

Excellent power/thrash metal with shades of doom; Eidolon and Morgana Lefay come to mind, especially in the guitar department, and Hexenhaus ("Dejavoodoo", in particular). This is mostly mid-paced music with heavy riffs, and frequently melodic guitar lines, with a touch of Mike Wead (the very good leads). Nice Oriental sections come up here and there: check out the cool, energetic "When Symbols Fell". The obligatory ballad is here as well: "Still Your Eyes Break the Silence". The lead guitarist shows his skills on the short, 2-min instrumental "Phobos", which is followed by the doomy, 9-min opus "The Cage Within", which would even suit the works of Candlemass and Memento Mori. "Last Generation" is another melodic deviation, "courting" the American power metal scene of the 80's, with a good galloping rhythm.

Two Faced World Full-length, 2004

Official Site

INFECT (USA)

Based on the first demo, these guys offer aggressive thrash metal, which strangely reminds of Bathory (R.I.P.)'s "Requiem", with the hollow guitar sound and the simplistic riffs. The music acquires slight death metal tendencies at times, but most of the time it is straight thrash bashing, simple and intense with short, 2/2.5-min tracks.

Demo Demo, 1988
Face the Infection Demo, 1991

INFECTAI (BRAZIL)

Intense speedy modern thrashcore with allusions to the old school touching veterans like The Accused and Sick Of It All without forgetting about the "old dogs" Motorhead on the more melodic moments ("Escravo do Inferno"). This is direct bashing stuff with angry shouty vocals and several memorable choruses.

MMXII EP, 2012

INFECTED (ARGENTINA)

A 7-song demo of heavy retro thrash/death metal with some of the most brutal suffering vocals of recent times; the music is not bad at all with clear technical pretensions and haunting melodies both in the lead and the riff department. The guys concentrate more on creating mood and atmosphere sacrificing the speed with scattered blast-beats present. The overall style is very close to early-90's Messiah, but the approach is probably more technical at times: check out the creepy doomy piece with twisting mazey riffs with the "gory" title "Gore", and the excellent melodic instrumental "Mi Ultima Dia".

Demo Demo, 2010

INFECTED (BRAZIL)

Members of various thrash metal acts from Brazil and overseas (Farscape, Guillotine, Toxic Holocaust, Blasthrash) have gotten together for the recording of another retro thrash album. Traditionally they have done a good job, although from the above cited bands it's only Farscape who can be considered a soundalike. The music is fast and intense, having shades from both the German and Bay-Area school. The singer is probably the downpoint, having a hoarse hardcore tember. This effort actually beats the works of the already mentioned bands, providing a non-stop downpour of speedy lashing riffs seldom spiced by more laid-back speed metal moments ("The Damned Land"). On the other hand, pieces like "Possessed" and "Violent Reaction" smash no worse than the best tracks from Vio-Lence's "Eternal Nightmare". "Thrash Attack" and "Death For Us All" are exemplary "thrash attacks" with rolling Destruction riffs, closing this album in flying colours, and it would be worth it to hear something more from them in the near future, in case of the guys find time to record again while having a break from their busy schedules with the other bands.

Who is Not? Full-length, 2009

Official Site

INFECTED (SWITZERLAND)

An interesting band playing dark aggressive thrash, sounding like a better produced and more technical version of early Messiah, with touches of Celtic Frost, and death-vocals ala Protector. Moments of early Coroner are also present, so as a result we have an album which brings all the great Swiss acts together, although put together this concoction is less impressive than the separate acts on whom the music is based. The tempo varies from more intense songs (the excellent opener "Media Control", which also contains a very cool doomy middle section) to stomping, heavy ones ("Headless"). "Backstabbing Small Talk" combines both the most aggressive and most technical riffs, again recalling Protector, but their later 90's period.

Dark Century Full-length, 1989

INFECTED MIND (BRAZIL)

Your average modern thrash metal with more aggressive death metal vocals; the approach is uneventful, mostly mid-paced, lacking sharpness in the riff-department, and although there is not much groove involved, the music remains pretty predictable with no surprises whatsoever.

Rascals of Destruction Full-length 2006

My Space

INFECTED NOIZE

3 tracks of modern thrash with frequent death-y implements of the blasting variety; some technicality sneaks through ("Saved Not"), but it all comes cancelled on the final track which is a Terrorizer cover ("Corporation Pull-In").

Demo Demo, 2010

INFECTED VOICE (POLAND)

This act may have taken their name from the Sepultura song from "Arise", but the music on offer here is more in the Slaughter's "Not Dead Yet" camp, being minimalistic retro thrash with heavy passages akin to early Celtic Frost thrown in. There is not much speed to be heard, and although the Celtic Frost moments are well handled, this album may get boring at some stage because of its slightly monotonous repetitive nature.

Memento Mori Full-Length, 1993

INFECTION CODE (ITALY)

Based on "Life Continuity Point", this act provides noisy quarrelsome industrial thrash which is pretty jumpy trying to surprise the listener with sudden switches to more atmospheric semi-progressive breaks ala Fear factory, including the transition to cleaner vocals as opposed to the brutal hysterical synthesized screams heard for most of the time. Certainly, there are pure exercises in elctronic industrial which further aggravate the mechanical artificial atmosphere of this recording.

H.I.V. 999 EP, 2000
Life Continuity Point Full-length, 2002
Sterile Full-length, 2004
Intimacy Full-length, 2007

Official Site

INFECTONATOR (USA)

This is a brutal recording which evolves around classic death/thrash with echoes of early Sadus, the Greeks Flames, and early Kreator in the beginning ("Echoes in the Dark"). The youngsters play quite fast with more nods to death metal perhaps, but the very cool surreal lead guitar work, the comprehensive lightning riffage, and the bit laughable, but fairly mean early Mille-like vocals will ensure the listener's entertainment. "Birth of a Beast" is a curious "Beast" bringing the winds of black metal this one a prime early blacker with not much thrash to be heard. "Watching you Bleed" is a strange atmospheric galloper which translates its weird aesthetics on the final "Spreading the Plague" the latter a spacey more laid-back number with the leads again doing the biggest damage. "Fevered Dreams" is another brutal weirder with several quirky decisions those not far from pure progressive. The end comes in the form of a cover of Darkthrone's "In the Shadow of the Horns" rendered faithfully with all the bombast and the blasting elements. This is an interesting, albeit unpolished, effort which introduces several intriguing ideas which have to be explored more fully on future releases.

Brainfuckers Demo, 2013

Official Site

INFECTOSIS (CHILE)